100 research outputs found
In search of traces of the pioneering andragogical ideas of Joanna Landy-Tołwińska
No full textAutorka w tekście podejmuje próbę ukazania dorobku jednej z pio-nierek oświaty dorosłych, Joanny Landy-Tołwińskiej, której głównym polem dzia-łalności była walka z analfabetyzmem. W artykule przedstawione zostały osiągnię-cia Landy-Tołwińskiej zarówno przez pryzmat jej prac badawczych jak i organiza-cyjnych związanych z podejmowaniem licznych działań oświatowych na rzecz do-rosłych, a szczególnie analfabetów. Autorka przywołuje w tekście liczne fragmenty narracji działaczki, które stanowią sugestywne dopełnienie opisu oraz interpretacji jej osiągnięć. W artykule została również ukazana Joanna Landy-Tołwińska we wspomnieniach oraz przedstawiono inspiracje dla współczesności, jakie można za-czerpnąć z jej pionierskiej pracy oświatowej.The author of the text attempts to show the achievements of one of the pioneers of adult education, Joanna Landy-Tołwińska, whose main area of activity was the fight against illiteracy. The article presents Landy-Tołwińska's achieve-ments both from the point of view of her research, as well as her organizational work related to a number of educational activities for adults, especially the illiter-ate. The author cites numerous excerpts of narrative text by Landy-Tołwińska, which constitute a suggestive supplement to the description and interpretation of her achievements. The article shows Joanna Landy-Tołwińska in the memories of others and presents inspirations for the present, which can be derived from her pioneering educational work
The world according to Proust /
No full text"100 years after Proust's death, In Search of Lost Time remains one of the greatest works in World Literature. At 3,000 pages, it can be intimidating to some. This short volume invites first-time readers and veterans alike to view the novel in a new way. Marcel Proust (1871-1922) was arguably France's best-known literary writer. He was the author of stories, essays, translations, and a 3,000-page novel, In Search of Lost Time (1913-27). This book is a brief guide to Proust's magnum opus in which Joshua Landy invites the reader to view the novel as a single quest-a quest for purpose, enchantment, identity, connection, and belonging- through the novel's fascinating treatments of memory, society, art, same-sex desire, knowledge, self-understanding, self-fashioning, and the unconscious mind. Landy also shows why the questions Proust raises are important and exciting for all of us: how we can feel at home in the world; how we can find genuine connection with other human beings; how we can find enchantment in a world without God; how art can transform our lives; whether an artist's life can shed light on their work; what we can know about the world, other people, and ourselves; when not knowing is better than knowing; how sexual orientation affects questions of connection and identity; who we are, deep down; what memory tells us about our inner world; why it might be good to think of our life as a story; how we can feel like a single, unified person when we are torn apart by change and competing desires. Finally, Landy suggests why it's worthwhile to read the novel itself-how the long, difficult, but joyous experience of making it through 3,000 pages of prose can be transformative for our minds and souls." -- Publisher's descriptionIncludes bibliographical references (pages 115-132) and index.Art and life -- Plot and character -- Memories and impressions -- Love and sex -- Knowledge and ignorance -- Inclusion and exclusion -- Arts and artists -- Intellect and intuition -- True self and total self -- Why a novel? -- A postscript for diehard Proust fans : Does the narrator write In search of lost time?."100 years after Proust's death, In Search of Lost Time remains one of the greatest works in World Literature. At 3,000 pages, it can be intimidating to some. This short volume invites first-time readers and veterans alike to view the novel in a new way. Marcel Proust (1871-1922) was arguably France's best-known literary writer. He was the author of stories, essays, translations, and a 3,000-page novel, In Search of Lost Time (1913-27). This book is a brief guide to Proust's magnum opus in which Joshua Landy invites the reader to view the novel as a single quest-a quest for purpose, enchantment, identity, connection, and belonging- through the novel's fascinating treatments of memory, society, art, same-sex desire, knowledge, self-understanding, self-fashioning, and the unconscious mind. Landy also shows why the questions Proust raises are important and exciting for all of us: how we can feel at home in the world; how we can find genuine connection with other human beings; how we can find enchantment in a world without God; how art can transform our lives; whether an artist's life can shed light on their work; what we can know about the world, other people, and ourselves; when not knowing is better than knowing; how sexual orientation affects questions of connection and identity; who we are, deep down; what memory tells us about our inner world; why it might be good to think of our life as a story; how we can feel like a single, unified person when we are torn apart by change and competing desires. Finally, Landy suggests why it's worthwhile to read the novel itself-how the long, difficult, but joyous experience of making it through 3,000 pages of prose can be transformative for our minds and souls." -- Publisher's descriptio
