Spatial Story Telling

This course surveys the development of theater architectures, stage spaces and technologies from the ancient world through the 21 st century. The course satisfies the interdisciplinary college option. The survey will be contextualized in terms of prevailing social conditions and performance styles.

This paper claims that the spirited debates about game narratives in the game industry and academia have not seen much progress due to their being too stuck in classical notions of narrative developed for non-ergodic media such as film or literature. The argument forwarded here is, therefore, that we need to reconceptualize our notion of narrative considerably in order for the concept to be productive in the context of games. This reconceptualization needs to take into account the cybernetic nature of games and thus factor in the experiential dimension of the human as well as the formal properties of the game.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

My book, Digital Prohibition: Piracy and Authorship in New Media Art, was published by Continuum International Publishers (named the top academic press in Britain this year) in 2012. It starts from the premise that the new changes in copyright law are functioning as a new Prohibition, that is to say as something that it so unpopular, so untenable and so unenforceable that it is only a matter of time before public backlash destroys the current corporate monopoly on creativity. This is the first book to discuss the global politics of creative work and emergent models of authorship in a digital age. The book examines the creation of new media forms by artists and groups who use technology to challenge established models of creation. It starts from the premise that creativity is no longer a useful concept in an age of data glut and perfect copies; instead we must now think of creative practice as a kind of creative critique that repurposes existing materials in order to explore the nature of media and how they affect us. It does this through three different aesthetic approaches: interruption (stoppage and repetition), disturbance (critique and event), and capture/leakage (performance and documentation). The book is wide-ranging in its definition of authorship, exploring methods as diverse as sampling, mashups, hacktivism, machinima, social media, tactical media, productive mistranslation, and digital anthropophagy. It includes extensive research in Asia (Japan, Indonesia, Thailand, India, and especially China and Pakistan) to see how and what creative practices flourish when they are not fettered by copyright regulations.

This paper provides a conceptual augmentation of the notion of responsibility offered by Roth. This augmentation is predicated on the idea that Being is grounded in actions (or answerable deeds) that contribute to the unfolding collective sociocultural practices stretching from the past to the present and carrying the past in them while also incurring changes for the future. To advance this position, I consider a merger of Bakhtin's and Vygotsky's ideas that allows for a productive integration of the ethical (the 'ought') into the most basic description of human development and learning.

je voudrais montrer que cerre dernière -l-) est autant une pzmme de discorde que, du moins dans l'un des sens que I'on peut lui prêtet une forme particulière de discordance associée à une histoire, que cerre dernière soit effectivement vécue par un sujet, ou qu elle fasse l'objet d'une représentation fictionnelle donnant naissance à une expérience esthétique orientée vers un dénouement incertain. En fait, la première affirmation ne m'engage pas à grand-chose. Elle s'impose même comme une évidence si I'on considère la pluralité des sens qui s'attachent à la notion d'intrigue, du moins quand on s'autorise à regarder au-delà du consensus confortable et tromPeur qui risque toujours de s'établir à I'intérieur d'une communauté de chercheurs.

"My inquiry will focus on an attempt to locate an ethos of music education. Because I acknowledge that the ethos of a society must logically precede a study of ethics (Ryan, 1972, p. 291, Miller, 1974, p. 309), and given the dramatic changes over the past 30 years in the ways that we create, record, store, access, and perform music, much of my exploration will be positioned in an examination of music and new digital media in the 21st century and how it is used by countless adolescents. Thus, in the development of my line of rhetoric I will (1) begin with basic Aristotelian (1984, 1999) notions of art making, artistic activity, and ethos, (2) discuss the relationship between téchne and technology, and (3) téchne and logo, (4) briefly describe the phenomenon of music making in the digitally enriched 21st century, (5) attempt to discover an ethos of music and music education in the 21st century, and (6) based on the possible discovery of an ethos, determine the ethical outcomes regarding curriculum and pedagogy in music education.

