Hubble-induced phase transitions on the lattice with applications to Ricci reheating

Using 3+1 classical lattice simulations, we follow the symmetry breaking pattern and subsequent non-linear evolution of a spectator field non-minimally coupled to gravity when the post-inflationary dynamics is given in terms of a stiff equation-of-state parameter. We find that the gradient energy density immediately after the transition represents a non-negligible fraction of the total energy budget, steadily growing to equal the kinetic counterpart. This behaviour is reflected on the evolution of the associated equation-of-state parameter, which approaches a universal value 1/3, independently of the shape of non-linear interactions. Combined with kination, this observation allows for the generic onset of radiation domination for arbitrary self-interacting potentials, significantly extending previous results in the literature. The produced spectrum at that time is, however, non-thermal, precluding the naive extraction of thermodynamical quantities like temperature. Potential identifications of the spectator field with the Standard Model Higgs are also discussed.

Witnessing Women: Quo Vadis, Cinema?

The essay explores how two women filmmakers, each deploying her unique vision through the perspective of a female protagonist, stage a transformative encounter with the act of bearing witness to genocide. The Diary of Diana B. (Dnevnik Diane Budisavljević, 2019, Croatia) directed by Dana Budisavljević, and Quo Vadis, Aida? (2020, Bosnia-Herzegovina), directed by Jasmila Žbanić, both compel us to bear witness to mass atrocities while avoiding the pitfalls of turning suffering into a spectacle, and by sidestepping the predictable cinematic conventions of redemption and closure, both formally and narratively. In my analysis of the films as anti-spectacles through the framework of Trinh T. Minh-ha’s ‘speaking nearby’, I argue for the concept of ‘women’s world cinema’, a kind of cinema that is made by women, speaks to women’s experiences, and/or addresses the spectator as female while also speaking nearby instead of about its subjects in ways that eschew conventional spectatorial alignments and co-optations of traumatic experience.

A condução narrativa na subjetividade de um personagem com Alzheimer: encruzilhada de incertezas no roteiro do filme Meu Pai

O artigo tem como objetivo explorar possibilidades narrativas de um narrador-personagem com a Doença de Alzheimer. Tendo como objeto o filme Meu Pai (The Father, 2020), discute-se as escolhas textuais e imagéticas para a imersão do espectador na dualidade das cenas, além das fragilidades inseridas nos processos mnemônicos do protagonista. Como metodologia, descreve-se o emaranhado narrativo, a partir da definição biomédica da doença, conhecida por atingir a memória do sujeito. Como aspectos conclusivos, aponta-se como a obra audiovisual contribui para compreensão de consequências sociais do Alzheimer, possibilitando criar empatia a respeito desta doença ainda sem cura definitiva.The narrative diretion in the subjectivity of a character with Alzheimer’s: crossroads of uncertainties in the script for the film The FatherAbstractThe article aims to explore narratives of a narrator-character with Alzheimer's Disease. With the object of the film The Father (2020), the textual and imagery choices for the immersion of the spectator in the duality of the scenes are discussed, in addition to the weaknesses inserted in the protagonist's mnemonic processes. As a methodology, we teach the narrative entanglement, from the biomedical definition of the disease, known for reaching the subject's memory. As the conclusive aspects, it is pointed out how an audiovisual work contributes to the understanding of the social consequences of Alzheimer's, making it possible to create empathy about this disease that still has no definitive cure.Keywords: Memory; old age; alzheimer’s.

Read My Lips: Onscreen Visual Acoustics in Alfred Hitchcock’s Early Movies

This essay will cover some of Alfred Hitchcock’s early silent movies up to and including Blackmail (1929), of which he filmed both a silent and a sound version simultaneously. Hitchcock’s success with sound was directly linked to his training in silent technique. Silent movies actually allowed him to explore how they were capable of sound. This essay will consider how silent movies were able to induce an acoustic experience without the aid of extra-diegetic practices that added live – and sometimes gramophonic – soundtrack to films. What I am interested in is the aural effect of the visual experience of the screen alone. In the early days of cinema, the frame was silently read for all kind of sounds heard in the head of the spectator.

