323,106 research outputs found
Jouko Turkan Teatterikorkeakoulun kauden yhteiskunnallinen kontekstuaalisuus vuosina 1982 - 1985
No full textThe subject of my doctoral thesis is the social contextuality of Finnish theater director, Jouko Turkka's (b. 1942) educational tenure in the Theater Academy of Finland 1982 1985. Jouko Turkka announced in the opening speech of his rectorship in 1982 that Finnish society had undergone a social shift into a new cultural age, and that actors needed new facilities like capacity, flexibility, and ability for renewal in their work. My sociological research reveals that Turkka adapted cultural practices and norms of new capitalism and new liberalism, and built a performance environment for actors' educational work, a real life simulation of a new capitalist workplace. Actors educational praxis became a cultural performance, a media spectacle.
Turkka's tenure became the most commented upon and discussed era in Finnish postwar theater history. The sociological method of my thesis is to compare information of sociological research literature about new capitalist work, and Turkka's educational theater work. In regard to the conceptions of legitimation, time, dynamics, knowledge, and social narrative consubstantial changes occurred simultaneously in both contexts of workplace.
I adapt systems and chaos theory's concepts and modules when researching how a theatrical performance self-organizes in a complex social space and the space of Information. Ilya Prigogine's chaos theoretic concept, fluctuation, is the central social and aesthetic concept of my thesis. The chaos theoretic conception of the world was reflected in actors' pedagogy and organizational renewals: the state of far from equilibrium was the prerequisite of creativity and progress. I interpret the social and theater's aesthetical fluctuations as the cultural metaphor of new capitalism.
I define the wide cultural feedback created by Turkka's tenure of educational praxis, and ideas adapted from the social context into theater education, as an autopoietic communicative process between theater education and society: as a black box, theater converted the virtual conception of the world into a concrete form of an actor's psychophysical praxis. Theater educational praxis performed socially contextual meanings referring to a subject's position in the social change of 1980s Finland.
My other theoretic framework lies close to the American performance theory, with its close ties to the social sciences, and to the tradition of rhetoric and communication: theater's rhetorical utility materializes quotidian cultural practices in a theatrical performance, and helps the audience to research social situations and cultural praxis by mirroring them and creating an explanatory frame.Väitöskirjatyössäni tutkin teatteriohjaaja Jouko Turkan (s.1942) Teatterikorkeakoulun kauden yhteiskunnallista kontekstuaalisuutta vuosina 1982 - 1985. Jouko Turkka ilmoitti vuonna 1982 Teatterikorkeakoulun rehtorinkautensa linjapuheessa, että Suomessa oli tapahtunut siirtymä uuteen kulttuurikauteen ja tämän vuoksi näyttelijän tuli omaksua uusia valmiuksia, kuten tehokkuuden, joustavuuden ja uusiutumisen kykyjä. Sosiologisesta näkökulmasta Turkan koulutusohjelman toteuttamiseen liittyvä aineisto osoittaa uuden kapitalismin ja uusliberalismin käytäntöjä ja normeja sovelletun teatterikoulutukseen. Innovaatiostrategioihin rinnastettavat tulevaisuuteen valmistautumisen mallit kuuluivat kauden ohjelmaan. Turkka rakensi näyttelijäopiskelijoiden suoritusympäristöksi todellisuussimulaation 1980-luvun Suomen työelämän olosuhteista, jokapäiväisen kokemuksen malleista ja kulttuurisista tendensseistä.
1980-luvun Suomessa ja länsimaissa tapahtui tieteellisen maailmankuvan siirtymä klassisesta fysiikasta kohti systeemiteorian holismia. Tieteellisen maailmankuvan muutos materialisoitui epätasapainon ymmärtämisessä luovuuden ja kehityksen reunaehtoina. Rinnasteinen näkemys toteutui Turkan kauden pedagogiassa ja korkeakoulun organisatorisissa uudistuksissa. Kaaosteorian heilahdus-mallilla analysoin vyörymämäisiä prosesseja Turkan kauden teatterikoulutuksessa.
Turkan johtajankaudesta Teatterikorkeakoulussa tuli eniten kommunikaatiota herättänyt teatteritoiminnan jakso suomalaisen teatterin lähihistoriassa. Poikkeuksellisen suuri yleisön osallistuminen voidaan ymmärtää autopoieettiseksi: vuorovaikutuksesta tuli kulttuurinen esitys. Maailmankuvallisia rakenteita testattiin kuljettamalla niitä subjektin ruumiillisuuden ja läsnäolon kautta: legitimaatiota, dynamiikkaa, aikakäsitystä ja tietoa.
