scholarly journals Epistemologias não-cartesianas na interface artes-humanidades [Denise Coutinho, Eleonora C. da Motta Santos]

REPERTÓRIO ◽  
2010 ◽  
pp. 65
Author(s):  
Teatro & Dança Repertório
Keyword(s):  
Sigmund Freud ◽  
Academic Research ◽  
Late 19Th Century ◽  
University Environment ◽  
Search Point ◽  
Arts And Humanities ◽  
The Arts ◽  
History Of ◽  
Path Search ◽  
The University

O objetivo deste artigo é apresentar resultados de três anos de trabalho sobre o desenvolvimento de modelos epistemo-metodológicos não-cartesianos para pesquisas em artes e humanidades na universidade. Uma questão norteou esta investigação: A pesquisa acadêmica necessitaria ter como referenciais modos consagrados pela cientificidade para apresentar- se rigorosa em seus objetos, métodos, questões, objetivos e finalidades? Nosso trajeto busca apontar, na história do pensamento ocidental, as bases para o que viria a vingar, no século 17, como modelo da constituição das ciências modernas com a cisão artes x ciências, não existente até então. Em seguida, apresentamos alguns pensadores que, entre o final do século 19 e todo o século 20, produziram importantes quebras no edifício cartesiano, com destaque para Sigmund Freud e alguns conceitos psicanalíticos. Por fim, apostamos que a presença da cultura artística na universidade é tão irreversível quanto a presença, já bastante estabelecida, das ciências, das humanidades, da tecnologia. A singularidade do fazer artístico, refletida em seus processos e objetos, impõe estudos e desenvolvimento de métodos coerentes com tais investigações.<br />The aim of this paper is to present the result of over three years working on the development of models epistemo-methodological non-Cartesian for research in the arts and humanities in the university environment. One question guided this endeavor: should academic research have as reference methods laid down by science in order to be rigorous regarding objects, methods, issues, goals and purposes? Our path search point to the history of Western thought, the basis for what came to succeed in the 17th century as a model of the constitution of modern sciences, with the arts versus sciences divide, which did not exist until then. Next, we introduce some thinkers that since late 19th century and throughout the 20th century produced major breaks in the Cartesian building, especially Sigmund Freud and some of psychoanalytical concepts. Finally, we bet that the presence of the arts at the University is as irreversible as the presence, already well established, of sciences, humanities and technology. The uniqueness of artistic making, reflected in its processes and objects, requires study and development of methods consistent with such investigations.

Interview with Argha Manna

2020 ◽  
Vol 11 (2) ◽  
pp. 405-421
Author(s):  
Partha Bhattacharjee ◽  
Priyanka Tripathi
Keyword(s):  
Social History ◽  
History Of Science ◽  
Academic Research ◽  
Visual Medium ◽  
Visual Narratives ◽  
Arts And Humanities ◽  
The Arts ◽  
Global Pandemic ◽  
History Of ◽  
Medical Histories

Argha Manna is a cancer-researcher-turned cartoonist. He worked as a research fellow at Bose Institute, India. After leaving academic research, he joined a media-house and started operating as an independent comics artist. He loves to tell stories from the history of science, social history and lab-based science through visual narratives. His blog, Drawing History of Science (https://drawinghistoryofscience.wordpress.com), has been featured by Nature India. Argha has been collaborating with various scientific institutes and science communicator groups from India and abroad. His collaborators are from National Centre for Biological Science (NCBS, Bangalore), Centre for Cellular and Molecular Biology (CCMB, Hyderabad), Jadavpur University (Kolkata), Heidelberg Center for Transcultural Studies (University of Heidelberg, Germany) and a few others. Last year, he received STEMPeers Fellowship for creating comics on the history of vaccination and other aspects of medical histories, published in Club SciWri, a digital publication wing of STEMPeers Group. Currently, Argha is collaborating in a project, ‘Famine Tales from India and Britain’ as a graphic artist. This is a UK-based project, funded by the Arts and Humanities Research Council, led by Dr Ayesha Mukherjee, University of Exeter. In this interview, Partha Bhattacharjee and Priyanka Tripathi speak with Indian ‘alternative’ cartoonist Argha Manna to trace his journey from a cancer researcher to a cartoonist. Manna is a storyteller of history of science, in visuals. Recently, his works reflect social problems under the light of historical and scientific theories. Bhattacharjee and Tripathi trace Manna’s shift from a science-storyteller in a visual medium to a medical-cartoonist who is working on issues related to a global pandemic, its impact on life and literature vis-à-vis social intervention. They also focus on Manna’s latest comics on COVID-19.

