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All I have learned : taiteellis-pedagogisia fragmentteja
No full textTämä on opinnäytetyöni Teatterikorkeakoulun tanssinopettajan maisteriohjelmaan. Tein taiteellis-pedagogisen opinnäytteen, ALL I HAVE LEARNED teoksen, jonka ensi-ilta oli 20.10.2016 Teatterikorkeakoulun Studio 2. Tämän taiteellis-pedagogisen teosprosessin kautta avaan pedagogista ajatteluani tässä kirjallisessa osiossa. Opinnäytteeni kirjallinen osa on dokumentaatio ja matka omaan tekijyyteen ja taiteellis-pedagogiseen ajatteluuni teosprosessin yhteydessä. Tarkennan katsetta prosessiin ja sen tapahtumiin, en niinkään lopputulokseen eli teokseen. Käyn läpi kronologiaa mukaillen teosprosessini vaiheet, johon kuuluu: haaveilua, virittäytymistä, kysymistä, materiaalin keräämistä ja tuntemattoman kohtaamista. Alun innostusta seuraa koollekutsumisen vaihe, jossa tapahtuu kohtaaminen toisten kanssa ja yhteinen jakaminen. Ja sitten alkaa itse teoksen muotoaminen. Kirjoittamani kronologian sisällä on fragmentteja ja erilaisia tekstimuotoja. Jokainen luku tarkentaa katsetta eri osa-alueeseen, jota pidän tärkeänä ja olennaisena oman työskentelyni kannalta. Ehdotan, että niin teosprosessi kuin kirjallinen työ voi olla muodoltaan fragmentaarinen ja runollinen. Vaikka taustani on tanssissa ja olen valmistumassa tanssinopettajan maisteriohjelmasta, en koe tekeväni tanssiteoksia. Yksi lähtökohdista työssäni on ollutkin esityksen lajittomuus. Teosta tehdään sen ehdoilla ja keinoilla, mitä teos juuri silloin tarvitsee. ALL I HAVE LEARNED teoksessa tärkeimmiksi löydöksiksi nousee: henkilökohtaisuus, ruumiillisuus, tuntemattoman kanssa työskentely, LeikistiVakavasti tunnelma, toiset ja kohtaaminen sekä muutos. Pohdin henkilökohtaista lähtökohtaa taiteen tekemisessä ja kuinka paljon henkilökohtaisuuteen liittyy paljastamista, paljastumista ja peittämistä. Tärkeäksi löydökseksi nousee myös ruumiillisuus ja sen henkilökohtaisuus. Kysyn ja summaan sekä taiteellisen- että kirjallisentyön avulla, mitä olen tähän mennessä oppinut? Onko toimintani taiteellis-pedagogista? Mitä on taiteellis-pedagoginen tapahtuminen? Miten teosprosessi on pedagoginen? Olen pitänyt pedagogiaa jotenkin ulkopuolisen asiana omassa taiteellisessa tekemisessäni; opettaminen ja taiteen tekeminen on tuntunut kahdelta erilliseltä puolelta itsessäni. Ikään kuin toinen olisi jätettävä sivuun kun on tekemisissä toisen kanssa. Että pedagogisuus olisi kärjistettynä: myöntymistä, kiltteyttä, mielipiteettömyyttä, muut etusijalle pistävää, oman taiteellisen kiinnostuksen sivuttamista ja taitojen opettamista eteenpäin. Mutta opintojeni ja opinnäytetyöni ALL I HAVE LEARNED teosprosessin myötä olen muuttunut. Olen rauhallisempi ja varmempi siitä, että olen kulkemassa oikeaan suuntaan. Tuntuu koko ajan enemmän, että olen löytänyt tapani olla tässä maailmassa muiden kanssa. Pedagogiikka on aina mukanani, se on tapa ajatella, katsoa, kohdata, puhua, kokea ja toimia. Pedagogiikka ei ole vaikenemista tai myhäilyä tai kompromisseja. On lupa kokeilla ja epäonnistua. Pitää hyväksyä, ettei tiedä ja ettei tarvitse olla perillä. On annettava mahdollisuus itselle, toisille ja muutokselle
The Beauty I Have Seen A Trilogy
