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Oak Tree, Gum Tree: Screen Collaborations Across Time Zones
No full textOak Tree, Gum Tree, a collaborative video work by award-winning filmmakers Catherine Gough-Brady and Christine Rogers, explores the way that audio-visual material can “embrace the complexity of the world” and “incorporate, within their structures and production processes, multiple voices that “utter” together in the creation of content” (Aston and Odorico, 2018, p. 63). Aston and Odorico use this polyphonic approach as a way of exploring relationships between documentary works and audience. Gough-Brady and Rogers are interested in seeing how this approach can be applied between filmmakers and images themselves. Can images be ascribed what Bennett calls ‘vibrancy’ (2010) and have agency in how they are cut together? How much of this becomes an expression of the filmmaker through the images?
This work was selected for exhibition at the International Visual Sociology Association conference in 2022.
Works cited
Aston, J and Odorico, S. (2018). The Poetics and Politics of Polyphony: Towards a Research Method for Interactive Documentary, Aphaville issue 15, Summe
Face mask practices in surgery
No full textThis article is based on a study of the use of face masks during surgical operations.
The basis for the study was the lead author\u27s observations and questions due to the fact that in some operations, only surgery nurses and surgeons who were involved in the operating theatre, used masks. In particular, the anaesthesia personnel did not use face masks. To reveal if there could be historical explanations for the contemporary face mask practices during surgical interventions, praxeological analyses of Norwegian nursing textbooks from the time period of 1877-2018, were conducted. The analysis is based on Bourdieu\u27s theory of practical sense and a praxeological analysis strategy.
The analysis reveals that during the time period from 1921 to 1954, Norwegian nursing textbooks have argued for that personal present in the operating field should wear a face mask. This might be due to the fact that the Spanish flu killed 13,000-15,000 Norwegians from 1918-1919.
From 1955 until present time, it has been argued that everyone present in the operating theatre should wear a face mask. When not wearing face masks, the anaesthetic personnel violate the guidelines and act heterodox. However, during an operation, the anaesthetic personnel is not exposed to blood spillage and the risk of secretion from the mouth or nose finding its way to the patients surgical wound and causing an infection, is minor. The practice of not wearing a face mask can also be founded on research. There are few studies providing evidence that the use of facemask among personnel, not present in the surgical zone, reduce postoperative infection rates. Denne artikkelen er basert på en studie om bruk av munnbind ved kirurgiske inngrep.
Bakgrunnen for studien var førsteforfatters observasjoner og undringer over at det ved noen operasjoner bare var operasjonssykepleiere og kirurger som agerte i operasjonsområdet som brukte munnbind. Det var spesielt anestesipersonell som ikke brukte munnbind. For å finne ut om det kunne være historiske forklaringer på at nåtidige munnbindpraktikker ved kirurgiske inngrep er som de er, ble det gjennomført praxeologiske analyser av norske lærebøker i sykepleie fra 1877-2018. Analysene er fundert i Bourdieus teori om praktisk sans og en praxeologisk analysestrategi.
Analysene viser at fra 1921 til 1954 har norske lærebøker i sykepleie argumentert for at de som står i operasjonsfeltet bør bruke munnbind. Det var sannsynligvis ikke tilfeldig at argumentasjonen for bruk av munnbind oppstod i 1921, ettersom at spanskesyken tok livet av 13 000-15 000 nordmenn i perioden 1918-1919.
Fra 1955 og frem til vår tid har det vært argumentert for at alle som agerer på operasjonsstuen bør bruke munnbind. Men det er forståelig at anestesipersonell kan la være å bruke munnbind selv om de dermed bryter retningslinjene og agerer heterodoxt. Dette ettersom at slikt personell ikke er utsatt for blodsøl fra operasjonspasientene, og det er liten sjanse for at sekret fra deres munn og nese vil havne i pasientens operasjonssår og forårsake infeksjoner. Det kan også være at de bygger sine praktikker på forskning, da det i liten grad finnes studier som viser evidens for at munnbind bruk blant personalet som ikke står i operasjonsfeltet, reduserer de postoperative infeksjonsratene.