Immersed, yet distant: Notes for an aesthetic theory of immersive travel films

The purpose of this article is to highlight a few stylistic and aesthetic principles, common to the genre of the travel film (both documentary and fictional), as employed by immersive media and devices from the twentieth century – such as the Hale’s Tours of the World, Todd-AO, and Cinerama – up to today’s digital systems like Virtual Reality and 4D Cinema. I will discuss how the different experiences of simulated travels, proffered by those media, are all related to a broader aesthetic tendency in creating what I label as enveloping tactile images. Such images are programmed to surround the viewer from every side, thus increasing their spectacular dimension, but at the same time they strive to temper and weaken the haptic solicitations aroused in the viewer by the immersive apparatus itself. In this sense I propose that the spectator of immersive travelogue films is ‘immersed, yet distant’: she is tangled in the illusion of traversing an enveloping visual space, but the position she occupies is nonetheless a metaphysical one, not different from that of Renaissance perspective, because even if she can see everything, the possibility to interact with the images is denied, in order to preserve the realistic illusion. By analysing the stylistic techniques employed to foster the viewer’s condition of non-interactive immersion in the enveloping world presented by the medium, I will consequently address the topic of the conflict that such immersive aesthetics establish with traditional forms of audiovisual storytelling.

Dramaturgia fotografii. Między teorią a osobistym doświadczeniem (przypadek Rolanda Barthes’a)

The article discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.

Space as an Active Agent. On Performative Space in Estonian Contemporary Performing Arts / Ruum kui aktiivne agent. Performatiivsest ruumist Eesti nüüdisaegsetes etenduskunstides