scholarly journals Performing the intermedial across Brazilian cinema

2020 ◽  
pp. 3-12
Author(s):  
Tamara Courage ◽  
Albert Elduque
Keyword(s):  
Research Council ◽  
Music Performance ◽  
Musical Performance ◽  
Arts And Humanities ◽  
The Arts ◽  
Brazilian Cinema ◽  
History Of ◽  
The Uk ◽  
The University ◽  
Hybrid Forms

Intermediality as a theoretical and methodological perspective champions impurity. Overall, it is concerned with the interaction, contamination, and mixture between different media, breaking down existing barriers that currently exclude hybrid forms of artistic expression, which also inevitably exposes the limits of media specificity. Musical performance constitutes a privileged space to reflect on intermediality. It brings in not only music, but a mixture which includes literature, theatre, dancing and even painting and architecture. Music performance calls for all these artistic practices and articulates them through the song. Then, when it is filmed by a camera and recorded with microphones to be exhibited on a screen, new layers of meaning are added. This Alphaville issue is concerned with the performance of the intermedial in Brazilian cinema through music performance. It is an output of the project “Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method”, a shared endeavour by the University of Reading and the Federal University of São Carlos which was developed between 2015 and 2019, funded by the Arts and Humanities Research Council (AHRC) in the UK and the São Paulo Research Foundation (FAPESP) in Brazil

Pests and People in Stef Smith’s Human Animals

2021 ◽  
Vol 37 (2) ◽  
pp. 159-173
Author(s):  
Isla Cowan
Keyword(s):  
Research Council ◽  
Small Scale ◽  
Planetary Health ◽  
Royal Court ◽  
Arts And Humanities ◽  
The Arts ◽  
Award Winning ◽  
History Of ◽  
The University ◽  
British Culture

Throughout the history of western theatre, animals onstage have invariably been read in relation to human concerns. The reviews of Stef Smith’s Human Animals (2016) at the Royal Court followed in this tradition, interpreting the play’s central animal players as symbolic stand-ins for humans. By examining the particularity of the non-human animals at the centre of Human Animals’ urban eco-crisis, this article aims to rectify previous anthropocentric readings and acknowledge the agency and autonomy of the play’s non-human animals, namely pigeons and foxes. Building on Una Chaudhuri’s ‘Theatre of Species’, this article demonstrates Human Animals’ deep engagement with animal alterity, subverting conventional socio-zoological classifications of ‘pest’ animals and popular preconceptions of pigeons and foxes in British culture. While Smith’s play uses the dystopian mode to dramatize a small-scale, localized eco-crisis, this article highlights how its focus on urban animal encounters and zoonotic disease holds broader implications for re-imagining inter-species relations and planetary health. An award-winning playwright, Isla Cowan is also a PhD student at the University of Glasgow. Her current research investigates ideas of ecological consciousness in contemporary Scottish theatre and is funded by the Arts and Humanities Research Council (SGSAH).

scholarly journals CPI Welcomes Jennifer Eiserman's Special Issue

2017 ◽  
Vol 9 (1) ◽  
Author(s):  
Cecille DePass ◽  
Ali Abdi
Keyword(s):  
Special Issue ◽  
Arts And Humanities ◽  
The Arts ◽  
University Of Calgary ◽  
The University ◽  
Historical Life

