Journal articles: 'Danse du ventre' – Grafiati (2024)

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.

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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.

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La contesa tra Venere celeste e Venere terrena, tra l’amore onesto e coniugale, che regola la comunità, e l’amore dilettevole e extraconiugale, che è fonte inesauribile di valore guerriero e di virtù cavalleresche nella società cortese, affascina il Boccaccio durante il soggiorno nella Napoli angioina. Se nel Filostrato celebra il trionfo dell’amore per diletto e nel Filocolo concilia il diletto con l’amore onesto, nel Teseida invece rappresenta le tensioni dell’eroina romanza sempre in bilico tra le due Veneri. Nel periodo napoletano Boccaccio trascrive due frammenti di polemica antimatrimoniale nello Zibaldone Laurenziano XXIX 8. Il primo è estratto dall’Adversus Jovinianum, nel quale Gerolamo cita un passo del De nuptiis di Teofrasto per affermare che il sapiente deve stare lontano dalle noie del matrimonio per dedicarsi totalmente agli studi. Il secondo, prelevato dalla Dissuasio di pseudo-Valerio, contiene rassegne di mogli pericolose e di mariti che soccombono alla loro malvagità, con l’obiettivo di rafforzare l’esortazione finale a non sposare Venere ma Pallade. All’archivio dello Zibaldone Boccaccio ritorna più volte, in particolare nelle opere postdecameroniane del periodo fiorentino (Corbaccio, Trattatello in laude di Dante, Esposizioni sopra la Comedia), quando sulle orme di Dante e sotto il magistero di Petrarca si congeda definitivamente dalla letteratura amorosa mezzana per dedicarsi alla letteratura elevata e agli studi teologici e filosofici. Lungo il Trecento e il Quattrocento, nel frequente riaccendersi in Europa del dibattito sul matrimonio, Geoffrey Chaucer, Leonardo Bruni, Leon Battista Alberti, Francesco e Ermolao Barbaro rimettono in gioco Teofrasto e pseudo-Valerio con la mediazione del Boccaccio.

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Grundtvig og den krig, som ændrede den danske identitetAf Hans KuhnGrundtvig var længe, som Kierkegaard, en outsider i sin tids København. Hans vision af en kristeligt inspireret national og social fornyelse vandt ringe genklang hos guldalderens æsteter (som parret Heiberg), hvor teatret var den centrale kulturelle institution, og hos de liberale aktivister (som Lehmann og Ploug), for hvilke enevældens afskaffelse var hovedmålet. Den nationalistiske bølge, som Treårskrigen fremkaldte, gav ham en chance for at nå et publikum i alle regioner og samfundslag, ikke fordi hans ugeblad »Danskeren« spredtes så vidt, men fordi mange af de mere end 150 tidsdigte, han publicerede i det, blev optaget i svigersønnen P. O. Boisens Nye og gamle Viser af og for det Danske Folk, som ikke kun blev en stor succes som soldatervisebog, men var meget udbredt i de følgende decennier (ca 7.000 trykte eksemplarer) og blev forbillede for mange andre sangbøger, bl.a. Folkehøjskolesangbogen. Disse sange tog deres udgangspunkt ikke i landsoldatens, sømandens eller den borgerlige frivilliges psykologiske situation og praktiske problem, som f. eks. Fabers, Reckes og H.C. Andersens krigssange gjorde, men i syner af dansk historie og danskernes bestemmelse i verden, som Grundtvig havde formuleret langt tidligere: danskerne som Guds udvalgte folk og som en nordisk bastion mod Syden, modersmålet som nationens vigtigste integrationsmoment, almuen som det sande ‘folk’, en åndelig og politisk dansk-tysk modsætning fra arilds tid. Billedverdenen i disse digte kom fra Bibelen (f.eks. »den gamle af dage« eller »danskerne som offerlam«), heraldikken (den danske løve mod den tyske ørn eller lindorm, den holstenske nælle), den nordiske mytologi (Thors hammer, Mimers brønd, Baldersbålet, skjoldmøer) eller mytisk historie (Uffe hin Spage, Niels Ebbesen).Kun i den udstrækning, der fandtes kendte eller blev skrevet gode nye melodier, kunne disse (alt andet end ‘folkelige’) digte få succes som sange. Melodien til tidens efter »Kong Christian« mest udbredte patriotiske sang, »Danmark dejligst Vang og Vænge«, blev brugt til »Danmarks Løve, ryst din Manke«, melodien til en krigssang fra århundredets begyndelse, »Saa kæmped de Helte af Anden April« til »Kong Vermund den gamle, af Alderdom blind«, melodien til »Moders Navn er en himmelsk Lyd« til »Dannemark er det gamle Navn«, Weyses melodi til Willemoessangen »Kommer hid, I Piger smaa« til »Kommer, alle Moders Børn«, mens »Fædemeland ved den bølgende Strand« måtte vente til Nutzhorns melodi, førend den blev udbredt som sang i 1860erne, i tiden for den anden slesvigske krig. Artiklen koncentrerer sig om de første digte fra marts/april 1848, som allerede indeholdt hele Gmndtvigs program eller vision for en ny dansk identitet.

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Primært med udgangspunkt i de praktiske sproganalytiske elementer af Norman Faircloughs kritiske diskursanalyse analyseres moderne lovgivningsmæssige tekster om det danske biblioteksvæsen. Teksterne består af kulturministrenes taler ved Danmarks Biblioteksforenings årsmøde i 2001 og 2002 med nuancer fra talerne i år 1999, 2003 og 2004, samt Lov om biblioteksvirksomhed fra år 2000 og behandlingen af denne i folketinget som den fremstår i kildesamlingen redigeret af Warrer Bertelsen (2000).Tekstmaterialet repræsenterer således den politiske italesættelse af overvejende danske folkebiblioteker under henholdsvis Regeringen Poul Nyrup Rasmussen (23.3.1998 – 27.11.2001), som bestod af Det Radikale Venstre og Socialdemokratiet, hvorunder Elsebeth Gerner Nielsen fra de Radikale var kulturminister og Regeringen Anders Fogh Rasmussen (27.11.2001- ), der består af Venstre og Konservative og har den konservative Brian Mikkelsen som kulturminister. Politisk italesættelse af danske folkebiblioteker Der foretages en komparativ analyse, der afdækker hvorledes de respektive kulturministre motiverer biblioteksvæsenet til implementering af den gældende lovhjemmel.Analysen viser en forskel. Brian Mikkelsen ønsker bibliotekerne skal vende tilbage til den oprindelige kerneydelse i bibliotekerne – oplysning af folket gennem formidling af bøger. Elsebeth Gerner Nielsen betragter folkebibliotekerne som naturlige aktører på alle områder inden for kulturpolitikken, et engagement som skal understøttes ved anvendelse af nye medier. Brian Mikkelsen er ikke på samme måde som Elsebeth Gerner Nielsen personlig foregangsmand for en politisk stærk folkebibliotekssektor. Det personlige engagement overlades til embedsmandsværket og få centrale aktører i det udøvende biblioteksvæsen.Der perspektiveres til hvilken betydning disse kommunikative forskelle har for overlevelses-sikringen og den mere vidtgående udvikling af fremtidens folkebibliotek.

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L’article s’interroge sur la danse érotique comme forme de travail dans le domaine des services sexuels et comme forme de consommation livrant les danseuses au regard réifiant des clients. Une étude empirique menée auprès de vingt-quatre danseuses érotiques permet de dégager que celles-ci sont moins affectées par le regard réifiant du client attisé par le désir que par son mépris, qui reconduit la morale dominante sur cette forme de travail.

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Riassunto L’opera dantesca è attraversata da un rapporto conflittuale tra pensiero politico e religioso, tra monarchia universale (concetto chiave nella Monarchia) e visione religiosa del mondo (essenziale alla Commedia). La vicenda di Saul occupa una posizione di rilievo in questo rapporto: simbolo del potere terreno, scelto da Dio e dal suo profeta Samuele come primo re d’Israele, Saul cade in disgrazia, per venire poi sostituito da Davide. L’articolo presenta la storia biblica e la sua ricezione presso quattro autori fondamentali del pensiero teologico e politico medievale per analizzare in seguito la rappresentazione dantesca dell’esempio di Saul, nel Purgatorio (canti X e XII) e nei trattati. Da una parte Saul, contrapposto a Davide, funge da figurazione della superbia, dall’altra costituisce un’eccezione, un intervento diretto di Dio nel campo politico.

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This article proposes that dance was a central way in which Venetians reinvented the ancient world on the operatic stage. Focusing on Niccolò Bartolini's preface to Venere gelosa (1643) and his use of dance in that opera, this article explores how Venetian balli became a locus for expressing otherwise inexpressible passions and desires – ecstatic Bacchic rituals, the goat-dances of Pan, or the erotic games of nymphs and satyrs – that were integral to the early modern reception of antiquity. It concludes with a consideration of the balli in La Calisto (1652), demonstrating the significance of the dances for understanding the work as a whole.

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Blandt Dorte Skot-Hansens publikationer findes mange titler, som eksplicit handler om folkebibiblioteker, kulturpolitik, kulturformidling og kulturplanlægning anskuet i en kultursociologs optik. På en lille fin hylde i forfatterskabet findes desuden en håndfuld publikationer, der mere specifikt handler om museer. Især bogen Museerne i den danske oplevelsesøkonomi: Når oplysning bliver til en oplevelse (2008) skal bemærkes, og nævnes i sammenhæng hermed bør også forskningsartiklerne "Digital formidling i danske museer: Udfordringer fra oplevelsessamfund og oplevelsesøkonomi" (2009) og "Danske museer som børs eller katedral: Udfordringer fra oplevelsessamfund og oplevelsesøkonomi" (2009). Som det fælles udgivelsesår og den identiske undertitel antyder, er begge delvist affødt af førstnævnte bog; den vender vi tilbage til.

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I Danmark ses en stigning i antallet af medarbejdere, der får anmeldt en sygdom som arbejdsskade. Psykiske helbredsproblemer og muskel- og skeletbesvær vurderes at være de største udfordringer i arbejdsmiljøet i Danmark med omkostningerne på 60-80 mia. kr. årligt. Arbejdspladsens håndtering, herunder leders og kollegaers, er afgørende for, om medarbejderen vender tilbage til arbejdspladsen. I denne artikel undersøges, hvordan medarbejdere med arbejdsrelateret sygdom oplever arbejdspladsens håndtering, herunder hvorvidt forskellige aktører inddrages, hvilken indsats der ydes, og om der er forskel afhængig af, om det er en psykisk sygdom, rygsygdom eller hudsygdom.

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Ethnomusicology Global Field Recordings is a new venture from Adam Mathew Digital: A SAGE Publishing Company. The database furnishes primary resource materials from a variety of audio field recordings, field notebooks, film footage, correspondence, educational recordings, and ephemera from over 60 ethnomusicologist field collections spanning over 70 years. Musical traditions, interviews with musicians, and assorted primary documents demonstrate how music influences and interacts with a variety of cultures. The geographic range is expansive and includes all continents. This resource is broadly inclusive covering education, art, anthropology, dance, religion, ritual, history, and gender studies.

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Jens Andresen har altid haft grænsen tæt inde på livet. Han er født og opvokset i en dansksindet familie lige syd for 1920-grænsen og vendte efter sin uddannelse på Landbohøjskolen i København tilbage til grænseregionen. Hanblev dog på den danske side af grænsen og engagerede sig politisk i amts- ogsiden regionsrådet. I de seneste år har han været formand for Grænseforeningen. En position, som han nu forlader.