This paper discusses examples of the use of performative space in the Estonian performing arts. It shows how a performative space is arranged as an interactive and shared space, what the features are of an installation space, how the audience perceives immersive space, and how a socially communicative space is formed. The paper studies the ways that space can be an active agent and affect the perception of the spectator. Artikkel käsitleb ruumi organiseerimise viise uuemas Eesti teatris ning osutab, kuidas ruumilised suhted mõjutavad publiku taju. Analüüsitakse viit 2020. aastal esietendunud lavastust: „Kas te olete oma kohaga rahul“ (autorid Eero Epner, Mart Kangro ja Juhan Ulfsak, Kanuti Gildi SAAL), „*******“ (autorid Mart Koldits ja trupp, Von Krahli Teater), „Ümarlaud“ (lavastaja Kadri Noormets, Tartu Uus Teater), „Inimesed ja numbrid“ (lavastaja Birgit Landberg, Vaba Lava) ning „supersocial“ (autorid Üüve-Lydia Toompere ja Siim Tõniste, Kanuti Gildi SAALi kaasproduktsioon). Ruum on teatrikunstis määrav mõõde ning üks võimalus teatrit defineerida ongi näha seda ruumi eriomase organiseerimise kaudu. Teoreetilise raamistikuna vaadeldakse artiklis Gay McAuley’ viiest alast koosnevat teatriruumide taksonoomiat. Esimeseks alaks on McAuley’ taksonoomia järgi teatrikogemuse sotsiaalne reaalsus, mis koosneb teatriruumist, publikuruumist, etenduse ruumist, töötajate ruumist ja prooviruumist. Teiseks alaks on füüsilise reaalsuse ja fiktsionaalse ruumi duaalsus, mis koosneb lavaruumist, esituse ruumist ja fiktsionaalsest ruumist. Kolmanda alana toob McAuley välja ruumid, mis on seotud asukoha ja fiktsiooniga, rõhutamaks, et väljamõeldud ruum toimib vastavalt oma asukohale füüsilise reaalsuse suhtes. Neljanda alana käsitletakse tekstilist ruumi, mis pöörab tähelepanu etendusteksti ruumilistele struktuuridele ja nende tähtsusele etenduse geneesis, hõlmates muu hulgas geograafilisi nimesid, kohtade kirjeldusi, liikumist väljendavaid verbe jms. Viienda alana toob McAuley esile temaatilise ruumi, mille tähtsus seisneb tähenduste loomises ja mis on seotud nii teksti kui ka etendusega. (McAuley 2000, 24–32) Käesolevas artiklis võetakse sellest taksonoomiast kasutusele etenduse ruumi mõiste, mis kuulub teatrikogemuse sotsiaalse reaalsuse juurde. McAuley’ etenduse ruumis töötavad kaks gruppi, etendajad ja vaatajad koos, et luua ühine etenduskogemus. Etenduse ruum on teatrit määratlev ruum ning eksisteerib ka siis, kui pole olemas teatrit kui hoonet. (McAuley 2000, 26) Teiseks ja peamiseks teoreetiliseks raamistuseks tuuakse artiklis mängu Erika Fischer-Lichte performatiivse ruumi mõiste. Performatiivne on Fischer-Lichte (2008, 107) määratluses ruum, milles etendus ilmneb, ja see ruum sünnib etendajate ja vaatajate koostoimes. Performatiivne ruum avab mitmekesiseid suhteid etendajate ja vaatajate, liikumise ja taju vahel. Nende suhete ükskõik millisel viisil muutmine või kehtestamine muudab performatiivset ruumi. Performatiivset ruumi nimetab Fischer-Lichte ka vahepealseks ruumiks ja etenduse käigus on see pidevas muutumises. Selle ruumi käsitluses tõstetakse esile etenduse tajumise aspekti: publiku taju mõjutab alati etendust ja kõiki selles osalejaid, nii et etenduse ruumis hakkab ringlema eripärane energia (Fischer-Lichte 2008, 59). Lisaks muutuvad suhted näitlejate ja vaatajate vahel sõltuvalt publiku asetusest: olenevalt sellest, kas publik istub saalis vaatega lavale, kas publik ümbritseb lava või seisab publikuruumis hajutatult, kas publik liigub ümber ristkülikukujulise või ruudukujulise lava või siis sellest, mil viisil on publik lavast eraldatud (prožektorite, poodiumite, dekoratsiooni, mööbli vmt-ga) (Fischer-Lichte 2008, 107). Artiklis arutletakse ruumi kui aktiivse agendi üle. Lavastuste „Kas te olete oma kohaga rahul“ ja „*******“ kaasav ja jagatud ruum ärgitab publikut tajuma tuntud teatriruumi uuel viisil ning aktiveerib vaataja isikliku mälu, emotsioonid ja kogemused. „Ümarlaua“ installatiivne ruum aktiveerib mäletamise kui füüsilise toimingu: etendajad mängivad laval päris mänge ja see vallandab iga vaataja enda elu mälestusväärsed hetked. Sellised lavastused taasmõtestavad teatriruumi ja publik saab võimaluse tajuda tavapärast teatriruumi uuel viisil. Lavastuste „Kas te olete oma kohaga rahul“, „*******“ ja „Ümarlaud“ ruumilised suhted aktiveerivad osalejate emotsionaalse ruumi, mäluruumi ja kogemuste ruumi. Oluline ühine aspekt on see, et ruumiline paigutus käivitab isiklikud mälestused. Vaatajad hakkavad mõtisklema oma mineviku üle: kuidas nad on tajunud ruumilisi suhteid oma elu eri etappidel. Analüüsitud lavastused näitavad, kuidas aktiivne performatiivne ruum võib hõlmata publiku kuulmis-, nägemis-, lõhna- ja taktiilse taju, s.t etendus ümbritseb osavõtjaid ning nad kogevad etendust eri tajude abil. Lavastus „supersocial“ on näide sellest, kuidas lisaks füüsilise ruumi spetsiifilisele korraldusele võib teater keskenduda ka sotsiaalsele ruumile ning laiendada kommunikatsiooniruumi. See rakendusteatrina tajutav lavastus lõi ajutise kogukonna, mille potentsiaalne aruteluväli ulatub väljapoole teatrisündmust nii ajas kui ka ruumis. Käesolevas artiklis huvituti nüüdisteatri performatiivsest ruumist, s.t ruumist, kus etendus toimub. Erinevalt arhitektuurilis-geomeetrilisest ruumist ei esinda performatiivne ruum ainult füüsilisi artefakte. Oma olemuselt kuulub performatiivne ruum pigem sündmuste kui kunstiteoste juurde (Fischer-Lichte 2008, 114). Lisaks performatiivse ruumi sündmuslikkusele on siin kohaldatav ka situatsiooni mõiste: vaatajast saab osavõtja ning seeläbi saab ta teadlikumaks oma kohalolust (oma positsioonist teiste inimeste suhtes ruumis), lisaks võib füüsiline lähedus hõlmata otsest kontakti etendajate ja vaatajate vahel (Lehmann 2006, 123). Kokkuvõtvalt näidati artiklis, kuidas ruum võib olla aktiivne agent ja mõjutada publiku taju. Artikkel pakkus võimalust käsitleda ruumi kui etenduse aspekti, mis aktiveerib publiku, ja näitas, kuidas etenduse kulg võib sõltuda publiku tegevusest või tegevusetusest.