I argue that that the profession has not been responsible in the ways that we have constructed an ethos—any notion of ethos—over the past 80 years, in music education textbooks, music curricula, research, and position documents, and in the ways that we (re)present reasons for why music belongs in the schools. Our profession seems to be grasping at straws in our advocacy for ‘justification’ and ‘academic positioning,’ while we may merely need to identify the individuals and communities of people whose lives have been changed by their experiences with music and enlist them to help us (re)define and refine our role not only in education but in society. At best, we may have an ethos that is antiquated and not related to 21st century youth, and most catastrophically, no sensibility regarding the music identity of the majority of youth in digitally enabled nations. It seems that we possess no center, no unified voice, no sense of music of the 21st century, and no sense of “knowing our market” (see Rideout et al, 2010). We need to (re)elaborate what is perceived as ‘music activity,’ in and out of schools and in structured and unstructured learning situations (Gouzouasis & Bakan, 2011). Moreover, we are not speaking to the very people who can understand the need for music education in the schools—the youth of today, who will become the creators and consumers of music and policy makers of tomorrow. Thus, this paper questions how we can create an ethos of music education for our profession without including the individuals who are being ‘educated’ by our notions of music education—our youth themselves.
"

This work deals with the use of self-player pianos - Class of automatic musical instruments - and their technical evolution and the acquis in perforated rolls of paper that containings the digital records for the instrument. Also evaluates the dimension of its use by composers and performers at the beginning of modernity and points to the musical preferences of pianists interpreters who can be seen from the cataloging of rolls for these instruments. Reinforces the conviction of relational intimacy between music and technology. [Text in Portuguese]

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This article examines five common misunderstandings about case-study research: (a) theoretical knowledge is more valuable than practical knowledge; (b) one cannot generalize from a single case, therefore, the single-case study cannot contribute to scientific development; (c) the case study is most useful for generating hypotheses, whereas other methods are more suitable for hypotheses testing and theory building; (d) the case study contains a bias toward verification; and (e) it is often difficult to summarize specific case studies. This article explains and corrects these misunderstandings one by one and concludes with the Kuhnian insight that a scientific discipline without a large number of thoroughly executed case studies is a discipline without systematic production of exemplars, and a discipline without exemplars is an ineffective one. Social science may be strengthened by the execution of a greater number of good case studies.

a useful addition to the bibliography on nationalism and on the region, and indeed some chapters of this volume could be appropriate for inclusion in postgraduate courses-with a critical perspective-in International Studies and Comparative Politics. Briefly, the chapters of the volume address issues of space and place, Geography and nationalism, in two states where the conceptions of religious versus secular, territory and population and ethnic versus constitutional principles have never ceased being in tension (p. 2) and, thus, the ideas expressed in this volume are somehow indicative of another epistemic truth: in the Mediterranean countries of this region, the confrontation between tradition and modernity still stands.

While existing analytical frameworks (Chion 1994, Coulter 2009) provide basic classification tools for experimental audiovisual works, they fall short in elaborating the variety of compositional possibilities falling within the notion of “synchresis” (Chion 1994). I propose to delineate the various shades of synchresis through a case study analysis of the somewhat simpler relations between light and sound in media installation works using luminosonic objects: objects which appear to emit both sound and light in an integrated manner.
I will suggest a graphical framework for the analysis and composition of audiovisual relations between sound media and self-illuminating light objects, detailing various forms of integrated audiovisual dynamics. The framework will relate the compositional concepts of vertical harmonicity and horizontal counterpoint (Chion 1994) to the perceptual notion of “cross- modal binding” (Whitelaw 2008), thus linking compositional dynamics to perceptual effects and affects.

"Recently, educators have begun to consider what is required in literacy curricula and best teaching practices given the demands placed on the educator sector and on literacy in general.