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Indhold: Bøger og Bibliotek; Jyske Lov "vender " tilbage til Danmark fra Sverige; Fuzzys KATALOG - 'Musik i skåret' i Diamanten på Det Kongelige Bibliotek - nu på cd; Latinske klassikerhåndskrifter på nettet; Inkakrøniken på cd; Ny adgang til samling af elektroniske tidsskrifter; Udvikling af kulturatlas.dk; Udenlandske Ældre Samling på nettet; Nye e-noder og ny oversigt; Komponistarkiverne på nettet; Dansk Musikbiblioteks Forenings arkiv er registreret; Det Kongelige Teaters orkestermateriale på nettet; Operabase i Center for Musik og Teater; Kulturnatten; Eksperimenterende skulptur på Søren Kierkegaards Plads; BogForum 2003; Udstillinger; Erhvervelser;

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I dette nummer af Tidsskrift for Arbejdsliv sætter vi fokus på dansk fa*gbevægelses aktuelle politikog strategiudvikling. Hvad gør fa*gbevægelsen selv for at fastholde medlemstal og indflydelse? Hvilke indsatsområder prioriterer de højest? Hvilke redskaber og metoder bruger de i kampen-og hvad er forskellen på de forskellige strategier? Hvilken rolle spiller tillidsfolk og medlemmer? Det er spørgsmål som disse, der præsenteres og diskuteres i temanummerets fem artikler. Som et fælles omdrejningspunkt har vi bedt forfatterne om at komme med anbefalinger til, hvad de fa*glige organisationer kan gøre for at imødegå tidens udfordringer. I artiklerne tages problemstillingerne op inden for såvel LO., FTF. som ACområdet. Læser man bredt hen over artiklerne, bliver det tydeligt, at de fa*glige organisationer tager forskellige strategier i anvendelse. Det rejser spørgsmålet om, hvorvidt de forskellige dele af fa*gbevægelsen politisk og strategisk kan lære noget af hinanden? Vi ønsker med temanummeret endvidere at undersøge, i hvilket omfang repræsentanter for fa*gbevægelsen selv oplever, at de kan bruge forskningen i fa*gbevægelsens politik. og strategiudvikling til noget. Som et eksperiment er artiklerne i dette temanummer derfor ikke kun blevet bedømt af videnskabelige bedømmere, men også af praktiske eksperter, dvs. politikere og praktikere, der har deres daglige virke i forskellige dele af dansk fa*gbevægelse. Deres bedømmelser vender vi tilbage til senere i indledningen. Forskningsfeltet Der har ikke i Danmark været en fast afgrænset forskningstradition omkring fa*gbevægelsens strategiog politikudvikling. Snarere kan man måske sige, at fa*gbevægelsesforskningen har fulgt de politiske konjunkturer og desuden været delt op i forskellige forskningsmiljøer, med forskellige erkendelsesinteresser og problemstillinger. I 1950'erne og 1960'erne var forskningsprojekterne om fa*gbevægelsen få og i hovedsagen koncentreret til studier af det danske aftalesystem, tillidsrepræsentantsystemet samt organisationssociologiske studier af fa*glige organisationer (Galenson 1955; Møller 1969). Der skulle ændrede politiske konjunkturer til, i form af bevægelser blandt vesteuropæiske arbejdere og studerende, før end fa*gbevægelsesforskningen fik bredere fodfæste i videnskabelige miljøer. Heraf udvikledes interessen for studiet i 'arbejderbevægelsens historie' og dens nutidige muligheder, også for at styrke fa*gbevægelsens magtpositioner og lønarbejderne i samfundet. De magtpotentialer og samfundsreformerende perspektiver, der lå i fa*gbevægelsens politik dengang, inspirerede til både konkret aktionsforskning (Nielsen et al. 2003), samt til bredere synteseagtige teoretiske analyser af de fa*glige organisationers politik og diskussion af deres strategier (Meidell et al. 1978; Ibsen & Jørgensen 1979). I den mellemliggende periode har problemstillinger og fokus for forskningstraditionerne skiftet, hvad dette nummer udmær. Tidsskrift for arbejds liv, 13 årg. ¥ nr. 1 ¥ 2011

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Sammenfatning: I de kommende år vil ommærkning, nedrivning og frasalg af almene boliger i de »hårde ghettoer« tvinge beboere til at fraflytte deres bolig. Denne form for ufrivillig fraflytning som konsekvens af strukturelle omdannelser af udsatte områder har vi ikke erfaring med i Danmark. For at kvalificere processen omkring og resultaterne af omdannelserne vender denne artikel blikket mod lande med lignende indsatser for at få svar på, hvad de internationale erfaringer med ufrivillig fraflytning fra udsatte boligområder er, og hvad vi kan lære af dem i dansk kontekst.

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En undersøgelse offentliggjort i 2016 skønner, at danske skoler venter at skulle modtage 9000 flygtningebørn i skolealderen i 2016. Mange af disse børn befinder sig i en midlertidig position som asylsøgende, men har som alle andre børn i Danmark også krav på at modtage et undervisningstilbud. Formålet med denne artikel er at undersøge det pædagogiske arbejde med asylsøgende børn i en kommunal modtageklasse. Produktion af det empiriske materiale er informeret af en pædagogisk antropologisk tilgang, og ved at fokusere på interaktioner mellem lærere og elever skal analysen svare på, hvilke sociale identiteter asylsøgende børn tildeles i den institutionelle praksis i forhold til kulturelt indlejrede selvfølgeligheder. Konklusionen er, at det pædagogiske arbejde med asylsøgende børn er præget af en permanent midlertidighed – indlejret i flygtningeregimet – mellem at behandle asylsøgende børn som enten almindelige børn eller som børn med særlige – mentale, sociale og følelsesmæssige – behov.

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Hvad folk ser og læser i medierne, bestemmes ikke længere kun af journalister, men i stigende grad af algoritmer. Disse algoritmer vælger, sorterer og prioriterer vores information. Automatiserede processer, som fx YouTubes anbefalingsalgoritme, påvirker den måde, vi ser verden på. Et vigtigt demokratisk spørgsmål er derfor, om YouTubes anbefalingsalgoritme eksponerer publikum incidentalt for politisk information, efter at man har set underholdningsindhold, og om algoritmen skaber en filterboble ved primært at anbefale indhold med et lignende politisk perspektiv. Under det danske folketingsvalg i 2019 var anbefalingsalgoritmen mere tilbøjelig til at føre seere væk fra end hen imod nyheder med politisk indhold. Når folk havde set en video, der var uploadet af de politiske partier Venstre eller Stram Kurs, blev de af algoritmen primært anbefalet videoer fra de samme partier, hvilket kan medføre, at de bliver bekræftede i forudindtagne holdninger (bekræftelsesbias). For andre partier var dette mindre tilfældet. Kun i begrænset omfang fører anbefalingsalgoritmen seere fra mainstream til ekstremt højreorienteret indhold.

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Christopher Friedenreich Hage fødtes i Nakskov i 1848 og døde i 1930. Han blev en af systemskiftets førende politikere, først som uafhængig højremand, så som hovedkraft i Venstrereformpartiet og til sidst som radikal. Det var Hage, der fik Estrups efterfølger som konseilspræsident, Reedtz-Thott, til i folketinget at love, at han aldrig ville regere ved hjælp af provisoriske finanslove, og det var triumviratet J. C. Christensen, P. Alberti og C. Hage, der formulerede Venstregruppernes politik i folketing og regering. Som konsekvens heraf blev Hage finansminister i den første venstreregering 1901 og året efter ved Hørups død tillige trafikminister. Som finansminister blev det Hage, der gennemførte en af de mest gennemgribende ændringer i det danske samfundsliv, nemlig skattereformen af 1903, der indførte indkomstskatten. Hages politiske udvikling fra højre mod venstre resulterede i hans afgang fra regeringen i 1905, og først i 1916 blev Hage igen minister. Da indtrådte han i det radikale ministerium Zahle, først som minister uden portefølje og vikar for den sygemeldte finansminister Edv. Brandes, siden som handelsminister. I marts 1920 afgik han sammen med det øvrige ministerium.

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This article entitled “Some Perspectives on Overcoming Communication Challenges in the Selected Novels of Fatou Diome, Gloria Naylor, Leanora Miano, Pamela Jooste and Walter Mosley”, analyses both genetic and biological disparities from childhood that characterize the lives of boys and girls till adulthood in society. Thus, Le Ventre de l’Atlantique (Diome), The Women of Brewster Place (Naylor), Tels des astres éteints (Miano), Dance with a poor man’s Daughter (Jooste), and RL’s Dream (Mosley), motivated their use to raise an awareness campaigns on female conscientization against a male conspiracy built on the law of silence against the female gender, resulting in male marginalization, of women in gender relationships through diverse cultural and religious practices represented by the corpus. In order to achieve this goal, the following analytical tools were used: feminist criticism, post-colonialism and Africana Womanism. The hypothesis is based on the fact that the corpus underscores gender conflicts that rock power is exercised against women through the channel of communication by men. The analysis concluded that female consciousness raising is a tool that women use to counteract any form of subjugation in patriarchal societies that struggle to their emancipation and freedom. Consequently, the analysis highlights the philosophical and ideological vision that all five authors have of their respective African and African-American societies, concerning gender equality.

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Helligånden i Grundtvigs teologiAf A.M. AllchinArtiklen er baseret på en forelæsning, holdt på Københavns Universitet i anledning af 50-års jubilæet hos den danske afdeling af Alban - og Sergeisamfundet. Artiklen afspejler dette samfunds beskæftigelse med vekselvirkning mellem kirkerne i øst og vest, samtidig med, at hovedemnet er Grundtvigs forståelse af den menneskelige ånds og derigennem Helligåndens forhold til menneskets legemlighed.Artiklen indledes med en gengivelse af H.L. Martensens fremstilling af sine samtaler med Grundtvig om åndens forbindelse med legemligheden, - Martensen taler om en »åndelig realisme« hos Grundtvig. Derefter går forfatteren over til at behandle Grundtvigs syn på forholdet mellem ånd og legeme i forskellige perioder af dennes liv.Til en begyndelse gengives en passage i Kirkelige Oplysninger især for lutherske Christne, hvor Grundtvig dels gør rede for Åndens betydning for kirkens liv, dels fremstiller, hvorledes Åndens kraft gør de troende samtidige med Kristus. Den manglende forståelse af dette har ifølge Grundtvig ikke blot haft negative konsekvenser for kirken, men også for den ikke-teologiske tænkning i samfundet.Allchin vender sig derefter til Grundtvigs tidsskrift Danne-Virke fra 1817. I »Danne-Virke«-tiden oversætter Grundtvig angelsaksisk poesi og skriver selv digtet »Ragna-Roke«. I den sammenhæng føres Grundtvig til at overveje forholdet mellem ånd og legeme i relation til den menneskelige erkendelse samt til at overveje forholdet mellem den romantiske opfattelse af digteren som skaber kontra den klassiske opfattelse af digteren som bearbejder af materiale fra traditionen. Grundtvig vælger et midterstandpunkt - digteren er både modtagende og skabende, således som det er tilfældet med mennesket i almindelighed. Svarende hertil er menneskelivet altid både legemligt og åndeligt. Gennem forbindelsen mellem ånd og legeme bliver mennesket er levende væsen. Denne forbindelse er forudsætningen for den menneskelige erkendelse, idet mennesket kender og udtrykker sig selv gennem legemlige billeder. Helligåndens skabelse af mennesket betinger, at mennesket er menneske som en forening af ånd og legeme, og menneskets selvforståelse udvikler sig i takt med, at dets forhold til og forståelse af Helligånden udvikler sig. Gennem sin ånd har mennesket et forhold til Gud, gennem sit legeme et forhold til verden; mennesket er, siger Grundtvig, Guds statholder på jorden.Efter sin gennemgang af motiver fra Danne-Virke fortsætter Allchin med at fremlægge materiale fra Grundtvigs prædikener i 1820erne, hvori Grundtvig dels taler om skabelsen af Adam gennem Åndens pust, dels om forbindelsen mellem kød og ånd, som den kommer til udtryk i Kristi inkarnation. Grundtvig gør det her klart, at kød i Bibelen ikke altid betegner det syndige menneske, men også, hvad der er blødt og bøjeligt, kød som det var i skabelsens morgen, forenet med ånden, det vil sige forenet på samme måde, som det var i Jesus Kristus.For Grundtvig muliggør enheden af kød og ånd i Kristus forståelsen af nadveren som et livgivende måltid, hvori Kristi åndelige, forklarede legeme, - det rene legeme, der altid var Åndens bolig og værksted, - gives de troende. Denne Grundtvigs nadverteologi kommer til udtryk i Grundtvigs prædikener fra 1830-erne, hvor Grundtvig gør det klart, hvad forbindelsen mellem ånd og legeme betyder for den kristne menighed, især for menighedens bøn i sammenhæng med nadverliturgien. Forfatteren citerer fra en prædiken Grundtvigs fremstilling af, hvorledes frelsen og forklarelsen af de troendes legeme involverer hele den skabte, legemlige verden, der løftes op i fællesskab med det guddommelige liv, - en bevægelse, der udgår fra Gud Faders kærlighed, der skaber og genløser verden.Afslu*ttende gør Allchin rede for, hvorledes artiklens to indbyrdes forbundne emner: spørgsmålet om ånds og legemes forbindelse i menneskelivet og spørgsmålet om forholdet mellem Skaberånden og skabningens liv som et hele afdækker den grundtvigske teologis patristiske præg, det præg, som muliggør en økumenisk læsning af Grundtvig. Allchin peger på en række mulige inspirationskilder for Grundtvig ud over dennes læsning af Irenæus og oversættelserne af græske og latinske salmer: den angelsaksiske litteratur og Frederik Mlinters dogmehistorie. Her fremhæver han, hvorledes Münters fremstilling af den ikke-augustinske antropologi hos Clemens og Origenes har kunnet inspirere Grundtvig til at hævde, at menneskets gudbilledlighed ikke udslettedes i syndefaldet.