RESEARCH OF ARCHITECTURE FORMATION LANDSCAPE THEATERS IN UKRAINE

The article is devoted to the problems of landscape theaters architecture formation on the territory of Ukraine in the realities which have developed in the course of typology development and an arrangement of the cultural data and entertaining and leisure establishments in modern conditions. The article examines the specifics of the landscape theaters location depending on the functional purpose, capacity of the auditorium and attendance level of various theatrical performances in the open air in Ukraine. Based on the results of professional questionnaires and analysis of statistical data on the theater and concert network in Ukraine, the author proposes 15 factors that shape the modern architecture of Ukrainian landscape theaters. The author investigates how these factors modify the spectator environment and shows the tools and techniques that allow you to create a harmonious space of the theater. The list of the above factors influencing the formation of the landscape theaters architecture in Ukraine should include such factors as: the capacity of the auditorium; functional purpose of the building; location of the theater; the mode of the auditorium openness and stage; special conditions of the open-air theater location zone. In addition, the author investigates the following factors in the formation of landscape theaters architecture, such as: organizational schemes of the stage; the configuration of the amphitheater in relation to the stage; ways to evacuate visitors from the auditorium in case of emergencies; determination of the optimal angle of the auditorium; architectural and constructive solution of the theater location (on a natural or anthropogenic basis). The author analyzes the influence on the formation of the landscape theaters architecture due to the system of the stage layout and arrangement; when using special technological techniques and technical means; by considering the mobility of the theater; under the conditions of synthesis at the location of the stage relative to the spectator amphitheater; using the means of green architecture and design solutions in the organization of theater space.

Ideological Reconfigurations: Privacy, Voyeurism and Form in Recent Malayalam Cinema

This paper traces a particular moment in the recent history of Malayalam Cinema when a shift in the representation of the private sphere was attempted. In the period after 2010, a set of new Malayalam films carried a shift in terms of aesthetics and narrative techniques and went on to unfold in a full-fledged manner by the end of the decade. The paper would look at Chappa Kurishu (Head or Tails, 2011), one of the early movies of this tide to shed light on the remarkable shift it achieves in representing the scenes of romantic and erotic intimacy on screen. As the narrative of the movie centers around the fight over a smart phone that ensues between two strangers in the city of Kochi, it gets entangled with questions of privacy, class and contest over the urban spaces. Bringing to the discussion contestations over the meanings of public and private manifested in certain urban-based movements in recent times like ‘Kiss of Love’ protests, it is argued that Chappa Kurishu can be read as a response to the contradictions arising out of the emergence of new subjects in the wake of urban transformations and the conflicting cinematic publics of multiplex and single hall theatre. The formal transactions between cinematic form and video form, the paper suggests, is one of the ways in which Chappa Kurishu attempts to respond to this situation in a way that signals the transitional position of the spectator subject.

SCENOGRAPHY AND COSTUME IN JAPANESE KABUKI THEATER: TRADITIONS AND MODERNITY

The article explores the history of traditional Japanese Kabuki theater, the stages of its formation and the basic principles of dramaturgy in retrospective and in modern times, the role and symbolic value of costumes, as well as the general features of theater performances. The modern trends of the theater were analyzed and issues of the space of its scene were investigated. Obvious conservatism of kabuki and its fundamental dissimilarity to the theater of the European model were noted. The process of evolution of the Kabuki theater was studied, which responding to the challenges of modernity, acquires new elements and features, together give rise to the fundamentally new phenomenon in the theatrical art. It has been determined that the logic of construction and development of the theater and stage space in Japanese traditional Kabuki theater derived from the need for specific interaction between the performer and the audience. With the formation of the theater, its audience expanded at the same time, in particular due to the privileged strata. The premises of theater and its stage also evolved. Eventually, the design features of Kabuki theater space became not only a prominent element in the interaction between the performers and spectators, but also an important factor that predominantly determined the characteristics of dramaturgy. In Japanese Kabuki theater, such methods as makeup, hair pieces and costumes are simultaneously those means of expression that are necessarily included in the process of staging a performance, and determine its content and storyline, as well as determine the nature of the performer’s acting. These means are kind of sign and symbolic system, which has to be read by the spectator in order to fully understand the nature of performance. The peculiarities of the costume allow us to read in advance nature of the character in performance, to guess his or her actions, etc. The peculiarity of Kabuki is that the play script is dictated by the performers themselves, but not by the scriptwriter. The director as an independent figure in Kabuki theater comes to the first plan only in the modern era, and it is mostly characteristic of innovative and experimental theaters. It is worth noting that given the challenges of modernity, Kabuki still acquires new elements and features, together generating a fundamentally new phenomenon in the art of theater, and in general, Kabuki remains a traditional theater.