The 'auto cannibal'
No full textThe relentless triumph of technology is increasingly dismissive of the human desire for interaction; we are deprived of experiences with the ordinary and become less aware of the potential such objects contain. The author primarily considers art as a means of understanding the world and his practice is based on personal observations and autonomous processes. This can often lead to an over-analysis of the mundane, which is directly confronted in each of my projects through an enthusiasm for the objects we not only take for granted, but do so to the extent that we barely notice their existence. Drawing inspiration from literature, philosophy and ideas which surround permanence in a society which is frequently considered throwaway, the author is influenced by personal insecurities and have developed a creative style that not only explores construction - in the obsessive means by which a work is made; but also one that celebrates the process of destruction - in that the materials the author uses have the potential to instigate their own demise in a process I generally refer to as autocannibalism
Colour matters: the effects of lensing on the positional offsets between optical and submillimetre galaxies in Herschel★-ATLAS
No full textWe report an unexpected variation in the positional offset distributions between Herschel-Astrophysical Terahertz Large Area Survey (H-ATLAS) submillimetre (submm) sources and their optical associations, depending on both 250-mu m signal-to-noise ratio and 250/350-mu m colour. We show that redder and brighter submm sources have optical associations with a broader distribution of positional offsets than would be expected if these offsets were due to random positional errors in the source extraction. The observation can be explained by two possible effects: either red submm sources trace a more clustered population than blue ones, and their positional errors are increased by confusion, or red submm sources are generally at high redshifts and are frequently associated with low-redshift lensing structures which are identified as false counterparts. We perform various analyses of the data, including the multiplicity of optical associations, the redshift and magnitude distributions in H-ATLAS in comparison to HerMES, and simulations of weak lensing, and we conclude that the effects are most likely to be explained by widespread weak lensing of Herschel-SPIRE sources by foreground structures. This has important consequences for counterpart identification and derived redshift distributions and luminosity functions of submm surveys.</p
The lived experience of recovery: The role of health work in addressing the social determinants of mental health
No full textRecovery is a policy framework for mental health in Canada. Key challenges to the integration of recovery include a gap in knowledge about the work that people do to promote their health and well-being in the context of living with mental ill health. This study used Photovoice to explore the lived realities of people living with mental ill health and the impact of the social determinants on their recovery process. Findings from this study inform policy and practice on promoting health work as an important dimension of recovery and community inclusion. [ABSTRACT FROM AUTHOR]Peer reviewedFinal article publishedPhotovoicecommunity inclusionMental Healthsocial determinants of healthrecoveryhealth wor
Three Sides of a Coin: In Conversation with Ben Zvi and Nogalski Two Sides of a Coin
No full textThis is a response to E. Ben Zvi and J. D. Nogalski, Two Sides of a Coin: Juxtaposing Views on Interpreting the Book of the Twelve/The Twelve Prophetic Books (Gorgias Press, 2009). Nogalski is a major proponent of the thesis that the Twelve Minor Prophets are a redactional unity, while Ben Zvi is its most forthright sceptic. After summarizing the views of both scholars, the author introduces some considerations from his perspective as a literary critic. In particular, he contends that: i) the question of literary unity is an extremely fraught one; ii)arguments for the unity of the Twelve tend to ignore contrast; and iii) the hypothesis that the Twelve were redacted as a book raises acutely not only the methodological difference between redaction-critical and reader-oriented approaches, but also the question of whether prophets were poets, characterized by literary daring. The article concludes with reflections on models of reading in antiquity, and the opposition between metanarratives and marginality
O sistema medico Waimiri-Atroari: concepções e praticas
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Antropologia, Florianópolis, 1995.Etnografia do grupo indígena Waimiri-Atroari nas questões ligadas à saúde: suas concepções e práticas. Análise da medicina nativa como sistema cultural, onde o processo da doença é muito mais uma experiência pessoal e coletiva do que simplesmente a caracterização dos sintomas físicos e diagnósticos clínico. Com intuito de compreender melhor o sistema médico do grupo, são explorados o complexo xamânico, mitologia e rituais. Os Waimiri-Atroari explicam a doença de acordo com seu sistema cosmológico, mas quando necessitam tratamento, para remoção dos sintomas, tendem a buscar os serviços oferecidos por um programa de assistência, o PWA (Programa Waikiri-Atroari, convênio FUNAI-ELETRONORTE). Fez-se uma breve avaliação sobre este programa