Participation and Creative Autonomy:: The Changing Role of Artists
Get PDFIn this article I analyze the implications of different forms of participation on the role of artists and their creative autonomy. Through a conceptual clarification around core ideas that are commonly associated with the pairing of participation and art, I discuss recent development in artistic practices. The concepts artistic autonomy and creativity have been central to the development of the professional role and identity that artists in the performing arts field have today. With this as a backdrop, I map out the conceptual differences between creative participation, aesthetic participation, democratic participation and civic participation, and how they impact artists. The article mainly draws on recent theory in performance studies and applied theatre, as well as sociological perspectives. Finally, I discuss how contemporary artists often combine different roles, even within a single work
Widening Participation in Creative Activities for Older Adults: A Report on a Symposium Held in Australia
No full textGlobally our society is shifting to an older demographic and our lifespan increasing. It is therefore critical that we find and promote solutions to ageing well. There is emerging evidence that engagement in creative activities benefits psychosocial wellbeing and supports cognitive health. However, there are aspects of creative ageing research and implementation that need further development and solution-based thinking. These can be summarized as, (1) providing strong evidence for the benefits of engaging in creative activities; (2) overcoming barriers for participants and researchers; and (3) making engagement in creative activities sustainable. To address these areas, we held a symposium in 2022 and invited stakeholders, including older-adult participants, researchers, practitioners, and aged-care professionals. Symposium participants were allocated into three groups, each with representation from different stakeholders. The groups discussed one of the above areas and then shared ideas with the symposium group. An expert panel led further discussions and sought suggestions for solutions. Key suggestions included involving older adults in research design and planning from the beginning of the process; solutions for accessibility and sense of safety including having “try out” sessions and buddying participants; and creating partnerships with community organizations to promote sustainability. This report summarizes our discussions and advocates for more forums to move the debate forward
Does prosody contribute to the expression of the dialogism of the utterance? First steps based on the analysis of a political interview in French
No full textWithin the framework of utterance production theories “à la française”, different approaches of enunciative heterogeneity have been developed since the end of the 1970’s in interaction, re-work, and re-appropriation of notions of polyphony and dialogism borrowed from the Bakhtin Circle. These approaches, beyond their differences, have had little interest in prosodic, vocal and gestural dimensions of the discursive units under study.It is this “omission” which the present article intends to break by analyzing a political interview. We study the way in which the observed syntactic and rhetorical dialogic markers - direct speech, cleft sentence and pseudo-cleft sentence, negation, parallelism, echo and autonymous modalization - are or are not marked prosodically and vocally
On the relevance of citizenship in criminal law: Implications for proportionality, equality, and justice
Get PDFThis article addresses the relevance of citizenship in criminal law and criminal justice and its consequences in terms of producing disparate rationalities, outcomes and systems of rights. Although seldom addressed in scholarly writing and textbooks, offenders’ formal membership status has profound consequences for the state’s sanctioning practices. The article first broadly outlines the developments that have in recent years made issues of membership more relevant to criminal justice practice. By examining a recent judgement by the Supreme Court of Norway, and drawing on the ECtHR jurisprudence, the article then proceeds to discuss the legal and normative implications of membership status for criminal law and the unequal criminal justice outcomes. It concludes that due to its silence on, and lack of awareness of, the relevance of citizenship, criminal law runs an inherent risk of inequality and disproportional treatment that is built into its very structure. Although considered normal and legitimate in current legal doctrine and everyday practice, this approach raises a question about the law’s ability to adapt to social change and to maintain its commitment to equality as a normative ideal.
How does who you are matter for how you are punished and what kind of sanctions are imposed as a consequence of your infractions of criminal law? Normative theories of criminal law have a long-standing concern with how offenders’ personal and social circumstances should inform sentencing and proper aims of punishment. The perennial balancing act between adjusting punishments, on the one hand, to individual characteristics of offenders and, on the other hand, to the objectives of sentencing consistency, is further compounded by the growing awareness of the need to combat prejudices in terms of racial and socio-economic background. However, who you are matters in criminal law not only in terms of actual personal and socio-economic differences among offenders but, importantly, it matters in a formal sense. Although seldom addressed in scholarly writing and textbooks, offenders’ formal membership status (i.e. whether he or she is a citizen or an alien) has profound consequences for the state’s sanctioning practices. This article addresses the relevance of citizenship and membership status in criminal law and criminal justice and its consequences in terms of producing disparate rationalities, outcomes and systems of rights. It draws on the growing body of scholarship about the blurring boundaries between criminal law and civil law, and the transformation of criminal justice due to growing salience of immigration control objectives. The article aims to contribute to a conversation on the relevance of membership in criminal law, which is particularly ripe in Norway due to a number of social developments that have been taking place in the country in the past decade and more.