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Maintaining and nurturing an ensemble theatre have been Anne Bogart’s foremost concerns in these past near-thirty years since she and Tadashi Suzuki founded the Saratoga International Theatre Institute (SITI) in 1992. Suzuki had established the Suzuki Company of Toga (SCOT) in 1976, making a secluded mountainous landscape of Japan its home to this day. Bogart’s venture in the United States, although inspired by Suzuki’s model of a production-based troupe of high artistic standards that, at the same time, developed its unique training methods, by no means merely duplicates its predecessor. In this Covid Conversation, Bogart briefly maps a segment of SITI’s history, reflecting on the company’s inter-arts endeavours with differing dance idioms and its engagement with Greek tragedy. She discusses the effects of the Covid pandemic on her troupe, also interrupting its performances of The Bacchae at the Guthrie Theatre in Minneapolis. Her most recent opera production, Tristan and Isolde, was closed for the same reason at the Croatian National Theatre – a key work in her portfolio of nineteenth-century grand opera as well as contemporary avant-garde opera. An acclaimed theatre director, Anne Bogart runs and teaches the Graduate Directing Programme at Columbia University in New York. At the SITI summer school in Saratoga, she and the company have workshopped the Viewpoints method that she has elaborated from Mary Overlie’s six principles for theatre and dance training. Bogart’s international workshops have further developed her method. She is the author of A Director Prepares (Routledge, 2001) and of many influential books that include (with Tina Landau) The Viewpoints Book (Theatre Communications Group, 2004). The Art of Resonance is forthcoming (2021, Bloomsbury). Maria Shevtsova is the Editor of New Theatre Quarterly whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020). The following conversation took place on 27 August 2020, was transcribed by Kunsang Kelden, and was edited by Maria Shevtsova. It is followed by a short coda announcing the transition of SITI into a resource centre.

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We describe three new species of Pristimantis from the upper montane forests and high Andean grasslands of the Pui Pui Protected Forest and its close surroundings (Región Junín, central Peru) and compare them morphologically and genetically with other taxonomically and biogeographically relevant species of Pristimantis. All three new species have the skin on dorsum shagreen with scattered tubercles, discontinuous dorsolateral folds, tuberculate flanks, and the skin on venter areolate. Pristimantis bounides sp. nov. is known from two localities outside the Pui Pui Protected Forest in upper montane forests between 3350 and 3463 m a.s.l. and is characterized by a snout–vent length of 18.2–21.0 mm in males (n = 3), and 21.6–24.4 mm in females (n = 4), by having a tympanum, males with vocal slits, and discs of digits slightly expanded with circumferential grooves. In life, dorsal and lateral ground coloration is pale grayish brown, orange brown, yellowish brown or reddish brown with dark grayish-brown marmorations, and a pale gray, pale greenish gray or creamish white venter with or without dark gray mottling. Pristimantis humboldti sp. nov. is known from one locality inside the Pui Pui Protected Forest, in upper montane forest at 3318 m a.s.l., and is characterized by a snout–vent length of 17.2–20.6 mm in males (n = 3), and 19.7–25.7 mm in females (n = 6), by having a tympanum, males with vocal slits, and discs of digits expanded with circumferential grooves. In life, dorsal and lateral ground coloration is orange brown with brownish-olive blotches, orange brown with grayish-brown blotches and flecks, reddish brown with grayish-brown blotches or grayish brown with orange brown blotches; throat, chest, belly, anterior and ventral surfaces of thighs, tibia, and axilla are dark gray and pale gray mottled with white and pale gray spots of different sizes and density. Pristimantis puipui sp. nov. is known from one locality inside the Pui Pui Protected Forest, in the puna at 3890 m a.s.l., and is characterized by a snout–vent length of 16.1–17.1 mm in males (n = 3), and 20.6–22.4 mm in females (n = 4), by lacking a tympanum, lacking males with vocal slits, and tips of digits narrow without circumferential grooves. In life, dorsal and lateral ground coloration is pale orange brown, reddish brown or grayish brown with or without grayish-brown mottling, and the venter is pale cream and pale gray mottled. A molecular phylogenetic analysis based on mitochondrial and nuclear DNA sequences inferred that the three new species belong to the Pristimantis danae species Group distributed in the montane forests and high Andean grasslands of central Peru, including P. albertus, P. aniptopalmatus, P. ornatus, and P. stictogaster. With the three new species, 133 species of Pristimantis are currently known from Peru, eight of which inhabit the puna.

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In Samuel Beckett's play Footfalls, a woman called ‘May’ walks back and forth. In this essay, I suggest that the play's physical plainness may be its most difficult aspect: Footfalls is a prime example of how Beckett's later plays are more like enigmas than riddles, frustrating us without an eventual solution. As we try to describe and interpret May's motions, we're continually repelled, and denied the critical certainty we might want. But that desire may be the wrong one to have; instead, I would venture that the play's careful choreography is both the thing that's expressive, and the thing being expressed. Focusing on this choreographic metaphor, and drawing on dance practitioners and theorists from Lucia Ruprecht to Merce Cunningham, I suggest that Footfalls is about itself, which is to say that it's about ‘about-ness’ – how we search for words to describe motions that seem resistant to paraphrase. In the late 1970s, Beckett was certainly interested in dance. This wasn't evident only in the case of Billie Whitelaw and Footfalls. Directing Come and Go (as Kommen und Gehen) in 1978, Beckett wanted the performers’ shoes to be ‘genre ballerine’; writing Quad in 1980, he specified that ‘some ballet training’ on the performers’ part was ‘desirable’. I caution against misreading these plays as dances – they are not – but suggest that corporeal discipline was something with which Beckett became fixated. And this wasn't only a matter of stagecraft, as we can see by reading the late poetic sequence mirlitonnades, written in French between 1976 and 1980 – the period in which Beckett finished both Footfalls and its French sibling Pas. These poems are tightly linked to the plays alongside which they were written; the link, in David Wheatley's phrase, can be seen in their ‘harnessing of speech to carefully choreographed movement’. The mirlitonnades place a repeated emphasis upon their rhythms, and the ways in which they intimate physical movement without literally enacting it. This is so because, as Eric Griffiths puts it, ‘the reader must inform writing with a sense of the writer it calls up – an ideal body, a plausible voice’. In Beckett's later work, I suggest, he was attentive to how the conjunction of body and voice appeared, as much as how it meant – and he wanted to augment the difficulties that this poses for his critics’ task.

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Digital Victorian studies, as thefield might be called, has entered a new generation of endeavor. Of course, many older digital Victorian projects remain online and continue to be important resources for scholars working in a variety of areas. In the pantheon of the older projects we might include: The Victorian Web (Landow; 1987–2012), a long-standing project that presents an array of images and texts linked to the Victorian era as nodes in a complex network; the Rossetti Archive (McGann; 1993–2008), a comprehensive digital collection of Dante Gabriel Rossetti's poetry, prose, and visual art as well as diverse contextual materials; NINES (2003-present), a nineteenth-century digital resource aggregator that facilitates integrated searching across a variety of sites and that provides peer review for relevant scholarly projects; the Old Bailey Online (Hitchco*ck; 2003–15), a large-scale venture that, among other things, makes available digital images and fully searchable, structured text of the 190,000 pages that constitute the Old Bailey Proceedings; and Nineteenth-Century Serials Edition (ncse) (Brake; 2005–08), a rigorous edition of six nineteenth-century periodicals and newspapers that explores the issue of modeling nineteenth-century serials in digital form. Many other such projects might also be added. However, the rapid advance of web-based technologies has recently propelled the development of digital Victorian studies in multiple directions at once. The concurrent rise of digital humanities has also ensured that Victorian scholars now have ever more exciting options for creating and analyzing digital Victorian materials and ever more sophisticated questions for interrogating the process by which those materials are created.

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An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (1990) ‘in the French style’ performed with panache by the flautist Yossi Arnheim and cellist Amir Eldan. It is an elegantly written work radiating the spirit of Hajdu's teachers Milhaud and (less overtly) Messiaen, with whom he studied in Paris in the 1950s and 60s. Beneath the light-hearted veneer of polyphonic textures is a serious, plangent expressiveness. The first movement, libre et gai, moves from the chirpy, Poulenc-like delicacy of a cat-and-mouse imitative chase, building tension towards a final stretto. In the second movement, molto moderato, Arnheim wove a lyrical cantilena for flute over gentle cello accompaniments, giving way to rarified high cello registers shadowed by eloquent lower lines of the flute. An exuberant dance-like finale, Libre mais un peu rythmé, increased in drama before receding to a tranquil conclusion.

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ENGLISH ABSTRACT: This article presents an introduction to the Romanian author Emil Cioran’s life and work. Cioran lived most of his life in self-imposed exile in Paris, where he kept himself out of the public gaze. From his small attic at the left-bank of the river Seine he published numerous books of collections of aphorisms and essays dealing with his own miserabilism and permanent existential despair. Further, in his books he is reflecting on the human condition in a world where humans have no possibility of receiving nor acquiring salvation or redemption. This presentation of Cioran leads to an investigation of his influence on the work and thought of the German philosopher Peter Sloterdijk. I show that Cioran in fact plays an important and long-lasting role throughout Sloterdijk’s authorship by analysing texts from three different periods of his oeuvre. Thus, I seek to construct a picture of Sloterdijk’s Cioran and understand why he is important to him. DANSK RESUMÉ: I denne artikel gives en generel præsentation af og introduktion til den rumænske forfatter Emil Ciorans liv og værk. Cioran levede størstedelen af sit liv i selvvalgt eksil i Paris uden for offentlighedens søgelys. Fra sit lille loftskammer på den venstre bred af Seinen publicerede han løbende samlinger af aforismer og essays omhandlende sin egen miserabilisme og permanente eksistentielle ulykke. Endvidere reflekterer han i bøgerne over den menneskelige eksistens vilkår i en verden, hvorfra mennesket ikke har nogen muligheder for at blive forløst. Præsentationen af Cioran fører til en undersøgelse af hans indflydelse på den tyske filosof Peter Sloterdijks værk og tænkning. Gennem en analyse af tekster fra tre forskellige perioder i Sloterdijks forfatterskab viser jeg, at Cioran spiller en vigtig og vedvarende rolle igennem hele Sloterdijks filosofiske arbejde. Således forsøger jeg at konstruere et billede af Sloterdijks Cioran og at forstå hvorfor han anser ham for vigtig.

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AbstractCrime concerns have deepened in Iceland in the new millennium. The number of criminal court decisions increased until 2013, when it temporarily levelled off before reaching a new peak in 2019. This development has put pressure on the prison system, as a long list of convicts awaiting completion of their sentences has accumulated. This paper uses official data, previous research and media accounts to examine the response of Icelandic authorities to this trend. One of the main questions addressed in the article is whether the criminal policy adopted by Icelandic authorities suggests a movement toward punitive or non-custodial measures. As it turns out, the Icelandic prison system has undergone major changes to meet this penal challenge. A new modern prison has recently been built close to Reykjavík to replace three smaller, older facilities that have beenclosed. This suggests a punitive turn. Yet at the same time, non-custodial sanctions have been increasingly introduced and implemented in lieu of sentences to closed security prisons. These non-custodial sanctions include electronic surveillance, additional community service work and an increased possibility to serve time in open prison units. It is contended here that a combination of practical budget concerns and rehabilitation sentiments lies behind this criminal policy development.AbstractKriminaliteten i Island har skabt voksende bekymringer i det nye årtusind. Antallet af strafferetlige afgørelser var stigende indtil 2013, hvor det fladede ud for en tid. Men i 2019 nåede antallet nye højder. Denne tendens har skabt et pres inden for fængselssystemet, der bl.a. viser sig i ophobning af domfældte, der må vente på at afsone deres dom. I denne artikel undersøges de islandske myndigheders reaktion på denne udvikling på baggrund af officielle data, tidligere forskning og mediernes dækning. Et af de mange spørgsmål, der bliver stillet i denne artikel, går ud på hvorvidt den islandske kriminalpolitik går i retning af mere eller mindre indespærring. Det islandske fængselssystem har gennemgået gennemgribende ændringer. Et moderne fængsel er for nylig blevet opført i umiddelbar nærhed af Reykjavik, hvilket ville antyde en straffende tendens, mens tre mindre og ældre fængselsinstitutioner er blevet lukket. Samtidigt har myndighederne i stigende grad anvendt ikke-frihedsberøvende straffe som alternativ til de lukkede fængsler. Blandt de nye metoder er elektronisk overvågning, mere samfundstjeneste og øgede muligheder for afsoning i åbne fængsler. Artiklen vil vise, at såvel budget- som resocialiseringshensyn står bag denne udvikling i straffepolitikken. Artiklens danske titel er: Straf i et lille nordisk land: Tilfældet Island.