Multiliteracies and Technology Enhanced Education: Social Practice and the Global Classroom features theoretical reflections and approaches on the use of multiliteracies and technologies in the improvement of education and social practices. Assisting educators at different teaching levels and fostering professional development and progress in this growing field, this innovative publication supports practitioners concerned with teaching at both a local and global level."

The aim of this paper is to investigate the perception of space in the context of digital architecture. Our starting point is Merleau-Ponty’s concept of flesh which represents the continuity between a perceiving body and the perceived world.

While moving in space, the body is able to incorporate direct spatial relations and make dynamic and constantly-in-movement synthesis. Models of posture are consequentially projected onto changing spatial situations by the body, whose position in space is constantly updated in order to interact with the environment. The communication between the body and the world takes place through a praktognosia, a practical and direct knowledge of the world. The body’s posture is also predictive because it assumes multiple or possible tasks and acts in an oriented-space connected with an historical time. The intention of the body creates a space-time structure of her-and-now. An architectural environment convey certain spatial experiences and can refine sensibility and enlarge consciousness by exploiting multiple possibilities of movement.

The perception of architectural spaces is nowadays connected with the rise of technology and virtual reality produced by computer and digital designing. In the case of computer-aided architectural design - in which the architect can manipulate visual representations - architectural spaces gain a new reality by supporting the creation of new architectural objects. In this process, the constituting elements of a building become technical networks of communicating nodes. Digital design becomes not only a way to create new objects but also a support for communicative and intersubjective platforms which could be considered means of mediation between people. In the virtual context of digital architecture the body oriented space is modified and the original movement is replaced by an exploring virtual body projected by mind inside a non-Euclidean and non-orthogonal context.

Our question is: if architectural, urban structures are designed for the experience of the body’s motor faculties, does architecture, by modifying space-time categories of the lived-body and brain’s treatment of spatial perceptions, open new paths of experience?

Our research is an ethnographic, historical inquiry into the origins and impact of CanCon, Canadian Content broadcasting policy that has profoundly influenced the Canadian music landscape since the mid 1960s, as well as a critical discussion of the viability of a protectionist cultural policy in the age of a digitally connected global village. To support our stance, we interview an eyewitness to the era that birthed the policy and make theoretical connections to emerging notions of the global Creative Economy (Venturelli, 2000). The United Nations (UNCTAD, 2011) has recently reported that creativity, knowledge, and access to information—referred to as the Creative Economy—are powerful engines for promoting global economic growth and development. Musicians, music technologies, music producers, and music products are at the heart of the engine now recognized as the Creative Economy. Our research enables us to reveal (1) the kinds of discussions and considerations that were in the minds of policy innovators during the conceptual development and implementation of CanCon, (2) information regarding the initiators, developers, and stake holders at various “tables” and levels for these discussions, (3) how some believe these laws effected and changed the music-cultural landscape in Canada over the past 40 years, (4) the “Canadian impact” on music culture beyond Canada’s boundaries, and (5) whether the digital world has changed the landscape in terms of the efficacy of current, national music culture policy.

Research concerning computer hackers generally focuses on how to stop them; far less attention is given to the texts they create. Phrack, an online hacker journal that has run almost continuously since 1985, is an important touchstone in hacker literature, widely read by both hackers and telephone and network security professionals. But beyond its instantiation as a compendium of illicit technical knowledge, Phrack was, above all, a rhetorical publication. The files in each issue of Phrack created a shared rhetorical vision concerning the place of the hacker underground within society and in relation to law enforcement officials, as well as what it means to be a hacker. This essay examines two important events in the evolution of the hacker movement through the lens of Phrack—Operation Sundevil and the arrest of Kevin Mitnick. How these events were framed in Phrack both shaped and reflected emerging shifts in hacker collective identity.