In Us-Them-Us, several artists affiliated with the University of Calgary, and an invited poet, adopt perspectives, usually associated with that of being agents provocateur. Key themes, issues, images, symbols, and slogans associated with postcoloniality and postmodernity are well illustrated in particularly, vivid ways. Thank you Jennifer Eiserman, for working closely with the contributors, in order to, produce a special issue which highlights well established traditions of the arts and humanities. This CPI Special Issue holds up for scrutiny, central aspects of our troubling contemporary and historical life worlds.

scholarly journals Alchemy & algorithms: perspectives on the philosophy and history of open science

2019 ◽  
Vol 5 ◽  
Author(s):  
Leo Lahti ◽  
Filipe da Silva ◽  
Markus Laine ◽  
Viivi Lähteenoja ◽  
Mikko Tolonen
Keyword(s):  
Academic Research ◽  
Open Science ◽  
Ethical Challenges ◽  
Community Resource ◽  
Philosophical Foundations ◽  
The Past ◽  
History Of ◽  
Video And Audio ◽  
The University ◽  
Science Movement

This paper gives the reader a chance to experience, or revisit, PHOS16: a conference on the History and Philosophy of Open Science. In the winter of 2016, we invited a varied international group to engage with these topics at the University of Helsinki, Finland. Our aim was to critically assess the defining features, underlying narratives, and overall objectives of the open science movement. The event brought together contemporary open science scholars, publishers, and advocates to discuss the philosophical foundations and historical roots of openness in academic research. The eight sessions combined historical views with more contemporary perspectives on topics such as transparency, reproducibility, collaboration, publishing, peer review, research ethics, as well as societal impact and engagement. We gathered together expert panellists and 15 invited speakers who have published extensively on these topics, allowing us to engage in a thorough and multifaceted discussion. Together with our involved audience we charted the role and foundations of openness of research in our time, considered the accumulation and dissemination of scientific knowledge, and debated the various technical, legal, and ethical challenges of the past and present. In this article, we provide an overview of the topics covered at the conference as well as individual video interviews with each speaker. In addition to this, all the talks, Q&amp;A sessions, and interviews were recorded and they are offered here as an openly licensed community resource in both video and audio form.

Acting, Singing, Dancing, and So Forth: Theatre (Research) in the University

2004 ◽  
Vol 45 (2) ◽  
pp. 263-269
Author(s):  
W. B. Worthen
Keyword(s):  
Life Forms ◽  
Genetically Engineered ◽  
Corporate University ◽  
Martha Graham ◽  
Global Epidemic ◽  
Commodity Culture ◽  
Arts And Humanities ◽  
The Arts ◽  
Oryx And Crake ◽  
The University

About midway through Margaret Atwood's dystopian novel Oryx and Crake, the protagonist Jimmy (later known as Snowman, survivor of a genetically engineered global epidemic induced by his childhood friend, Crake) leaves home for the university, or in this case for the Martha Graham Academy. In a culture driven by the collusion of technology and capital it's not surprising that the best students are sent to lavish technical universities (Crake attends the Watson–Crick Institute), while arts and humanities students listlessly rusticate at Martha Graham, learning the pointless yet “vital arts” of “acting, singing, dancing, and so forth” and how to deploy them in the service of commodity culture (Jimmy's skill with language leads him to major in Applied Rhetoric, eventually writing advertising copy for Crake's new life forms). Like much else in Oryx and Crake, Atwood's vision jibes chillingly enough with the rhetoric of today's corporate university: compared to jet propulsion, cancer research, or even the battle of Appomattox (on my campus, history is a social science), the arts and humanities can be made to seem “like studying Latin, or book binding: pleasant to contemplate in its way, but no longer central to anything” (187).

scholarly journals The Crisis, the Humanities and Medical History

2011 ◽  
Vol 55 (3) ◽  
pp. 283-287
Author(s):  
Bill Luckin
Keyword(s):  
Social Sciences ◽  
Higher Education ◽  
Medical History ◽  
Cultural Landscapes ◽  
Status Quo ◽  
Academic Community ◽  
Arts And Humanities ◽  
The Arts ◽  
History Of ◽  
New Ideas