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Dansk Teologisk Tidsskrift bringer i dette nummer tre artikler, som alle på forskellig måde beskæftiger sig med rette religiøse bestemmelser. I første artikel behandler Mogens Müller Justin som den første kendte bibelteolog. Müllers store arbejde med Septuaginta danner baggrunden for at vise Justins rolle som hovedfigur i 2. århundredes kristendom. Her bidrog Justin, der både var overbevist om Skriftens ufejlbarlighed og mente, at Skriften kun kan fortolkes af den, der har Ånden, i høj grad til at sikre Septuagintas status som kirkens bibel. I en tid, hvor andre, som fx Markion, alene lagde vægt på Jesus- overleveringen, var Justin med til at fastholde kristendommens forbindelse til jødedømmen. Men han gjorde det uafhængigt af den jødiske tradition, hvilket netop den græske oversættelse gjorde muligt. Gennem læsningen af Apologierne og Dialogen giver Müller eksempler på Justins bibelbrug og viser blandt andet, hvordan Justin som den første bemærker forskellen mellem den hebraiske og den græske tekst. I den næste artikel viser Jacob P.B. Mortensen, hvordan Fil 3,2-11 kan læses i lyset af det “radikalt” nye Paulusperspektiv, også kendt som “Paul Within Judaism”. Hvis Paulus ikke bryder med jødedommen, men tværtimod skal forstås inden for den, så kan Fil 3,2’s tale om “hundene” ikke være vendt mod jøderne. En “radikalt” ny Pauluslæsning må derfor lede efter andre tolkningsmuligheder. En kritisk efterprøvning af gængse fortolkninger, ifølge hvilke Paulus vender et hedninge-skældsord mod jøderne, viser, at de ikke kan bekræfte brugen af “hunde” som skældsord om hedninger i hverken Det Gamle Testamente, pseudepigrafer eller Dødehavsrullerne, og heller ikke hos hverken Filon eller Josefus. Brugen af “hundene” forstår man derfor bedst møntet på lokale problematiske grupper af hedninge i Filippi. En sådan tolkning understøtter det “radikalt” nye Paulusperspektivs bestemmelse af Paulus: at han aldrig opgav sin jødiske eksistens.I den sidste artikel giver Rasmus H.C. Dreyer en historisk og indholdsmæssig indføring i den alternative og ofte oversete Confessio Tetrapolitana fra Augsburg 1530. Bekendelsen er forfattet af Martin Bucer og Wolfgang Capito og er udtryk for et forsøg på at bestemme en humanistisk præget mellemposition mellem Zwingli og Luther, karakteriseret ved biblicisme, et vagt nadversyn, samt en betoning af den kristnes nye liv og konsekenserne for det kristne societas. I artiklen sammenlignes Confessio Tetrapolitano med både Confessio Augustana og Zwinglis Fidei Ratio. Som afslu*tning gennemgår Dreyer de forskellige forbindelser, der var mellem Bucer og Danmark, af både personlig og teologisk karakter.

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Az idősek aktivitásának megőrzésében kulcsszerep jut a testmozgásnak. Hozzájárul a mobilitás megőrzéséhez – visszaszerzéséhez is, ami biztosíthatja az önállóságot, javíthatja az életminőséget, és a szociális aktivitás katalizátora lehet.A szakemberek, orvosok és gyógytornászok egyetértenek abban, hogy a dinamikusabb, rendszeres mozgás az idős emberek erőnlétét és koordinációját hatékonyabban képes befolyásolni. A közösségben végzett testmozgás a társas készségeket is ingerli. A társaság önmagában is motiváló lehet, ami fokozható ha jótékony mozgásformák gyakorlásával társul.Évezredek óta ismert a tánc rituális szerepe. Napjainkban elsősorban szabadidős tevékenység, terápiás hatásait kifejezetten az időskorúak körében is vizsgálják például kognitív és neurológiai rendellenességek területén (pl. demencia, Parkinson-kór).Az időskorban elkezdett sporttevékenység, így a rendszeres tánc is fokozott elővigyázatosságot igényel. A legfontosabb a fokozatosság elvének betartása és az, hogy ez szakszerű betanulással társuljon.Hogyan is érdemes időskorban táncolni?A Szenior örömtánc mozgalomnak már az elnevezése is sugallja a választ: örömmel.A Szenior örömtánc német nyelvterületekről érkezett Magyarországra. Csirmaz Szilvia, nyugdíjas német tanárként Ausztriában szerezte meg a képesítést. Azóta is ő a hazai mozgalom vezetője. Magyarországot 2019-ben vették fel a Szenior Örömtánc Világ Kongresszusba (ISDC International Senior Dance Congress).Jelenleg 40 budapesti, és több, mint 100 regisztrált vidéki helyszínen folyik képzett oktatóval a szenior örömtánc, rendszeres heti egy-két rögzített időpontban, rögzített helyszíneken. Az oktatók döntő többsége 60 éven felüli, többségük nyugdíjas. Sokuk számára új karrier nyílik a szenior tánc oktatással a nyugdíjas években.A tánccsoportok regionális és országos találkozókat szerveznek, fellépnek a helyi rendezvényeken.A karantén korlátozó intézkedései hívták életre az online Szenior örömtáncot. Az oktatók (például Bunder Irén, Juhász Lászlóné) zárt csoportokat hoztak létre a közösségi média platformokon és így folytatták tevékenységüket. Akadtak olyan idősek, akik ennek hatására kezdték meg digitalis felzárkózásukat. Ez a forma azonban csak korlátozott lelkesedést váltott ki a táncosokból, amit részben a technikai, digitalizációs problémák, részben a társak hiánya (fizikai találkozás) indokolhat. A korlátozások megszünésével aki tehette gyorsan visszatért a tánccsoportba.A szenior örömtáncosok kiemelik, hogy ezt a közösségi mozgásformát kifejezetten idősek számára dolgozták ki, nincs szükség hozzá eszközre, de még partnerre sem, sőt az előzetes tánctudás sem feltétele a bekapcsolódásnak. Ugyanakkor a heti gyakorlások nem csak fizikai hanem szellemi aktivitást is igényelnek. A különböző zeneszámokhoz kidolgozott koreográfiákat el kell sajátítani, meg kell jegyezni, melyik számhoz melyik koreográfia, és a koreográfiában mely elemek, mely egymásutániságban következnek. Ez olyan önszabályozó tanulás, amely individuális és szociális folyamat is (Kovács, 2013). A szenior örömtánc pozitív hozadékai (a teljesség igénye nélkül):- jótékony izommunka,- az egyensúly megőrzésének (visszaszerzésének) támogatása, ezáltal az elesések megelőzése,- a mentális egészség fenntartása (kognitív tréning, új ismeretek szerzése),- növekvő énhatékonyság, önbizalom,- társas támasz ( a közösség ereje),- növekvő jóllét. A jótékony hatások közül is kiemelkedő a társas támasz, ami például az egyedülálló idősek esetén az elszigetelődés veszélyét csökkenti azzal, hogy olyan társas elfoglaltságban lehet részük, ami közösséget, baráti kapcsolatok megerősödését, új ismeretségeket hoz. A Szenior örömtáncnak is vannak kockázatai. Ezek közül érdemes kiemelni a helyszínt és körülményeket. Sokaknak már az odajutás is körülményes lehet. Nagyon fontos a képzett oktató tevékenysége, ami biztosíthatja a balesetek megelőzését (instabilitás, egyensúly elvesztése, elesés, leesés).Szenior tánccsoportok ugyan már igen sok településen vannak, de a hozzáférhetőség korlátos. Néhány helyszínen ingyenesen lehet részt venni az órákon (általában pályázati támogatás teszi lehetővé), de többnyire anyagi áldozattal jár a táncklub tagság.Az online órákba való bekapcsolódásnak technikai hiányosság (internet kapcsolat, eszköz) és digitalis kompetencia hiány lehet az akadálya. KonklúzióA pozitív idősödés egyik hatékony támogatója lehet a szenior örömtánc, lehetőség a fizikai és szellemi aktivitás megőrzésére, egy támogató közösségben.Lehet és érdemes is időskorban táncolni, örömmel és elővigyázatossággal. Az EFOP – 3.6.1. – 16-2016-00022 „Debrecen Venture Catapult Program” támogatásával készült. IrodalomjegyzékKovács Zsuzsa (2013) Önszabályozó tanulás - értelmezési módok a kutatási metodológiák tükrében, Neveléstudomány: oktatás - kutatás - innováció 1(1). pp. 124-136.

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A ausência ou limitação da visão impede que o indivíduo tenha uma vida mais plena e atuante em virtude do desinteresse em suas necessidades sociais, afetivas e psicomotoras dificultando assim, a criação de um ambiente realmente inclusivo. A construção da imagem corporal passa por este aspecto palpável, mas também auditivo e até mesmo olfativo. Estimular essas percepções faz-se necessário para que o deficiente visual consiga relacionar-se com o próprio corpo e assim, desenvolver sua imagem corporal. A dança do ventre é milenar, oriunda de tradições espirituais, seu enfoque esta nos movimentos do quadril variando de tremidos rítmicos a ondulações e sinuosidades que também têm efeito positivo no condicionamento físico, cardiorrespiratório e conscientização corporal. Objetivo: Avaliar a efetividade da dança do ventre na construção da imagem corporal, em particular a percepção do quadril, de uma deficiente visual. Material e Método: Este estudo foi realizado no Centro de Pós-graduação e Pesquisa- UNIFMU-CENTRO UNIVERSITÁRIO, sendo um estudo de caso com uma cega congênita de 25 anos que pratica esta modalidade de dança há um ano junto com alunas videntes. Foram utilizados para avaliação o questionário de qualidade de vida Medical Outcome Survey Short Form (SF-36), Image Marking Procedure e testes específicos desenvolvidos para o estudo para avaliar a imagem mental, percepção e sensação dos movimentos de dança no corpo da participante e no corpo da professora. Resultados: A participante estudada apresentou indicie de mais que 75% para os domínios de capacidade funcional, limitação por aspectos físicos, estado geral de saúde, vitalidade, aspectos sociais e emocionais demonstrando uma boa qualidade de vida. Quanto à percepção do quadril se mostrou detalhada e precisa no que se refere a sua mobilidade, amplitude, coordenação, controle muscular e intensidade, sendo estimuladas pelo som das moedas do xale amarrado ao quadril. A avaliação da imagem corporal pelo Image Marking Procedure foi positiva tanto em relação à identificação das partes do corpo quanto para a compreensão do desenho da figura humana. Conclusão: Com este estudo pudemos concluir que a dança do ventre contribuiu para o desenvolvimento da imagem corporal da deficiente visual e também atuou positivamente na qualidade de vida. Portanto, abre-se caminho para que mais estudos sejam realizados sobre a relação dança do ventre, imagem corporal e deficiência visual.

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AbstractEntrepreneurs rely, to a degree, on intuition while they also rely on rationality. Both are associated with formation of expectations for new venture creation as well as perseverance of efforts in managing the new venture and its creation. Global Entrepreneurship Monitor data from three distinct countries over a ten-year period are used in logistic regression analysis to find, not unexpectedly, that intuition and rationality vary in impact across countries and over time. While the findings confirm past findings, they also provide intriguing new insights into the dance between intuition and rationality in entrepreneurial processes.

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<p><em>All This Can Happen (ATCH)</em> had its first public screening at Dance Umbrella, London’s international dance festival, on the 13th October 2012. Since then, the work has been screened internationally, reviewed in dance and film journals and online, and been the subject of a symposium at the Freie Universität Berlin. This issue of the IJSD builds on this extensive circulation, and dedicates, for the first time in the history of the journal, the whole issue to one work of art. A comparable venture in the publishing realm is the <em>One Work</em> series from Afterall Books, in which publications are dedicated to exploring a selected piece of work. However, a single writer or critic authors <em>One Work</em> projects. The selection of writers included in this issue brings together some of those who have screened the work in their respective venues or festivals, some of those who have contributed to the Berlin Symposium, and others who have engaged with it in their scholarly work or reviewed the film for the wider press. In this way, different voices and perspectives are gathered around one focal point. Besides enriching our understanding of the work in question, this commonality of focus also serves to highlight the extraordinary richness of dialogues that occur in the multidisciplinary field of screendance.</p><div><div><p> </p></div></div>

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This case study covers various aspects of social media as an alternative and cost-effective tool of marketing and promotion. The case also highlights the social media promotion tools used by a social media consultancy start-up for a client, and how it failed to achieve desired results. In this world of digitisation, social media marketing is a trend that is prevalent across the globe. Social networks have changed the way information is delivered to the customers, shifting from traditional push marketing to pull marketing. Entrepreneurs are using social media marketing to promote their product or services by this they can not only promote their venture but at the same time efficiently utilise their marketing budget. Vanya’s Dance Planet is such an organisation which used social media marketing to reach out to its target prospective customers. It required structured planning, professional knowledge about various social media platforms, and creative writing skills to post content on these platforms. The consultant organisation We4U planned and executed the social media campaigns for Vanya’s Dance Planet getting professional help from social media consultancy start-ups which can be a wise decision for some entrepreneurial ventures. But sometimes these professional tie-ups would end up with loss of time, money and trust. This case study deliberates upon such a fallout.