Phronetic organizational research is an approach to the study of management and organizations focusing on ethics and power. It is based on a contemporary interpretation of the Aristotelian concept phronesis, usually as ‘prudence’. Phronesis is the ability to think and act in relation to values, to deliberate about ‘things that are good or bad for humans’ in the words of Aristotle (1976:1140a24–b12). Phronetic organizational research effectively provides answers to the following four value-rational questions, for specific problematics in management and organization studies: 1. Where are we going with this specific management problematic? 2. Who gains and who loses, and by which mechanisms of power? 3. Is this development desirable? 4. What, if anything, should we do about it?

The Aalborg Project may be interpreted as a metaphor of modern politics, modern administration and planning, and of modernity itself. The basic idea of the project was comprehensive, coherent, and innovative, and it was based on rational and democratic argument. During implementation, however, when idea met reality, the play of Machiavellian princes, Nietzschean will to power, and Foucauldian rationality-as-rationalization resulted in the fragmentation of the project.

Nowadays revitalization is often defined as a comprehensive effort including revalorization, restoration, reconstruction, modernization and actions aimed at the revival of a building, a district or a town devastated in different aspects, also the economic and social ones. The social aspect is among the most significant ones. In other words, there is no complete revitalization without solving social problems. The presented study discusses problems related to the broadly approached revitalization projects and their main directions of development, based on the example of Polish revitalization programmes of territorial self-governmental units. The first part of the paper presents the definitional aspects of revitalization taking into account social, economic, environmental, spatial, functional, cultural and technical dimensions. Moreover, the definition, structure and purpose of a revitalization programme was characterized. Next the primary objectives and current developmental directions of revitalization in Poland were discussed based on the selected applicable revitalization programmes. Today the main directions of revitalization processes in Poland cover: the reduction of poverty and social exclusion, supporting local business, cleaner environment activities, sustainable spatial and functional development, supporting technical infrastructures, promoting culture-based socioeconomic development.

Cite this article: Raszkowski, A., Bartniczak, B. Towards Sustainable Regional Development: Economy, Society, Environment, Good Governance Based on the Example of Polish Regions. Transformations in Business & Economics, 2018, Vol. 17, No 2 (44), pp.225-245.The presented study discusses problems referring to the concept of sustainable development at regional level, based on the example of Polish regions in the period 2005-2011. The first part presents theoretical aspects of sustainable regional development, raises the problems of primary phenomena hindering such development, sustainable development definitions, the role of creativity, the importance of NGOs, good governance of regional space. The next part of the article provides the characteristics of sustainable development indicators selected for the analysis in accordance with the approach adopted by the Central Statistical Office in Poland towards measuring the level of sustainable regional development. The synthetic measure of development (SMD) represents the applied research method, which offered the basis for constructing the ranking and identifying the position of particular Polish regions. The research results remain the core of the study since they illustrate the indicator values in the years under analysis. Within the framework of the final remarks and conclusions it was emphasized that in none of the studied regions, in terms of implementing sustainable development standards, the situation can be assessed as favourable or very favourable and the reasons for such state of the matter were provided. In spite of the relatively unfavourable results, a gradual improvement of the situation was observed over the years. It was pointed out that one of the fundamental barriers to the implementation of sustainable development standards is the absence of awareness and understanding of the discussed development concept.

At the same time that case studies are widely used and have produced canonical texts, it may be observed that the case study as a methodology is generally held in low regard, or is simply ignored, within the academy. For example, only 2 of the 30 top-ranked U.S. graduate programs in political science require a dedicated graduate course in case study or qualitative methods, and a full third of these programs do not even offer such a course. In contrast, all of the top 30 programs offer courses in quantitative methods and almost all of them require training in such methods, often several courses. In identifying this paradox of the case study’s wide use and low regard, Gerring rightly remarks that the case study survives in a “curious methodological limbo,” and that the reason is that the method is poorly understood. In what follows, we will try to resolve Gerring’s paradox and help case study research gain wider use and acceptance.