No full textThe Beauty I Have Seen. A Trilogy comprises three phases in a poetic journey, ranging from the poet (here called a minstrel) as a public figure, a traveller and observer of humanity, to one grounded in the landscape and fate of his native land. In the various sections of "The Beauty I have Seen", "Doors of the Forest" and "Flow and other Poems", Tanure Ojaide expresses multifarious experiences, private and public, that capture the poet's sensitive life in sensuous images. In these poems that flow like a narrative, form and content fuse into a mature poetic voice at once passionate and restrained, relaxed and poignant.Cover -- Title Page -- Copyright Page -- Contents -- I - The Beauty I Have Seen -- When the muse gives the minstrel a nod -- The minstrel smiles, swaggers -- The minstrel's livery -- The minstrel's honour -- The market is a thronged crossroads -- Without a guide -- The minstrel comes to a river -- The minstrel is a fisherman -- The minstrel harps at the beach of Negril -- I knew you were pregnant -- For Mbwidiffu -- The muse sends me to the market -- The minstrel is a refugee -- The minstrel wails -- Today -- The minstrel tels tales -- The minstrel looks toward dawn -- Self-portrait -- The loan -- Stardom -- Highland dreams -- Waiting -- Think again -- Alligator choices -- Supreme artist -- Bonfire -- Durban -- The minstrel lives a homeboy -- At the taxi station -- Bonny -- The misntrel's school -- The beauty I have seen -- The muse won't let me quit -- II - Doors of the Forest & -- Other Poems -- Doors of the forest -- I hoped to climb a ladder to the sky -- Lamentations of the herbalist -- On New Year's Eve, 2006 -- To the Adivasis -- Cemetery of hearts -- Oshue -- At Mt. San Angelo, outside the real world -- The cows of Mt. San Angelo -- For Lady Rose -- Pride of Bengal -- Yola's fisk -- Sukur -- After reading Yehuda Amichai -- For the sake of love -- For the Black Pharaohs -- Benin -- New Year in New Delhi, 2008 -- For Mahatma Gandhi -- To be named Victor -- The humility of the wise -- Great wishes -- III - Flow & -- Other Poems -- Wetin Man Go Do? -- I No Go Sidon Look -- Out of Step -- I Sign Out Of Sickness -- On Environmental Day -- Narratives of Gold -- Wafi, My Incontestable Love -- Contribution to the National Debate -- Testimony to the Nation's Wealth -- On Poverty Day, 2008 -- Elegy for Nostalgia -- The Tortoise Trainer -- Flow -- The Ethiope at Abraka, 2008 -- The River Niger at Lokoja -- At Myrtle Beach -- The Malay testamentTraveller -- At the Akosombo Dam -- You Don't Have to Be -- Expecting My Bride -- Road Problems -- In the Moonlight -- At Mambayya House, Kano -- After the Riots, in Jos -- Back coverThe Beauty I Have Seen. A Trilogy comprises three phases in a poetic journey, ranging from the poet (here called a minstrel) as a public figure, a traveller and observer of humanity, to one grounded in the landscape and fate of his native land. In the various sections of "The Beauty I have Seen", "Doors of the Forest" and "Flow and other Poems", Tanure Ojaide expresses multifarious experiences, private and public, that capture the poet's sensitive life in sensuous images. In these poems that flow like a narrative, form and content fuse into a mature poetic voice at once passionate and restrained, relaxed and poignant.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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I Have No Face: A Cyber-human dance
No full textChoreography and computer animation: Jose Luis Bustamante (Amarillo Azul); Yacov Sharir (I Have No Face). Dance Company: Sharir+Bustamante Danceworks. Composer: Tom Lopez (I Have No Face).Performance.Theatre and Danc
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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