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In 1920, Oscar Hammerstein II—fresh from the modest success of his debut musical Always You—was eager to write the show for Frank Tinney that his uncle Arthur was to produce. As Hugh Fordin wrote, “Arthur, confident of his nephew's ability but aware that he needed to learn more about his craft, brought in Otto Harbach to collaborate on the book and lyrics.” The two men joined forces on that show—Tickle Me—and went on to write such classics as Rose-Marie (1924, Rudolf Friml & Herbert Stothart), Sunny (1925, Jerome Kern), and The Desert Song (1926, Sigmund Romberg). After working with Harbach (Fig. 1), Hammerstein would venture on his own and write Show Boat, Oklahoma!, and be credited as having ushered in a new era of musical theatre, chiefly defined by his success at “integration.” As literary scholar Scott McMillin writes, the conventional idea of integration is that “all elements of a show—plot, character, song, dance, orchestration, and setting—should blend together into a unity, a seamless whole.” In popular commentary, this development is often attributed to Rodgers & Hammerstein's 1943 musical Oklahoma!, as seen in John Kenrick's claim that “[t]hroughout the show, every word, number, and dance step was an organic part of the storytelling process. Instead of interrupting the dialogue, each song and dance continued it. For the first time, everything flowed in an unbroken narrative line from overture to curtain call.” Other historians and critics are more tempered, touting the success of Oklahoma! while insisting that its integration must be seen as part of a broader historical arc. Andrew Lamb, for example, celebrates Oklahoma! by noting that it was the realization of “[w]hat Kern and Gershwin had experimented with as far back as the 1920s—a piece that was not just a collection of catchy numbers, but a fusion of drama, song, and dance.” In a 1962 article, Stanley Green notes that the creators of Oklahoma! “blended all the theatrical arts with such skill tha[t] many accepted it as a revolution in the theatre,” but he argues that their accomplishment was actually “more evolutionary than revolutionary. Rather than inaugurating any trend toward the well-integrated show, what it did achieve was a perfection in technique of a development that had been going on ever since the second decade of the century.” While Green cites the Princess Theatre musicals of Bolton, Wodehouse, and Kern as the earliest examples of integration, this lineage goes back further—further than Hammerstein, further than Gershwin, further than Kern. To understand the history of the idea of “integration” in musical theatre, we must go back to the artist whose 1910 musical Madame Sherry, hailed as the “musical comedy rage of a generation,” was celebrated by critics for the way its “entertaining elements” were “cleverly interwoven into a consistent whole,” for the innovative ways that “the songs, lyrics, and ensemble numbers . . . are directly related to the story of the comedy, and there is a plausible excuse for every musical interruption.” That artist—who not only developed an innovative approach to musical theatre but also articulated a coherent theory of it—was Otto Harbach.

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Myndighetene har sagt at vi alle må delta i dugnaden for å bekjempe smitte fra kor­ona­viruset. Vi i redak­sjonen i FormAkademisk ber dere om å si ja til å bidra til den dugnaden som fa*g­felle­vurdering av artikler er. Alle artikler må vurderes av minst to uavhengige fa*gfeller. Under korona­pandemien har vi dessverre opplevd at langt flere takker nei til å bidra til dette viktige og helt nød­vendige bidraget for vitenskapelig publisering. Mange forfattere har måttet vente uvanlig lenge på tilbakemelding på artiklene de har sendt inn til FormAkademisk. I FormAkademisk spør vi alltid de beste forskerne først om å være fa*gfelle for artiklene forskere sender inn. Vi spør internasjonalt ledende forskere dersom artikkelen er skrevet på engelsk og i Skandinavia hvis artikkelen er skrevet på norsk, svensk eller dansk. De aller beste forskerne, som kanskje har det mest travelt, svarer oftest ja og leverer fa*gfellevurderinga si raskest. Så, hvis vi spør deg, er det fordi vi mener du er best til å vurdere akkurat den artikkelen. Å være fa*gfelle for andre gir også god læring for deg, både når det gjelder å bli oppdatert på ny fa*glig kunnskap og for gode referanser for egen vitenskapelig skriving. For hver artikkel du får fa*g­fellevurdert, bør du si ja til minst to artikler andre har skrevet – fordi det er minst to som har fa*g­fellevurdert din artikkel. Det er rettferdig!

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Approaching the third millennium of the Christian calendar (a fact which in spite of its ethnocentrism is a culturally significant means of making temporal sense of the world), more people in the industrialised world than ever before are stamped with the imprimatur granted by formal education. To draw on the work of the French sociologist Pierre Bourdieu, the world is loaded with people in possession of cultural capital. However, while Bourdieu wrote in a milieu concerned with the capacity to distinguish between the 'Well-Tempered Clavier' and 'Blue Danube' as a pivotal mark of distinction, in the postmodern times in which we apparently live, these distinctions are no longer quite so distinguishable nor distinguished. This is no more true than at the ground zero of popular culture where a small army of mostly young people sit in lounge rooms, cinemas, and cafés armed with media and/or cultural studies training of one form or another, reading their world as texts. The net effect: advertisem*nts become 'clever' and cinemagraphic; irony has become an empty signifier; intertextuality eats itself; and the weekly late night broadcast of Buffy (the Vampire Slayer) has -- at least here in Brisbane -- become a flashpoint for the local universities' public relations wars. Go girl! In this short article it is my intention to explore -- in a none too systematic manner -- some of the ways in which the traditional determinants of class are being redefined in the light of the so-called postmodern capitalist informational economy which arguably defines this moment. From this, I will then segue into a discussion of contemporary cultural distinctions -- the consumer practices inflecting style and fashion -- that draw upon an informed and educated subject as both their inspiration and market. Cultural Capital and Bricolage Those with cultural capital are in this socio-political moment the 'haves' (as distinct from the 'have nots') of an age where much certainty is being challenged. In both consumer choices and in the wider spheres of employment and kinship structures, bricolage -- the piecing together of value and/or meaning from the assortment of possibilities that can be wrenched from what's 'out there' -- is the modus operandi of those with the educational chutzpah to venture to try. Of course, the starting points are still far from equal; some hit the ground running due to privileges of birth, skin, class, gender, nationality, normative sexualities and biologies, others have often sought out education as the first step in an attempt to endow themselves with capital in any form. But the fact remains that the hurdle has been raised and formal -- preferably post-secondary -- education is now something of a pre-requisite for social mobility. Zygmunt Bauman equates this endowed subjectivity with that of the tourist: the mobile bourgeois consumer par excellence. As bricoleur our (I use the term 'our' to refer to those people similarly 'marked by our non-markedness' as myself: white, educated citizens of an industrialised nation, even if that is Australia) highly portable knowledge confers upon us a privileged status within global racial and economic structures of power. Cultural knowledge can operate literally as both right of passage and funding; hence cultural capital. As those in the best position from which to maximise the possibilities of the postmodern world, Bauman argues that the 'tourist' never actually arrives per se, rather the achievement is the journey -- the capacity to move on when the need arises or the whim strikes (90). That sort of mobility presumes agency. 'Tourists' choose to be mobile and transient and so can arrive somewhere bigger and better if they wish; they are not forcibly dislocated to what may well be a worse option. In Bauman's words, 'tourists' possess 'situational control': "the ability to choose where and with what parts of the world to 'interface' and when to switch off the connection" (91). By definition such a system also requires a larger grouping of people who are excluded from Nirvana; Bauman names this status that of the 'vagabond', those who are forcibly moved on from any space which may present as a possible home and who are allowed to settle precisely nowhere. They too are on the move, but unlike the movement of the 'tourist' this is not a chosen path; for the 'vagabond' freedom means the freedom "not to have to wander around" (92). The 'vagabonds' freedom is on par with that of the person forced by institutional status to live on the streets of industrialised societies wanting nothing more than a vaguely secure place to have a kip. The road may be mythic and romantic -- a site of freedom -- if you can choose to be there (and to return 'home'), but, and this can be said of many situations, something is not romantic nor desirable if you have no choice but to be there or to do it, even if the case were that if such a choice were possible you would indeed choose such a course of action. 'Slumming it' is fun if you know a hot bath and warm bed awaits you at the end of the day. Needless to say, it's also incredibly insulting to those who don't have this choice. Therefore, returning to Bauman, the point is that the greater "freedom of choice one has, the higher one's rank in the postmodern social hierarchy" (93). This embodied characterisation of the material significance of cultural capital in an age where information is king, should serve as a warning signal to those for whom the hype of a technologically mediated informational economy of global proportions equals rings somehow true. New horizons are being opened up and will soon be visited by independent travellers in search of a more 'authentic' and 'exotic' experience, who will subsequently open up the space for the more overtly imperialist agents who inevitably follow. Goa is no longer where it's happening, grab the Rough Guide to cyberspace and hang on. Nerd Chic At this point however, it's time to relate this all back to my putative title for this piece and to come clean on some moments of interpellation, which, as always, got me thinking on my own place within global systems of power (and desire). And I have to 'fess up that all my cultural capital came at a price, as it did for many of us: I was a teenage nerd (and arguably still am). What brings me joy however, is that long after the guys had their nerd chic moment in the sun -- Jarvis co*cker, glasses, lots of corduroy, (indeed, all those British non-laddish lads and their iconography) -- it's finally also the nerd chicks' time in the warm glow of funkiness. I'm afraid I'm not referring here to the popularity of the Charles Babbage and Ada Lovelace section of the Powerhouse Museum's "Universal Machine" Exhibition currently running in Sydney which included a piece of the original analytical engine itself as well as details regarding Ava and her status as the world's first computer programmer. The clunkiness of the world's first computer -- in all its tarnished metal and mechanistic glory -- couldn't compete in the eyes of the punters with the free Internet access provided by the spiffy new colourful Apple I-Macs. No, the current moment of female nerd chic, as I see it, is one much more firmly anchored in fashion, consumption and image. It is on a direct continuum from the emergence of nerd chic which is only now providing a space for women on vaguely equal terms [and by way of example, I refer you to the not necessarily unattractive, but still problematically infantilising, trend that hit the industrialised world in recent years which drew upon a cutesy schoolgirl aesthetic: I'm thinking of hair clips and 'baby doll' dresses in 'sweet' prints here]. Too Many Pockets As the new millennium beckons, in the industrialised world, technology saturates our lives; we are increasingly -- both literally and figuratively -- becoming cyborg beings. Cyborg subjectivity is a frequently cited concept which is used to describe, in broad terms, the manner in which human beings are already located as agents and vehicles within technological networks. Overt examples of cyborg beings are provided by science fiction, but this serves as a distraction from the fact that cyborgs already walk amongst us. Indeed probably are us. Maybe not in a strictly technical sense, but certainly as beings for whom the negotiation of cyborg identities is a taken for granted feature of everyday life. A cyborg being is one which is fitted with any manner of medical accoutrements (pacemaker, artificial limb, etc.), or which has been inoculated, wears glasses, sits at a computer, works in the electronics manufacturing industry, rides a bike, takes vitamin supplements, and on the list goes. The cyborg is a hard concept to pin down but it is precisely this slippery property which renders it a useful vehicle for exploring a world of overwhelming diversity and multiple subjectivities. This is also why it can be conceptually seized upon as a fashion concept, stripped of its political ramifications as posited by feminists (in particular Donna Haraway and her now legendary piece "A Manifesto For Cyborgs" in which she seeks to map out the possibilities for a technologically-able, contingently adept socialist feminism), but remain associated with women as a strong and powerful image of empowered -- and significantly embodied -- female identity. Hence, we have a series of interpellating fashion trends that borrow heavily from dance party/rave culture -- itself a space loaded with technological and cyborg possibilities -- and are manifest in a fashion which emphasises utility with an androgynous and sharp edge: combat trousers; record/porterage bags or bags which sit around the hip and look like fabric gun holsters (both of which supposedly sit on the body in such a way as to minimise their presence, while maximising one's cultural capital); puffer jackets with lots of zipped pockets so that your gear doesn't fall out while you dance all night; body adornment in the form of mehindi (henna tattoos); tattoos, bindi, glitter, piercing, body hugging jewellery; and, of course, trainers for mobility. This nerd-girl moment, the particular meeting of contemporary dance music and the fashionability of the savvy smart cyborg woman is discursively marked by the (unedited) video clip for the Chemical Brothers' 'Hey Boy, Hey Girl'. It features a young book-reading, museum visiting girl, hassled by boys, who (through a nice graphic match involving her image in a mirror) transforms into a cool, nightclub groover. A unifying motif is provided throughout by the girl/woman's fascination with an exploration of the role of the skeletal system as it holds us up and allows us to function, hence the book, the museum and some interesting renderings of sex in a nightclub toilet. The organic body as finely tuned skeletal machine, and Chemical Brothers video -- go girl? References Bauman, Zygmunt. "Tourists and Vagabonds: the Heroes and Victims of Postmodernity." Postmodernity and Its Discontents. Cambridge: Polity P, 1997. 83-94. Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. London: Routledge, 1994 (1979). Harraway, Donna. "A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980's." Socialist Review 80 15.2 (1985): 64-107. [This article was also subsequently reprinted in Haraway's Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.] Citation reference for this article MLA style: Susan Luckman. "XX @ MM: Cyborg Subjectivity as Millennial Fashion Statement." M/C: A Journal of Media and Culture 2.6 (1999). [your date of access] <http://www.uq.edu.au/mc/9909/xxmm.php>. Chicago style: Susan Luckman, "XX @ MM: Cyborg Subjectivity as Millennial Fashion Statement," M/C: A Journal of Media and Culture 2, no. 6 (1999), <http://www.uq.edu.au/mc/9909/xxmm.php> ([your date of access]). APA style: Susan Luckman. (1999) XX @ MM: cyborg subjectivity as millennial fashion statement. M/C: A Journal of Media and Culture 2(6). <http://www.uq.edu.au/mc/9909/xxmm.php> ([your date of access]).