"Gra Gothic w niewiarygodnym tempie podbiła publiczność komputerową na całym świecie. Jeszcze przed ukazaniem się drugiej części uznano ją za grę kultową. Teraz, gdy na rynku dostępne są Gl, G2, oraz dodatek do G2 – „Noc Kruka”, cykl stał się wzorcem dla wszystkich innych gier sfery fantasy oraz komputerowych RPG. Popularność Gothic w dużej mierze zależy od spójnego Świata, zbudowanego na potrzeby gry. Ów Świat ma swoją historię, swoje bóstwa, dobrych i złych ludzi. Gracz nie jest zbytnio ograniczony fabuła, gdyż ta jest liniowa tylko w ogólnym zarysie, a poszczególne zadania można wykonywać na wiele sposobów. Ponadto, w świecie Gothic, gracz w trakcie rozgrywki wybiera, do którego z trzech napotkanych stronnictw i trzech bóstw chce się przyłączyć. Jednakże pomimo początkowej dowolności wyborów za każdym razem główny nurt zadań pokieruje nas do zwalczenia nadrzędnego zła, jakim są wysłannicy Beliara.

I właśnie świat bóstw Gothic wydaje się być najsłabiej dopracowanym elementem całej gry. Podczas gdy pewne niedociągnięcia są, co najwyżej irytujące, często można je wyjaśnić takimi a nie innymi wymogami gier lub komputerów. Jednakże trzej bogowie Gothic tworzą pełną i spójną mitologię tylko przy powierzchownej analizie podań, jakie w czasie gry wysłuchuje główny bohater. Na szczęście dla twórców gry niedociągnięcia świata religii są trudno zauważalne dla większości graczy oraz nie są głównym tematem samej rozgrywki. Gdyby jednak można w grze przedyskutować pewne dylematy moralne i teologiczne z napotkanymi NPC, mogłoby się okazać, że a) spalono by nas za herezję, b) stworzylibyśmy nowy kościół stając na czele olbrzymiej armii naszych wyznawców.

Jednakże pytaniem, z którym należy się zmierzyć jest problem na ile nieścisła kosmologia świata Gothic wynika z uproszczenia sposobu, w jaki patrzymy na nasz świat, a nie z niedociągnięć w samej fabule gry komputerowej. Na ile gra przedstawia niedociągnięcia w fabule, a na ile niedociągnięcia w rozumowaniu czy postrzeganiu świata przez dzisiejsze społeczeństwo. Uproszczenia i nieścisłości widoczne w cyklu gier Gothic są, bowiem tylko przykładem pewnych błędów, które można napotkać również w innych grach komputerowych, a zatem może i w samym rozumowaniu dzisiejszego społeczeństwa."

This paper is part of an ongoing transdisciplinary research into immersion. In specific, it focuses on Spatial Storytelling to examine the narrative technique in conjunction with Spatial Presence, a commonly accepted subtype of Presence. How our real-life occupation is a constant narrative making exercise and how storytelling is ingrained in our movement in space. It is argued here that immersion and presence models stand to benefit from spatial theory, particularly, the body of work surrounding spatial practices and narratives. Further, that the incorporation of spatial theory adds to the necessary versatility required in approaching immersion, which has been thus far dominated by positivist empiricism. Contributions of a theorized space are also found missing from interactive storytelling and videogames where subject/object interactivity is seen as mere actions performed inside a given space whereas the paper argues that space is learnt through such involvement.

A collaborative visual and sonic artwork drawing on research into internet chat-rooms and forums, the listening Post harnesses the energy of virtual conversation and converts fragments into an evocative experience. Lucy Bullivant discusses the making of the Listening Post, which has been exhibited at the Brooklyn Academy of Music, Next Wave Festival (2001), the Whitney Museum of American Art, New York (2002), MIT List Visual Arts Center (2004), and La Villette, Paris (2004), with its American creators. Copyright © 2005 John Wiley & Sons, Ltd.