The article first broadly outlines the theoretical intersections of criminal justice and citizenship and then proceeds to present several developments that have, in recent years, made issues of membership more relevant to criminal justice practice. By examining a recent judgement by the Supreme Court of Norway, and drawing on the ECtHR jurisprudence, the article discusses the legal and normative implications of membership status for criminal law and for the unequal criminal justice outcomes. It argues that questions of membership present a normative problem for criminal law and have profound implications for principles of equality and proportionality that have, so far, not been properly addressed. Due to the silence on, and lack of awareness of, the relevance of citizenship, criminal law runs an inherent risk of inequality and disproportional treatment that is built into its very structure. Although considered normal and legitimate in current legal doctrine and everyday practices, this approach raises a question about the law’s ability to adapt to social change and to maintain its commitment to equality as a normative ideal
Where Things Go
No full textIn the mid-60s, in the small Belgian town of Verviers, most of the textile factories that had contributed to the town’s prosperity closed down. On witnessing the end of an epoch, the town council decided to put together a collection of old textile machines that is now stored in an old industrial shed. The film portrays a group of retired men spending their free time repairing the machines and creating a Lieu de mémoire where they relive their former professional activity.
Imitating their passion, I created my own collection of former industrial objects. By buying old weaving shuttles from flea market sellers that wanted to get rid of them, I sought to give a sense of the fragile collective memory of the city inhabitants where memories compete with oblivion.
Like the warp and weft of a fabric, these two filmic materials weave together to form the film Where Things Go—a film that questions the attachment we have to things, to memory, and to the past
Avansert hjemmesykehus – en effektiviseringsstrategi legitimert av barnets beste
Get PDFArtikkelen undersøker de sosiale vilkårene for etableringen av Avansert hjemmesykehus (AHS) for barn og unge i Norge. Undersøkelsen er inspirert av Pierre Bourdieus teoretiske univers og tar utgangspunkt i begrepene felt, kapital og habitus, hvor habitus ifølge Bourdieu er særlig viktig for å gi felt- og kapitalbegrepet mening.
Formålet med artikkelen er å analysere frem og formidle mulige forklaringer på hvordan det kan være at det etableres satellittfunksjoner fra sykehusene, slik AHS fremstår å være. Artikkelen undersøker posisjoneringer i en rekke dokumenter fra kilder som representerer ulike posisjoner med makt og innflytelse på inter- og intraorganisasjonelle prosesser som dels produserer, reproduserer og kjemper om hvor syke barn skal oppholde seg når de er under medisinsk behandling.
Studien viser at det var flere posisjoner involvert i kampen om hvor barn skal være under medisinsk behandling. Det identifiseres en rekke argument i spillet. Argumentene søker til dels å underbygge etableringen av AHS, men det finnes også argument som trekker i motsatt retning. Økonomiske vilkår ser ut til å ha fått størst gjennomslagskraft for å etablere Norges første AHS. Psykologiske hensyn, gjerne beskrevet som barnets beste og barns rettigheter, står som en motpol til økonomiske argument. I tillegg argumenteres det fra en ideologisk posisjon, hvor forestillinger om hva som er den ideelle måten å organisere helsetjenestene i fremtiden dominerer.
Nøkkelord: Avansert hjemmesykehus, barnets beste, barns rettigheter, praxeologi, registrantanalyse, felt, kapital, habitus, og Bourdieu.This article examines the social conditions for the establishment of Advanced Home Hospital (AHH) for children and youth in Norway. The investigation is inspired by Pierre Bourdieu\u27s theoretical universe, and deals with the concepts of field, capital, and habitus. According to Bourdieu, habitus is particularly important to give meaning to the concepts of field and capital.
The purpose of the article is to analyze and convey possible explanations to understand how and why satellite functions are established from the hospitals, such as AHH. The article examines the positioning in several documents from sources that represent different positions with the power and influence on inter- and intra-organizational processes, in which partly produce, reproduce and argue over where sick children should stay during medical treatment.