Tutkimukseni sosiologisen perustan rakennan vertailemalla uuden kapitalismin kulttuuria koskevan sosiologisen tutkimuskirjallisuuden aineistoa ja Turkan kauden aineistoa. Tulkintani perustuu uutta retoriikkaa soveltavan amerikkalaisen esitystutkimuksen perinteeseen: yleisö voi osallistua yhteiskunnallisten tilanteiden kulttuuriseen tutkimukseen teatterin kautta. Systeemi- ja kaaosteorian mallein tutkin teatterin laajenemista tapahtumaksi sosiaalisessa tilassa ja mediainformaation aistiavaruudessa. Käsittelen tekijyyttä tällaisessa teos-kontekstin ulkopuolelle sijoittuvassa esityksessä maailmankuvallisen murtuman ja luonnollisen kertomuksen mallien kautta.ei saavutettav
Diffusive author(s), cohesive author: Analysis of S/N (1994)
No full textThis study indicates the ways in which various aspects of the author(s) are brought forth in Dumb type’s performance art, the S/N production. Previous research has suggested a non-hierarchical organization of Dumb type and the absence of a “privileged author” in Dumb type’s collaborative work, S/N. However, the results that I have investigated from member’s interviews on the creative process of S/N along with my analysis of the recorded images of S/N, indicate a different aspect of the author(s). First, S/N was created through, so to speak, the collective ideas of the members of Dumb type. Further, S/N has at least nine quotations from previous performances, installations, and printed writings, besides the work-in-progress technique. Explicating one of the “author functions” as given by Michel Foucault, each text has plural subjects of the author. However, it has been revealed from members’ interviews that Teiji Furuhashi had a decision-making role in selecting the members’ ideas within the performance. Since then, S/N has had plural subjects of creation; however, Furuhashi is one of the subjects of creation along with the “privileged author.” S/N has plural authors (diffusive authors) yet at the same time, it has a “privileged author,” Teiji Furuhashi (cohesive author)
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Dispelling the Myths Behind First-author Citation Counts
No full textWe 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
Author's address:
No full textCan archives of audiovisual TV interviews be used to make authors more visible to students, and thereby reduce the learning gap between native and non-native language speakers in college classes? We examined students in a college course who learned about one scholar's ideas through watching an audiovisual TV interview (i.e., visible author format) and about another scholar's ideas through reading a formal text description (i.e., invisible author format). For the invisible author, native language speakers scored significantly higher than the non-native language speakers on a corresponding exam question (i.e., a cognitive measure), generated more words on the exam question (i.e., a motivational measure), and mentioned the author's name more often in answering the exam question (i.e., an affective measure). For the visible author, the groups did not differ on any of these measures. These findings provide evidence for the idea that making the author visible through audiovisual TV interviews can eliminate the learning gap between native and non-native language speakers. 3 Universities around the world serve students who are non-native speakers of th
Tracking of secondary and temporary objects in structural concrete work
No full textPurpose - Previous research has shown that "Scan-vs-BIM" object recognition systems, that fuse 3D point clouds from Terrestrial Laser Scanning (TLS) or digital photogrammetry with 4D project BIM models, provide valuable information for tracking construction works. However, until now, the potential of these systems has been demonstrated for tracking progress of permanent structural works only; no work has been reported yet on tracking secondary or temporary structures. For structural concrete work, temporary structures include formwork, scaffolding and shoring, while secondary components include rebar. Together, they constitute most of the earned value in concrete work. The impact of tracking secondary and temporary objects would thus be added veracity and detail to earned value calculations, and subsequently better project control and performance.Design/methodology/approach - Two techniques for recognizing concrete construction secondary and temporary objects in TLS point clouds are implemented and tested using real-life data collected from a reinforced concrete building construction site. Both techniques represent significant innovative extensions of existing "Scan-vs-BIM" object recognition frameworks.Findings - The experimental results show that it is feasible to recognise secondary and temporary objects in TLS point clouds with good accuracy using the two novel techniques; but it is envisaged that superior results could be achieved by using additional cues such colour and 3D edge information.Originality/value - This article makes valuable contributions to the problem of detecting and tracking secondary and temporary objects in 3D point clouds. The power of Scan-vs-BIM object recognition approaches to address this problem is demonstrated, but their limitations are also highlighted
The vanishing author in computer-generated works: a critical analysis of recent Australian case law
No full textAbstract
The use of software is ubiquitous in the creation of many copyright works, yet the requirement in copyright law that every work have a human author who engages in independent intellectual effort means that its use may prevent copyright subsistence. Several recent Australian cases have refocused attention on authorship as an essential criterion of copyright subsistence, and these cases suggest that much computer-produced output may be authorless and thus lack copyright protection. This article, the first in a two-part series, analyses how each case deals with the question of authorship of computer-produced works and why the use of software diminishes copyright protection for a significant number of computer-generated works. The article critiques the application of conventional notions of human authorship developed in the pre-computer age to modern productions and suggests alternative approaches to authorship that satisfy both the major objectives of copyright policy and the need to adapt to the computer age. The article argues that, without a broader judicial approach to authorship of computer-generated works, Parliament must remedy the lacuna in protection for these ‘authorless’ works. Possible solutions for reform are suggested. In a forthcoming article, the author comprehensively examines those reform proposals
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
An Author´s Existence
No full textThis bachelor´s thesis represents a sort of personal looking back vhich goes in two parallel lines - looking for oneself in artistic circles and looking for one own creative approach to the life and pedagogy. The work is divided into three parts. First part maps the author´s (not only) family background, in the second part the author leads us through a period of searching and trying to understand oneself through studying artistic and psychosomatic disciplines and the third integrating part concentrates on the present moment as a point of departure for work with the voice and voice pedagogy
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