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She lies helpless and fragmented, limbs leaden with story, forced ever further into herself by the viscous shame that suffocates and disables her. Fleshed lips cling to each other, tongue recoils from the sharp taste of the narrative of her body. Within the impotent portal of her mouth, her story sits, an impenetrable oral hymen. — Brenda DowningRape is, without doubt, a catastrophic experience.When rape is experienced in childhood and is also silenced, it can have devastating consequences that carry through to adulthood.In what ways then can the catastrophic memory of silenced childhood rape be coaxed from its hiding place in the female body? How is it possible to make the transition from silenced experience to public articulation? Can creativity fill the body with courage in the face of helplessness and create breath in the suffocating and silencing space of the aftermath? Can creativity help facilitate the personal expression of muted experience?In this paper we will each reflect on the complexities and enabling capacities of the creative and collaborative processes present when negotiating the landscape between the private memory of silenced childhood rape and public articulation and performance. Brenda will retrace the steps of her academic research. She will identify two paths that have taken her from personal and social silence to public voice, and the articulation of her embodied trauma experience through differing modes of creative expression. Alice will reflect on the ways in which preparing Brenda for the journey from articulation and expression to public performance sometimes required moments of freefall full of risk yet also full of creative forces. Images from Brenda’s solo performance aperture will accompany these reflections. aperture is a companion piece to Brenda’s doctoral research and is the creative result of our collaboration.BrendaIn 2008, I completed my feminist and autoethnographic Honours research. This work explored the multiple and significant ramifications of my silenced and silencing experience of childhood rape. Commencing this research as a mature aged woman inevitably involved a movement back through time to revisit 1971, the year of my rape experience, gathering recollections of the aftermath along the way. My memories of the events of that year, folded tight within me since I was eleven years old and enveloped in a shroud of secrecy for decades, had nonetheless been held with full consciousness and silenced in an act of pragmatism that allowed me to function. These were not uncovered or recovered memories; rather they were suppressed and revisited. I didn’t experience a sudden cracking open of lost memory, instead I stepped easily, though not without discomfort, into the archives of my body and reached with outstretched hand. In the gesture, I offered my memories the opportunity to speak, and speak they did.From within my body, stored memories were unleashed and hurled themselves at me. I caught these memories and held them close. I turned them over, set them down, reached again. I reflected, I explored, paused, considered. I sat alongside them. I got angry. I wept. It was as though these embodied memories, these lived subjective experiences, had been crouching impatiently just beneath the surface awaiting release from the repressive silence that had contained them for so many years.But what had helped facilitate this release? Was it simply the opportunity to be immersed in self-reflective and reflexive research? Following the conventionally written academic-style opening chapters of my Honours thesis, sits my autoethnographic chapter. It was no accident of method that I explored my personal experience through creative writing. I didn’t stumble into this medium; I had a compelling and irresistible urge to express my experience creatively. It seemed the only way. When I sat down to write, the sentences were expelled from my body like a series of long-held but desperate exhalations. They emerged as my memories had sat since childhood, blunt, raw and panting, filled with barely-contained energy. They revealed the chaos and disconnection of the body and mind in the aftermath of silenced childhood rape. They disrupted chronology and mirrored shattered identity. Temporally and spatially they were restless birds, unable to perch for too long, nor in one place. Slipping in and out of the first and third person, they struggled to sustain a fixed identity, or perhaps, refused one. Relational threads appeared transparent but were as strong as lines that support the weight of thrashing fish.In the laying down of the multiple layers of my story, I soon realised the writing was serving an additional purpose. It had evolved to become a critical factor in not only the actualisation of my story but also a means of making sense of my experience by locating it within wider familial, social and cultural contexts. The grounding of my experience through reflexivity and the piecing together of my tenuous sense of self became intimately entwined in the creative process. I recorded each evocative exhalation with frantic diligence, as though I mustn’t lose a word. I felt my visibility, my credibility reliant on each syllable and every nuance. I intuitively sensed that the creative re-capturing of my story would liberate my memories from the smothering folds of corporeal darkness in which they had reluctantly huddled and in that liberation, I would also find freedom from the dragging and stultifying weight of their heavy presence. Helene Cixous talks of moments when we are “unwoven weft” (38), when writings or “songs of an unheard-of purity flow through you [...] well up […] surge forth” (39). I’m certain the liberation of story and self I experienced through the creative writing medium, at a point when I too was unwoven weft, gave me the courage to walk in the night shadows of my embodied childhood memories, the light of creativity guiding my way. In making the transition in 2009 from Honours to doctoral research, I carried with me the knowledge that to ignore or pay cursory attention to the materiality of the raped body is to deny its cellular intelligence and its abundant creative reserves. While the researching and writing of my Honours project was deeply satisfying, what emerged for me during that process was an intense desire for a more three-dimensional aesthetic and embodied engagement with my PhD project. I felt the poetics of embodied language and my moving body would satisfy this desire.With the addition of a performance modality I was convinced I could lift the words off the thesis page in order to, literally, bring the information to life. Through performance I knew I could give the bones of the written language of sexual trauma a heartbeat, a pulse, give them breath. I believed a performance held the potential to drape flesh on the words and pump blood through their sentences. I wanted the narrative of sexual trauma to move and sweat, collapse and stand rather than remain in stasis. I wanted the unresolved nature of silenced sexual trauma to permeate the flesh and speak with more than written language. I wanted my raped female body to be fully present. A performance seemed the only way to convey the three-dimensionality of my muted experience. “Performance is a promissory act,” Della Pollock tells us, “not because it can promise possible change but because it catches its participants—often by surprise—in a contract with possibility: with imagining what might be, could be, should be” (2). When I came across these words, I felt certain that I could create for an audience Pollock’s contract with possibility. Through a performance modality a portal would open to the reality of how it is to live with silenced and unresolved sexual trauma. Beyond that portal an invitation would await for others to engage with the difficulties and compromises of this reality through embodied imagination and somatic empathy. A performance, I felt, could act as a physical, emotional and intellectual bridge of communication between those who have experienced sexual violence and those who have not. In the actualisation of this PhD project my role would be multiple. I would take up the position not only of the researcher but also the researched. Through an engagement with the somatic work of Body-Mind Centering® (BMC®), my still traumatised body would become the primary focus of the research. Additionally, I would present this work in the solo performance aperture. My body then, would become the site of somatic inquiry, providing the embodied text for the research, scribing the work in symbolic language and articulating the emotional landscape of the aftermath of my trauma through performance. As Tami Spry notes, “words can construct, but cannot hold the weight of the body” (170). The words of my thesis then would construct my story from the findings of my somatic inquiry as well as shape my research but the performance would hold the weight of my flesh in the embodied articulation of my story. But I couldn’t do this alone.Help arrived in mid-2010, when I was introduced to and entered the world of BMC® and the work of Alice Cummins. At times the BMC® work and the creative development phase of aperture felt a little like attempting a base jump with a parachute that might, or might not open. However, with Alice’s depth of knowledge and experience guiding me, I have taken what has been an extraordinarily profound journey of somatic exploration resulting in personal healing, revelation, illumination and embodied performance. AliceAs a dance artist and somatic movement educator, my teaching and choreography are influenced by post-modern dance practices and feminist philosophy. My interests have engaged me with socio-political concerns and how the poetics of the moving body articulates our humanity. In my somatic movement practice I draw on BMC®, the work of Bonnie Bainbridge Cohen, with whom I studied in Massachusetts, 1995-98. BMC® evolved in the post-modern dance scene of New York City in the early 1970s and belongs to the lineage of moving research pioneered by Rudolph Laban, F.M. Alexander, and Mabel Todd.Bainbridge Cohen writes:Body-Mind Centering® (BMC®) is an ongoing, experiential journey into the alive and changing territory of the body. The explorer is the mind – our thoughts, feelings, energy, soul, and spirit. Through this journey we are led to an understanding of how the mind is expressed through the body in movement. (1)In June 2010 Brenda participated in a three-day BMC® workshop. During an integrative practice of Authentic Movement she experienced pleasure in moving for the first time. This experience was profound for Brenda after a lifetime of repressing sensation and feeling as a way to contain the memory of her rape. To unravel a torment you must begin somewhere. — Louise BourgeoisSo we began.Before embarking on the creative development of performance making it was critical that Brenda did private work with me. Her history was too traumatic to venture into making work from the body without prior therapeutic hands-on work. When trauma has occurred, the tissue holds this frozen as a way to contain the terror. But it lies in wait and erupts unexpectedly when the circ*mstances stimulate or provoke memory. As BMC® teacher Phoebe Neville (1996) says: “Memory remains in the tissue until we are ready to feel it”. During her two years of private sessions this hands-on work gave Brenda the capacity to feel and helped her develop somatic and personal insight. This provided the leverage for her understanding, and eventually the making involved in the collaborative process. A BMC® hands-on technique I used during the therapeutic process was cellular touch. This dialogue through touch invites the cells to breathe—to receive and process new information. This exchange supported and stabilized Brenda’s nervous system and perceptual response cycles and helped cultivate endurance. Through the BMC® work we created a visceral bond of attachment and trust that allowed risk as provocation towards realization not as re-stimulus and withdrawal. This allowed Brenda to go from a withdrawn physicality to a dynamic performance presence. Without this capacity to be present, we could not have found a vocabulary that might unearth and express her story through embodied performance making. Brenda’s capacity to be “100% available to be seen” (Hay), would allow meaning to touch her audience. I make work with and through the bodymind and for Brenda’s “voice” to be heard I knew she needed to be able to access the intelligence and imaginary life of her body ... to make, to grasp, to reveal her experience. As artistic director of aperture it was my role to discern how the creative met the psychodynamic and became new realisation and transformation. The BMC® philosophy “support precedes change” (Cohen) infused the collaborative process. Our collaboration also involved a constant flow and exchange of ideas, feelings, intuitive responses and imaginings in both verbal and somatic conversation. This process enabled Brenda’s experience of childhood rape to become a way of exposing the silence and silencing that surrounds rape in our culture.One of the specific research skills we practiced in the creative process was Authentic Movement. Developed in the 1950s by Jungian analyst, Mary Starks Whitehouse, it is a practice that relies on moving and being witnessed. As Brenda moved I, as witness, provided the space of containment and safety, both physical and psychological for the moving exploration to occur. It was in the intersubjective space between us that material arose that might otherwise remain held in the tissue. As Starks Whitehouse says: “Movement, to be experienced, has to be ‘found’ in the body, not put on like a dress or a coat […] it is that which can liberate us” (53). This practice gave Brenda the creative and therapeutic space to explore her experience. In crafting the work I guided Brenda’s movement and emotional states through improvisation and experimentation. In paying close attention to the emergent language and meaning of the nuanced moving, I identified moments of creative potential. Risk and provocation, critical to the transformative act of contemporary performance making, was now possible.As Brenda and I moved to performance making, I was unable to maintain the relationship of client/practitioner. Shifting from the clear perimeters of client and practitioner to an arts practice entails risk. I felt I had to choose at specific moments in our work together to step across the line and transgress, though what it is I transgressed I’m now unsure of. I’ve allowed Brenda into my private realm; she’s shared meals with me, met my friends and partner and slept at my studio home. We’ve spent many hours together and the intimacy of the creative process and the material itself forged our friendship as well as the work. I don’t know if this intimacy was necessary to make this work with Brenda. It is what happened. Brenda’s story touched me deeply and I was participating in its evolution. The work is the result of our private work and our creative relationship, coloured by all its variables. Brenda’s experience of being raped as a child is the catastrophe that we mined to make aperture. The ordeal of this experience shaped her life and her relationships. Its aftermath destroyed her capacity to interact in the world with any agency. When someone has lost their voice and their agency how do we help them find it? During a private session in 2010, Brenda experienced re-stimulation of the trauma. This experience became the “aperture” through which Brenda’s healing has come about. She entered the wound and slowly found her voice and her agency. Both literally and metaphorically, Brenda found her self and her story gathered fleshed substance.The making and performing of aperture was a collaborative process made possible through Brenda’s deep desire for healing and understanding. She led and I followed. Sometimes the path felt perilous and yet it was in these moments that I also felt most certain. These were the risks critical for her realization and empowerment. In both the private and the performance work I practiced a state of love that was self-reflexive and dispassionate. In the moments of greatest distress and disturbance I felt a certainty that was irreducible. The dance we were in was one of survival and I felt the certainty of her innate capacity to survive, and my own capacity to follow her. This was not a certainty constructed of ideas but a felt experience based on every skill and nuance I embodied at that moment. I employed my whole life to work with Brenda and the work also moved my life. What I know and don’t yet know is present in aperture. I am privileged to have witnessed Brenda finding her way to “step into the light”, as Antonio Damasio would put it, and move “through a threshold that separates a protected but limiting shelter from the possibility and risk of a world beyond and ahead” (3).ConclusionThe work of traversing the landscape between private memory and public performance has taken us across some difficult terrain. The adoption of a creative approach has been intrinsic to the navigation of this terrain and central to the storying of this catastrophic experience. The creative process has coaxed, shaped and articulated the complexities and sensitivities of this experience in multiple ways, encouraging voice where once there was silence. This story now speaks and moves. ReferencesBainbridge Cohen, Bonnie. Sensing, Feeling, and Action: The Experiential Anatomy of Body-Mind Centering. 2nd ed. Northampton: Contact Editions, 2008. Bourgeouis, Louise. What Is the Shape of This Problem. Detail. 1999 Cixous, Helene. Coming to Writing and Other Essays. Ed. Jenson, Deborah. Cambridge: Harvard U P, 1991. Cohen, Bainbridge. Personal Communication. 28 Jun. 1995.Damasio, Antonio. The Feeling of What Happens. London: Heinemann & Vintage, 2000. Hay, Deborah. Personal Communication. 20 Jul. 1985.Neville, Phoebe. Personal Communication. 4 Jul. 1996.Pollock, Della. "Introduction: Remembering." Remembering: Oral History Performance. Ed. Pollock, Della. Gordonsville: Palgrave Macmillan, 2005. 1-17.Spry, Tami. Body, Paper, Stage: Writing and Performing Autoethnography. Walnut Creek: Left Coast, 2011. Starks Whitehouse, Mary. "Physical Movement and Personality (1963)." Authentic Movement: A Collection of Essays by Mary Starks Whitehouse, Janet Adler & Joan Chodrow. Ed. Pallaro, Patrizia. London: J. Kingsley, 1999. 51-57.