15 años, 50 números. 50 Tercera época (2011) septiembre-noviembre. Gaceta de Museos
No full text- Gaceta de Museos. Quince años, cincuenta números, por Emilio Montemayor / Denise Hellion - Numeralia - Llegamos al número 50, por Carlos Vázquez Olvera - Reconocimiento ICOM en el Día de los Museos, por Felipe Lacouture - Arqueología, museos comunitarios y turismo cultural, por José Luis Punzo Díaz - 25 años del Museo Nacional de la Revolución, por Angélica Vázquez del Mercado - El chocolate en el Museo Regional de Chiapas, por Roberto López Bravo - El Plato Blom: los héroes gemelos y Vucub Caquix, por Landy Pinto Bojórquez / Edgar Medina Castillo - Archivo Histórico del Museo Nacional de Antropología, por Thalía Montes Recinas - Recordando a Elsa Malvido, por Ingeborg Montero Alarcón - Un palacio para los reinos, pintura de los reinos, por María del Consuelo Maquívar - Retos y desafíos de los museos del INAH, por Lorenza del Río Cañedo - Águila Real: Símbolo vivo de México, por Cristina Martínez - Fototeca Constantino Reyes-Valerio, por Eulalio Munguía Cruz - Las Fiestas del Centenario en el Museo Nacional, por Carla Zurián de la Fuente - Vitrinas para la exhibición de piezas de vidrio, por Alejandra Gómez Colorado / Alfredo Ríos Zamudio - Reconocimiento a Carlos Vázquez Olvera, por Denise Hellion - Reconocimiento a Miriam Kaiser, por Alejandra Barajas - Vitrina de la Alhóndiga, por Rogelio García Espinoza / Denise Hellion
Corresponding Author:
No full textPrevious research on visual perception of surface material has focused primarily on smooth, matte surfaces, neglecting surfaces with pronounced three-dimensional (3D) texture or specularity. Furthermore, studies have typically focused on single material properties, with no consideration of possible interactions. In this study, we used a conjoint measurement design to determine how observers represent perceived 3D texture (“bumpiness”) and specularity (“glossiness”) and modeled how each of these two surface material properties affects perception of the other. Observers made judgments of “bumpiness ” and “glossiness ” of surfaces that varied in both surface texture and specularity. We found that a simple additive model captures visual perception of texture and specularity and their interactions. We quantify how changes in each surface material property affect judgments of the other. Conjoint measurement is potentially a powerful tool for analyzing surface material perception in realistic environments. Ho, Landy, & Maloney 3 Surfaces can be analyzed at many spatial scales. Koenderink & Van Door
On the Music of Sounds and the Music of Things (EMS2017, Nagoya, Japan)
No full textAfter a century of great upheaval in music, the twenty-first century is demonstrating that it will provide electroacoustic (or sound-based) music with continued radical developments although they may very well be of a different sort. Technological developments certainly dictated most of the twentieth century changes in music and this influence is in no way decreasing. The key change is less in terms of radical change regarding content; instead, our thesis is that production and distribution will be highly influenced by the formation of new musical communities, often focused on increasing participation through a workshop approach. Although tendencies that have existed for centuries will continue alongside those that arose in the previous century, traditional concepts will be renewed given the ubiquity of technology.
Stated in another manner, the development of artists producing Western art music or forming part of the commercial music sector may not alter significantly although interest may wane in the former and new means of packaging music may need to be developed within the ‘music industry’. This, however, is not our key concern. Our focus stems from the radical broadening that took place in the previous century, namely starting with the musical note as the unit measure of almost all music produced to the availability of any sound as musical material. We are talking about particular forms of sound-based music and how their future evolution will involve an increasing number of enthusiasts, how their position within music as a whole will redefine musical boundaries, and how their production and dissemination may form an addition to what might traditionally have been called folk music. This latter point is of great significance, as music in recent centuries has evolved from primarily an art form made by and for everyone and anyone to a more artisanal, professional trade. Our position is that an evolving eras of sampling and do-it-yourself cultures, the latter also known as hacking, will dissolve the ‘amateur’/professional distinction to an extent. This development, alongside much of sonic art’s music existing outside of clear pop/art music boundaries, will offer this young century a new form of music of the folk, whether musicians are performing together in one physical location or are performing by way of a (virtual) network.