Non-controversially, the full version of this article argues that the crisis in British higher education will impoverish teaching and research in the arts and humanities; cut even more deeply into these areas in the post-1992 sector; and threaten the integrity of every small sub-discipline, including the history of medicine. It traces links between the Thatcherite reforms of the 1980s and the near-privatisation of universities proposed by the Browne Report and partly adopted by the coalition. The article ends by arguing that it would be mistaken to expect any government-driven return to the status quo ante. New ideas and solutions must come from within. As economic and cultural landscapes are transformed, higher education will eventually be rebuilt, and the arts and social sciences, including medical history, reshaped in wholly unexpected ways. This will only happen, however, if a more highly politicised academic community forges its own strategies for recovery.

Erin Espelie

2019 ◽  
pp. 275-294
Author(s):  
Scott MacDonald
Keyword(s):  
New York ◽  
Digital Technologies ◽  
Cornell University ◽  
Avant Garde ◽  
University Of Colorado ◽  
Lanthanide Series ◽  
The Arts ◽  
Short Films ◽  
History Of ◽  
The University

Artist/scientist Erin Espelie was trained at Cornell University as a biologist, but turned down opportunities to study biology at the graduate level at Harvard and MIT in order to explore the New York City theater scene, before finding her way into independent, “avant-garde” filmmaking, first exploring her interests in biology and the history of science in a series of short films, then producing the remarkable essay-film The Lanthanide Series (2014), which explores the importance of the “rare earths” (the elements with atomic numbers 57–71) for modern communication and informational technologies. The imagery for The Lanthanide Series was recorded, almost entirely, off the reflective surface of an iPad. In her work as a moving-image artist, Espelie combines poetry, science, environmental politics, and modern digital technologies within videos that defy traditional knowledge categories. She is currently editor in chief for Natural History magazine and a director of the NEST (Nature, Environment, Science & Technology) Studio for the Arts at the University of Colorado-Boulder.

A Campus Counter Tour: Performing institutional narratives

2019 ◽  
Vol 7 (2) ◽  
pp. 167-183
Author(s):  
Claire Syler
Keyword(s):  
Black Studies ◽  
Coalition Building ◽  
University Environment ◽  
Walking Tour ◽  
Applied Theatre ◽  
History Of ◽  
The University ◽  
Us University ◽  
Walking Tours

Abstract This article traces the work of a cross-listed Theatre and Black Studies performance course at a US university that had recently experienced campus protests concerning anti-black racism. The course culminated in an admissions-style walking tour that critically analysed the university environment by juxtaposing dominant institutional narratives with counter accounts performed by a multi-ethnic ensemble of students. The article begins by contextualizing the university's history of anti-black racism and then describes the curriculum created for the class and the broader Campus Counter Tour performance. To conclude, it discusses the assets embedded in the Counter Tour project (accessibility, coalition building, and participation in a movement), which could be valuable for applied theatre practitioners interested in using walking tours to address institutional narratives bound up in racism or colonialism more broadly.

On the Dark Side of the Love of Art

1970 ◽  
Vol 27 (2) ◽  
pp. 207-211
Author(s):  
Philipp Fehl
Keyword(s):  
North Carolina ◽  
Classical Tradition ◽  
Dark Side ◽  
University Of Chicago ◽  
University Of Illinois ◽  
The Arts ◽  
History Of Art ◽  
History Of ◽  
The University

This is a slightly revised version of a contribution to a symposium on the spiritual aspect of creativity in the arts, held at the Reform Synagogue, Durham, North Carolina, in March, 1969. The author, formerly a refugee from Vienna, who received his doctorate from the University of Chicago, is now Professor of the History of Art at the University of Illinois. He is presently engaged in the preparation of a book on the art of Paolo Veronese. His special field of interest is the history of the classical tradition in the arts. He is himself a practicing artist.

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