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Culture defines itself not only by what is contained within but by what is outside its boundaries as well. Sesame Street's refrain of 'one of these things is not like the other, one of these things does not belong' articulates this creation of boundaries. However, boundaries are not static. Boundaries, and thus cultures, are ever-changing. The decision of 'one of these things does not belong' is always being evaluated and redefined through cultural processes. One of the most obvious processes and signifiers of the visual boundaries of culture is clothing. Clothing maps bodies. Clothing maps culture. Clothing maps boundaries. The visual boundaries of culture have traditionally been placed onto the body with clothing. Fashion and national costume establish both similarities and dissimilarities. While costumes are seemingly frozen in contrast to the supposed vagaries of fashion, both produce bodies of knowledge. However, in Western cultures especially, national costumes project a supposed cultural sameness on the iconographic level that fashion does not. Instead of examining culture per se, this essay will briefly look at ways in which the boundaries of culture are placed and replaced on bodies by costume. Clothing maps bodies. Clothing maps culture. Clothing maps boundaries. The visual boundaries of culture have traditionally been placed onto the body with clothing. Fashion and national costume establish both similarities and dissimilarities. While costumes are seemingly frozen in contrast to the supposed vagaries of fashion, both produce bodies of knowledge. However, in Western cultures especially, national costumes project a supposed cultural sameness on the iconographic level that fashion does not. Instead of examining culture per se, this essay will briefly look at ways in which the boundaries of culture are placed and replaced on bodies by costume. Costumes depend upon certain cultural knowledges and body techniques to be worn properly. Therefore, it is not the clothing itself but how it is worn that makes it cultural. It is for this reason that costume, as symbolic shorthand, often seems exotic or even ridiculous. Wearing a costume depends upon body techniques that change much more quickly than the veneer of cultural iconography that the costumes produce. Thus, 'it's a small world after all' is placed in the 'fantasyland' section of Disneyland; neither in the past, present or future. Not surprisingly, the fantastic and ridiculous are also the exotic 'Other'. While costumes such as kimono, dirndl and military uniforms are understood as national costumes, my definition of costumes in the cultural mapping process is much broader. Costumes serve as iconography on a broad cultural level so that not only do they help define the borders of culture -- either physically or symbolically -- they often seem to stand in for it in its absence as well. The very thing that represents difference -- in this case costume -- is the very thing that is pointed to as the difference. Outside the boundaries of one culture, the 'one of these things does not belong' is reduced to representing all that is different (and so exotic and ridiculous) about the 'Other' culture. Thus, costumes help constitute culture just as they threaten to displace it. However, costume culture is continually suppressed by its own insistent excess that makes it so appealing for cultural iconography in the first place. Few costumes have been exoticised by Western culture as much as Asian clothing. Often one piece of clothing, such as the cheongsam or kimono, supposedly metonymically represents all Asian culture. However, even within Asian culture, these costumes are used to define boundaries. Specifically, kimonos compartmentalise cultural display both within and outside of Japanese culture. Within Japanese culture, a decision to wear kimono is not casual. Kimono-clad women on a Japanese street reflect neither the nonchalance of Hindu housewives in saris nor the set-piece sentimentality of Heidis-in-dirndls. To wear kimono is, inevitably, to make a statement; Kimono equally inescapably mark the boundary of the foreign. Despite the inspiration that the European couturiers periodically rediscover in the kimono tradition, despite the ready-to-wear boutique 'kimona' and low-end lingerie in American import stores, the fact is that no foreigner can wear a kimono without looking silly, at least to the Japanese. (Dalby 112-3) While most Western bodies do not conform to the body techniques of the kimono, neither do many contemporary Japanese bodies. Costumes are often ridiculous or exotic even in their own culture and this serves a specific function. As opposed to fashion, costumes are defined by their static and unchanging exoticism. Indeed, costumes are exotic even within the culture they represent. Costumes are cultural repositories; they are antiquated, outmoded images of a nostalgised past. Costumes communicate victories and triumphs made quaint. Costumes are the G-rated version of cultures past that should have been. When the past seems comfortably ridiculous, as proven in the excessively mannered appearances of national costumes, the boundaries of contemporary body mapping are naturalised. The exoticness of discarded body techniques and modes of display upon which costumes depend, suddenly make the present seem all the more sophisticated and relevant in comparison. Inevitably, this process works to create boundaries between cultures both past and present. While one's own cultural costumes may seem a little silly they also connote a cultural (and costumed) past. Thus, other cultures (vis-à-vis their costumes) are positioned as sillier -- the memory they embody is different -- and so other costumes become caricature not memory because of this difference. This process of caricaturing other cultures can be understood as a transition discourse1. Transition discourses are the processes of temporary cultures that are essential to explain change. Thus, transition discourses are also the temporary mannerisms and body techniques of 'habitus': "'Habitus' refers to specialised techniques and ingrained knowledges which enable people to negotiate the different departments of existence" (Craik 4). Like fashion, costumes can be understood as transition discourses. Fashion, as a transition discourse, is an important temporal indicator of negotiations in popular culture. Fashion, understood as ever-changing, is an obvious example of a transition discourse. However, costume -- despite its seeming inertia -- is also a transition discourse. Clearly, this was and is the case in Hollywood. The costumes used to portray racial and ethnic stereotyping (e.g. the collective condensing of all Asians into one costume or 'yellowface') change regularly to correspond with current cultural prejudices. This continuously creates and re-creates 'Other' bodies and other cultures. In this process of 'Othering', cultures create themselves as well. Thus, the reductive aspects of transition discourses are also productive. Daniel Roche points out in his book, The Culture of Clothing, that national costume -- specifically the military uniform -- is continually placed and replaced onto bodies in productive ways. Uniform, along with the cogneries of military discipline procedures, should not be seen only in terms of docility and repression, or ideological instrumentality. It creates through education, realises a personage and affirms a political project by demonstrating omnipotence. (Roche 229) Costumes do not only discipline and regulate the body, they also produce new bodies as old transition discourses are discarded. The physical costume may remain the same but, like the body, its techniques change. Thus, the cultural past is continuously refigured for the cultural present with transition discourses such as national costume. Costumes define changing borders and boundaries of culture. In particular, costumes often visually signify how the foreign is made familiar and vice versa. Costumes in the early musical Footlight Parade clearly show how costumes act as transition discourses to refigure 'Other' bodies. In the Shanghai Lil' finale of Footlight Parade, James Cagney plays a sailor looking for his Asian whor*, Shanghai Lil'. Cagney searches for her throughout Shanghai's port bars and opium dens. Eventually he finds his Shanghai Lil', in racist 'yellowface' make-up: Ruby Keeler. They express their joy together through tap. First, they dance separately, then in sync. Again, like in Disneyland's 'it's a small worldafter all', while their costumes show their differences (he wears a tuxedo and top hat while she wears a satin cheongsam pyjama set and Princess Leia hair), their dancing proves their sameness. The Shanghai Lil' number is a famous Busby Berkeley dance sequence which culminates with Cagney being called back to his ship. Marching soldiers fill the screen as Chinese prostitutes and opium addicts suddenly join ranks and wave American flags as the soldiers march by. Much is made in this sequence of the disciplined male body. The men parade and the women watch. Keeler, however, breaks ranks to try and join Cagney on his ship. At this point, everything about Keeler's character is ridiculous because she is not American. First, her 'yellowface' make-up and broken speech caricature the Chinese culture she represents. Secondly, her assumption that they will live together on his naval vessel is made ridiculous as she pushes herself through the dark navy formations of the sailors in her pastel satin costume. Finally, Keeler's character is made ridiculous by her body techniques. A soldier slams his rifle down on Keeler's foot as she stands in the middle of the military formation. Keeler grabs her foot, winces and makes faces. In fact, it is at this point that Keeler drops the racist Asian persona and responds like an American. Earlier in the sequence, the number foreshadows this possibility with an Asian sailor and some prostitutes speaking in American accents. This productive rather than reductive result is what allows Keeler to be transformed from 'not like the others' to 'one of these things'. Keeler's actions are in contrast to her costume and necessitate a new transition discourse to allow for the romantic conclusion of her relationship with Cagney. It is at this point that a series of marching chorus girls in short, short cheongsams and white, plastic coolie hats overtake Keeler. Costume has transformed the prostitutes and addicts into patriots and thus into the paradoxical sameness evident in 'it's a small world after all'. The 'coolie' chorus joins the sailors in parade. Together the chorus girls and the sailors form an American flag and then a picture of President Roosevelt's face. Finally, they reform to create the triumphant American eagle shooting puffs of smoke and puffs of their symbolic victory. The undesirables have been assimilated, new bodies and new cultures have been produced even though they wear costumes that signify their difference. Clearly, at this point, the Chinese-ness of the prostitutes has been rehabilitated through the ridiculous excess of their new costumes. The 'Chinese girls' (the white female chorus in racial drag) change from a dangerous and uncontrolled foreignness to a more familiar stereotyped and ridiculous 'Other'. At the same time, the 'coolie' costumes rehabilitate the excess of the marching sailors by naturalising the American sailor costumes. While the sailor uniform has disciplined Cagney's previously drunken fop (the previously drunk Cagney is suddenly sober when in uniform), the uniform also produces a new persona for Keeler. In the last few seconds of the number, Cagney marches off with the other sailors to his ship. However, as they reach the ship Cagney and Keeler turn to wink at the camera and reveal that Keeler is masquerading in a sailor costume. Keeler's sameness, previously indicated by her body techniques (her tap dancing), can transcend her difference. However, cross-dressed in a sailor uniform, she is still signified as a transgressor. Cultural boundaries need to be changed before she can be accepted. It is a simple card trick that reveals this change of boundaries. A card trick, a children's amusem*nt, makes this change of boundaries seem simple and inevitable which again naturalises Cagney and Keeler's union. Cagney gestures to Keeler to watch as he flips through a deck of cards. The movement of the cards animates a tiny ship that puffs big billows of smoke and zigzags into an empty white space. It is a place without borders where puffs of smoke again signify victory over difference. Again, costume is used to insist on the paradox of difference and sameness. Again, culture is displaced onto costume and transition discourses. Sadly, it seems that it is a small world after all and the creation of boundaries as a way of defining culture is ever-present. Footnotes Thanks to Jane Roscoe for coining the term 'transition discourse' recently. I hope I have successfully translated its meaning from conversation into theory. References Craik, Jennifer. The Face of Fashion: Cultural Studies in Fashion. London and New York: Routledge, 1994. Dalby, Lisa. Kimono: Fashioning Culture. New Haven & London: Yale UP, 1993. Footlight Parade. Dir. Lloyd Bacon. Warner Brothers, 1933. Roche, Daniel. The Culture of Clothing. Cambridge: Cambridge UP, 1996. Citation reference for this article MLA style: Nadine Wills. "Clothing Borders: Transition Discourses, National Costumes and the Boundaries of Culture." M/C: A Journal of Media and Culture 3.2 (2000). [your date of access] <http://www.api-network.com/mc/0005/clothing.php>. Chicago style: Nadine Wills, "Clothing Borders: Transition Discourses, National Costumes and the Boundaries of Culture," M/C: A Journal of Media and Culture 3, no. 2 (2000), <http://www.api-network.com/mc/0005/clothing.php> ([your date of access]). APA style: Nadine Wills. (2000) Clothing borders: transition discourses, national costumes and the boundaries of culture. M/C: A Journal of Media and Culture 3(2). <http://www.api-network.com/mc/0005/clothing.php> ([your date of access]).