In this paper we argue that the use of the communicative theory of Jürgen Habermas in planning theory is problematic because it hampers an understanding of how power shapes planning. We posit an alternative approach based on the power analytics of Michel Foucault which focuses on ‘what is actually done’, as opposed to Habermas’s focus on ‘what should be done’. We discuss how the Foucauldian stance problematises planning, asking difficult questions about the treatment of legitimacy, rationality, knowledge and spatiality. We conclude that Foucault offers a type of analytic planning theory which offers better prospects than does Habermas for those interested in understanding and bringing about democratic social change through planning.

"Jan M. Ziolkowski not only provides a comprehensive overview of the theoretical debates about fairy tale origins but includes an extensive discussion of the relationship of the fairy tale to both the written and oral sources. Ziolkowski offers interpretation of a sampling of the tales in order to sketch the complex connections that existed in the Middle Ages between oral folktales and their written equivalents, the variety of uses to which the writers applied the stories, and the diverse relationships between the medieval texts and the expressions of the same tales in the "classic" fairy tale collections of the nineteenth century."

https://www.press.umich.edu/1204480/fairy_tales_from_before_fairy_tales

Includes a review published in Marvels & Tales: Journals of Fairy-Tale Studies, 22.2, 2008.

This article discusses a particular project that attempted to make art-historical research evocative as well as analytical by employing rich, interactive multi-media. This reliance on evocative material extended techniques practiced by television drama-documentaries and considered their legitimacy and potential within academic art history.

This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich.

[Table of contents etc: http://www.iupress.indiana.edu/product_info.php?cPath=1037_5718_5753&products_id=806644 ]
[Sample chapter: http://www.academia.edu/749803/Agency_Determinism_Focal_Time_Frames_and_Narrative_in_Processive_Minimalist_Music ]

This article presents the theoretical and methodological considerations behind a research method which the author calls ‘phronetic planning research’. Such research sets out to answer four questions of power and values for specific instances of planning: (1) Where are we going with planning? (2) Who gains and who loses, and by which mechanisms of power? (3) Is this development desirable? (4) What, if anything, should we do about it? A central task of phronetic planning research is to provide concrete examples and detailed narratives of the ways in which power and values work in planning and with what consequences to whom, and to suggest how relations of power and values could be changed to work with other consequences. Insofar as planning situations become clear, they are clarified by detailed stories of who is doing what to whom. Clarifications of that kind are a principal concern for phronetic planning research and provide the main link to praxis.

Through a literary reading and analysis of the roles of the main characters in the extant text I come to the conclusion that Anat was punished for murdering Aqhat, though it is not expressed explicitly. Since she is a goddess she cannot be subject to retribution. But from a literary point of view, the narrator responds to the event of the murder, and expresses his criticism and thoughts indirectly. He uses poetic means to connect the event of the murder to other details and events related by him, thus pointing at the possibility that Anat has been subject to retribution on an indirect or symbolic level. Since Daniel’s name may mean ‘El has done justice’ we come to ask: who is responsible for doing justice in this story?
This essay presents just a small part of the elaborate and complex literary creativity of the Ugaritic poet, which is performed in a similar way to comparable phenomena in biblical narrative. Thus, this paper also indirectly supports the assumption that the background of the poetics of biblical narrative is reflected in the Ugaritic epics, and that the two corpora are representative of the same literary tradition in their poetics as in other areas.

Back cover text: If the new fin de siècle marks a recurrence of the real, Bent Flyvbjerg’s Rationality and Power epitomizes that development and sets new standards for social and political inquiry. The Danish town of Aalborg is to Flyvbjerg what Florence was to Machiavelli: a laboratory for understanding the real workings of power, and for grasping what they mean to our more general concerns of social and political organization. Politics, administration, and planning are examined in ways that allow  a rare, in-depth understanding. The reader witnesses, firsthand, the classic and endless drama which defines what modernity and democracy are and can be.