The study´s findings show that there were several positions involved in the discussion where children should be during medical treatment. Numerous arguments are identified in game which partly seek to substantiate the establishment of AHH as well as arguments which pull in the opposite direction. Economic considerations seem to have had the greatest impact in establishing Norway\u27s first AHH. Psychological considerations, often described as children\u27s best interests and children\u27s rights, stand out as a counterpoint to economic arguments. In addition, it is argued from an ideological position where notions of what is the ideal way to organize health services in the future dominate.
Keywords: Advanced home hospital, children\u27s best interests, children\u27s rights, praxeology, registrant analysis, field, capital, habitus, and Bourdieu.
 
Det kroppslige arkivet: Om minnepraksisen i Mette Edvardsens En lys sommers usigelige smerte
Get PDFAbstrakt: Spørsmålet om hvordan man kan dokumentere og arkivere en forestilling har de siste tiårene vært knyttet til diskusjonen om forestillingens ontologi, hvor kapittelet «The Ontology of Performance» (1993) av Peggy Phelan har blitt hyppig sitert. «Performance’s only life is in the present» (s.st., s. 146). Denne påstanden har ledet til en diskusjon om hvordan tilskuerminnet kan være en metode for å dokumentere og arkivere forestillinger (Barba, 1990; Demetriou, 2017; Kozel, 2017; Reason, 2006; Schneider, 2011), blant annet ved å fremheve forestillingens epistemologiske potensial som et kontrasterende perspektiv (xxx, 2022).
Med utgangspunkt i dette sistnevnte perspektivet analyseres performancen En lys sommers usigelige smerte av koreograf Mette Edvardsen. Prosjektet låner tittelen fra en diktsamling av Ruth Maier, og ble gjennomført over flere lørdager sensommeren 2022 i Vigelandsparken. Her fikk tilskuerne i oppgave å lære et dikt av Maier utenat gjennom en kollektiv memoreringsprosess. Prosjektet tematiserer dermed minnet som arkiv, i tillegg til Maiers liv og arbeid. Artikkelen vil særlig utforske hvordan performancen inviterer tilskueren til en praksis som et kroppslig minnearkiv. Hvordan bærer man diktet med seg videre? Og hvordan forholder man seg til Ruth Maier, både som forfatter av diktet og som et symbol i den kollektive minnekulturen?
English abstract: In recent decades, the question of how to document and archive a performance has been linked to the discussion of the ontological dimesion of performance, where the chapter «The Ontology of Performance» (1993) by Peggy Phelan has been frequently cited. «Performance\u27s only life is in the present» (p. 146). This claim has led to a discussion about how spectator memory can be a method for documenting and archiving performances (Barba, 1990; Demetriou, 2017; Kozel, 2017; Reason, 2006; Schneider, 2011), by highlighting the epistemological potential of the performance as a contrasting perspective (xxx, 2022).
Starting from this latter perspective, the performance En lys sommers usigelige smerte by choreographer Mette Edvardsen is analyzed. The project borrows its title from a collection of poems by Ruth Maier and was carried out over several Saturdays late in the summer of 2022 in Vigelandsparken. Here, the audience was tasked with learning a poem by Maier by heart through a collective memorization process. The project thus thematizes memory as an archive, in addition to Maier\u27s life and work. The article explorer how the performance invites the audience member to a practice as an embodied memory archive. How do you carry the poem on with you? And how does one relate to Ruth Maier, both as the author of the poem and as a symbol in our collective memory culture?
 
Formidling av det fragmenterte: Et nettleksikon for norsk musikkdramatikk
Get PDFThe development of musical drama in Norway took place during specific cultural and economic conditions which contributed both to a sporadic performance tradition and a number of unfinished or unperformed works. The history of musical drama in Norway, then, is partly a history of that which did not take place.
The field’s archival situation remains partly opaque, with music scores, libretti, and other source materials dispersed across libraries, archives and museums; in private ownership or presumed lost. This has had historiographic consequences both for the perspective of theatre and music history studies, as well as for the performing arts.
The recently founded Society for Norwegian Musical Drama Heritage (FNMA) has initiated the creation of a digital compendium to increase the accessibility of established knowledge as well as of the historical source materials of Norwegian musical drama from the mid-1750s up to the 2nd World War.
Taking as their starting point an understanding of the dispersed history of musical drama – performed and unperformed – as an unarranged archive, or reservoir, the authors discuss the potential of a digital compendium as a cultural heritage tool