Even the notion of instrument is broadening, one exciting product of the do-it-yourself (DIY) culture. An increasing number of musicians build their own instruments and, in so doing, are designing the need for their instrument and creating music based on that need leading towards new and often surprising forms of virtuosity and even anti-virtuosity and ‘naïve’ approaches: making new sound-based instruments as a method for creating a tabula rasa.
It is arguable that, following the music and associated philosophy of John Cage, musical content is not changing as rapidly and radically as it did throughout the previous century. Our century is, as far as this is concerned, one of synthesis – that is, further developing the radical musical approaches of the twentieth century. Instead, the radical nature of our time is to do with the holism related to creation and dissemination that many working within the music of sounds are in the process of developing. It is this form of radical development that will be our focus in this text.
This talk sets-out to summarise the core themes of Richards’ and Landy’s research in this area. Central to their argument is the development of a ‘music of sounds’ and a ‘music and things’. Landy builds on his sound-based music paradigm - a condensed version of the key ideas presented in Landy’s two 2007 books - setting the scene for the re-examination of music’s key categories and the place of the music of sounds within that.
Landy investigates the evolution of sampling culture and, in particular, sound-based approaches within it. Issues of interest involved with production include: legality and related rights issues, sequential composition, the author and ownership, the apparent lack of a ‘celebrity culture’ amongst others. Distribution channels are mainly through nonstandard means of audio production. It is, as is the world of hacking, a space in which accessibility is broad and the professional/everyone else distinction is not of particular importance. Here there are two-way influences between traditional high art and popular cultures leading towards a variety of forms of music that possesses its own space, its own communities of interest offering a variety of forms of participation. Sampling here represents a broad range of approaches from soundscape to grains of samples, from music-based sampling using sound-based techniques to sampling anything. Where hacking is highly focused on the experience of making, sampling is highly focused on the recomposition or recontextualisation of experience.
Richards examines a music of things and the holistic approach of how the borderlines between instrument maker, performer and composer are becoming increasingly fuzzy or, better said, a new form of artist is emerging whose music is a manifestation of his or her (or their) instrument(s) and their self-sufficiency. He looks beyond Cage and Duchamp and the ideas of found sound and objet trouvé to discuss a new type of materialism and objecthood found in electronic music that draws on the broader philosophy of object-orientated ontology as expressed by, for example, Bruno Latour. Instrument is no longer seen as a tool for musical expression, but a self-sufficient system in which the music is ‘found’. In such cases, this demarcated system points to a technological object that has clearly defined boundaries and often limited parameters for control. The object may have the capacity to generate its own sound (self-generating). But at what point does objecthood breakdown and the sound-making system resemble a collection of things? Through making and engaging with electronic sound on a fundamental level – wire, solder, electronic components – the musician/artist is placing an onus on the constituent parts of these sound-making systems and how such elements are connected. There is a shift from the prescribed and concrete, to a relational aesthetic: how things fit together or not. A consequence of this approach, where the idea of musical instrument would seem to be subjugated, is to question instrumental virtuosity. Richards proposes a new type of virtuosity that resides in ‘listening’. Moreover, he considers the politics of, what can be broadly described of as, hacking in relation to music. He observes a new form of electronic music that has emerged that critiques contemporary culture through anti-technology manifestations and how a DIY electronic music is often used as a way of seeking self-determination. Finally, he reflects on how such practices can lead to new forms of electronic music performance and how the act of making is taken on to the ‘stage’.
The talk, based on a book that the presenters are currently completing, will commence with a contextual introduction and the presentation of the talk’s key ideas. After this Richards and Landy draw parallels between the two areas of the music of sounds and the music of things. Key concepts such as recycling and appropriation, sample as object, plundering and hacking, and technological processes are discussed. Cut and paste culture is considered, not only in relation to sound, but in relation to objects and materials, schematics and code. The hardware re-mix is also presented. The emergence of new communities forms the focal point for reflection. Workshopping and participation, which echo a broader cultural milieu of ‘an age of participation’, are seen as central to DIY and sampling cultures within sound-based music. To substantiate the findings, the authors will also draw on a range of case studies and statements from artists working across the disciplines presented
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