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Renew is an awkward word. Its prefix seems to make its idea of something 'new' impossible. And everyday experience further underlines the contradiction. My first memory of using the word 'renew' was related to the anxiety of library overdue books: renewing those books was a pragmatic way to avoid the impending fines. This is a useful starting point for pondering any cultural moment of renewal. Renew describes the impetus towards change while acknowledging the past's weighted effect on producing any transformation. It articulates a challenged continuity rather than a break or discontinuity with a particular past. Where I would like to take this idea of renewal is into the realm of cultural studies and its continuing intellectual project through two efforts or essays. Essay 1: Recombinant Culture There are no doubt many ways to characterise the value of cultural studies. What I want to emphasise here is how cultural studies worked to transform the basic conceptualisation of culture itself. These are familiar paths but to identify some of the principal intellectual traits for rethinking and fundamentally renewing the definition of culture: the contested terrain of the popular; the hegemonic restructuring of culture through winning and building of consent as a moving and transforming force; and the concentration on the making of the "other" and the "other's" process of piecing together cultural sense Through all these paths the real power of cultural studies has been its ability to migrate into disciplines and work to renew their internal directions through challenge. Although naturalised homes for cultural studies have been found in media and communication programmes, this has been partly possible through their roughly contemporaneous emergence and partly through this sister intellectual project's capacity to deal seriously with popular culture. Where renewal has been more brazenly articulated is in sites such as geography and its turn to culture and space issues, English and its transformation of its object of study, or musicology with its rereading of popular music and its cadence of cultural meaning and, to a lesser extent sociology and history. What cultural studies has been is a migrating source of renewal across the humanities and social sciences. The core of cultural studies, which is much more difficult to define except in a listing of key concepts and strategies of cultural engagement through intellectual work (of which I provided only a partial list above), has not necessarily gone through this same pattern of renewal over the last 20 years. What I would like to propose here is a moment of rethinking what constitutes cultural studies. This goes beyond Richard Johnson's historical reading of what is cultural studies. Using a new metaphor to describe its approach may begin this renewal of the core. Cultural studies can be rearticulated in terms of its capacity at recombining. As I have indicated, cultural studies has worked to juxtapose its redefinitions of the cultural against and over these 19th century disciplines and has produced quite dramatic shifts in approaches within the disciplines and across the disciplines. Recombining then is the intellectual practice of cultural studies. It generally analyses the form of recombinations that emerge on the contemporary scene. Some have labelled this process hybridisation -- the work of Iain Chambers and Lydia Curti identifies the movements through borders and boundaries both physical and psychical. As a practice, cultural studies can debate and discuss the moments of rupture of the continuous (what previous approaches might call the ideological and naturalised veneer of historical continuity), but with the comprehension of how the rupture negotiates with the past and its ideological weight. In other words, cultural studies' practice is one of perpetual renewal through its study of recombinant culture. These moments of recombination can be seen in the structure of identity and cultural politics, where the stable structures of identity serve as much as political tactics as structures. Most visibly, recombinant culture can be the way to understand how new technologies are used and reformed through use by different cultural communities. Popular music provides a model for this continuous flow of recombining for both renewal and a shifted cultural significance. Sounds are sampled; past songs are layered into a significantly different music and use in current dance music. Recombinant culture may also be studied from the perspective of cultural industries and their efforts to incorporate new technologies into different forms in order to reconstitute audiences in ways that in their distinctiveness produce value that is exchangeable as capital. Understanding the constant negotiation of recombinant culture is where cultural studies should relocate its energies and renew its vitality. Essay 2: Refocussing on Cultural Production One of the successes of cultural studies is its well-developed reading of the practices of reception. The active audience approach has led to understanding how audiences use and contextualise cultural forms. Specifically studies in television, popular music and, to a lesser degree, film have benefitted from this rereading of popular culture and audiences. Clearly underdeveloped in cultural studies is an analysis of production. Yet the massive work on the active audience approach is fundamentally a study of cultural production, albeit in the terminology of reception. What is embedded in the active audience reading of cultural forms is the audience's will to produce the text. This reproduction of the text by the audience not only transforms the text, but also points to the very desire (by cultural studies' research itself in the same way that the researcher's reading of a subculture's political and cultural will was refracted through sartorial style and a cultural politics of street appropriation) for the will to produce in the audience. There is a moment in our recombinant culture that certain technologies have intensified the will to produce, if not production itself. The Internet and the World Wide Web have provided cultural studies a clear shift towards a production ethos that has altered the formal boundaries of what constitutes production. The user of the Internet actively plays the role of producer and audience, not just in terms of a heightened pattern of interactivity but in the regularity and routineness with which Websites appear as part of the general system of cultural production. Because all Websites are distributed and disseminated in one system or network the delineations that used to give television networks their nearly exclusive voice and image of authority are not as easily made via the Internet. This moment of production flux and the cultural politics it has generated is already contested as large media corporations work to differentiate content and "quality" so that websites are hierarchised into different registers of cultural value. What I am arguing for here is a renewal of study that now looks at a different starting point in the cycles of production and consumption for cultural studies. Production in this recombinant culture always implies a process of reception and recontextualisation of the past meanings into current objectives and directions. Cultural studies needs to investigate this current blending of production and consumption more vigorously. For instance, how does Napster shift the play of the production outwards into a myriad of possible recombining producer/consumers who make their music available for others? How is the large music publisher Bertelsmann engaging in a process of capitalising in some way on this process of dissemination through their negotiations with Napster? We are seeing enacted in this one case the changing landscape of cultural production and cultural consumption where the product, the property and the service are no longer clearly defined in either industrially or culturally agreed-upon standards. New media culture in general is operating on different criteria of cultural production and cultural consumption: products seem to be continually in process and in that process include their consumers into the process of production. This is clearly evident in the development of computer games as they include their core "audience" in transforming and improving their "product". The digitalisation of cultural forms has permitted the development of "soft-products": that is, products that can be changed and recombined and are therefore not so easily end-products but as entities are continually in process. Because cultural studies has such a well-developed understanding of the process of the transformation of meaning through its study of active reception, it is particularly valuable in interpreting how this recombinant culture is operating in and through new technologies. In a sense, cultural studies can be deployed in making sense of this transformed cultural economy. Through a shift in focus from consumption to production (but fundamentally working with the same insights about cultural meaning, activity and production), the intellectual project of cultural studies can successfully renew itself. Citation reference for this article MLA style: P. David Marshall. "Renewing Cultural Studies." M/C: A Journal of Media and Culture 3.6 (2000). [your date of access] <http://www.api-network.com/mc/0012/studies.php>. Chicago style: P. David Marshall, "Renewing Cultural Studies," M/C: A Journal of Media and Culture 3, no. 6 (2000), <http://www.api-network.com/mc/0012/studies.php> ([your date of access]). APA style: P. David Marshall. (2000) Renewing Cultural Studies. M/C: A Journal of Media and Culture 3(6). <http://www.api-network.com/mc/0012/studies.php> ([your date of access]).

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Jamming culture has become associated with digital manipulation and reuse of materials. As well, the term jamming has long been used by musicians (and other performers) to mean improvisation, especially in collaborative situations. A practice that gets to the heart of both these meanings is live coding; where digital content (music and/or visuals predominantly) is created through computer programming as a performance. During live coding performances digital content is created and presented in real time. Normally the code from the performers screen is displayed via data projection so that the audience can see the unfolding process as well as see or hear the artistic outcome. This article will focus on live coding of music, but the issues it raises for jamming culture apply to other mediums also. Live coding of music uses the computer as an instrument, which is “played” by the direct construction and manipulation of sonic and musical processes. Gestural control involves typing at the computer keyboard but, unlike traditional “keyboard” instruments, these key gestures are usually indirect in their effect on the sonic result because they result in programming language text which is then interpreted by the computer. Some live coding performers, notably Amy Alexander, have played on the duality of the keyboard as direct and indirect input source by using it as both a text entry device, audio trigger, and performance prop. In most cases, keyboard typing produces notational description during live coding performances as an indirect music making, related to what may previously have been called composing or conducting; where sound generation is controlled rather than triggered. The computer system becomes performer and the degree of interpretive autonomy allocated to the computer can vary widely, but is typically limited to probabilistic choices, structural processes and use of pre-established sound generators. In live coding practices, the code is a medium of expression through which creative ideas are articulated. The code acts as a notational representation of computational processes. It not only leads to the sonic outcome but also is available for reflection, reuse and modification. The aspects of music described by the code are open to some variation, especially in relation to choices about music or sonic granularity. This granularity continuum ranges from a focus on sound synthesis at one end of the scale to the structural organisation of musical events or sections at the other end. Regardless of the level of content granularity being controlled, when jamming with code the time constraints of the live performance environment force the performer to develop succinct and parsimonious expressions and to create processes that sustain activity (often using repetition, iteration and evolution) in order to maintain a coherent and developing musical structure during the performance. As a result, live coding requires not only new performance skills but also new ways of describing the structures of and processes that create music. Jamming activities are additionally complex when they are collaborative. Live Coding performances can often be collaborative, either between several musicians and/or between music and visual live coders. Issues that arise in collaborative settings are both creative and technical. When collaborating between performers in the same output medium (e.g., two musicians) the roles of each performer need to be defined. When a pianist and a vocalist improvise the harmonic and melodic roles are relatively obvious, but two laptop performers are more like a guitar duo where each can take any lead, supportive, rhythmic, harmonic, melodic, textual or other function. Prior organisation and sensitivity to the needs of the unfolding performance are required, as they have always been in musical improvisations. At the technical level it may be necessary for computers to be networked so that timing information, at least, is shared. Various network protocols, most commonly Open Sound Control (OSC), are used for this purpose. Another collaboration takes place in live coding, the one between the performer and the computer; especially where the computational processes are generative (as is often the case). This real-time interaction between musician and algorithmic process has been termed Hyperimprovisation by Roger Dean. Jamming cultures that focus on remixing often value the sharing of resources, especially through the movement and treatment of content artefacts such as audio samples and digital images. In live coding circles there is a similarly strong culture of resource sharing, but live coders are mostly concerned with sharing techniques, processes and tools. In recognition of this, it is quite common that when distributing works live coding artists will include descriptions of the processes used to create work and even share the code. This practice is also common in the broader computational arts community, as evident in the sharing of flash code on sites such as Levitated by Jared Tarbell, in the Processing site (Reas & Fry), or in publications such as Flash Maths Creativity (Peters et al.). Also underscoring this culture of sharing, is a prioritising of reputation above (or prior to) profit. As a result of these social factors most live coding tools are freely distributed. Live Coding tools have become more common in the past few years. There are a number of personalised systems that utilise various different programming languages and environments. Some of the more polished programs, that can be used widely, include SuperCollider (McCartney), Chuck (Wang & Cook) and Impromptu (Sorensen). While these environments all use different languages and varying ways of dealing with sound structure granularity, they do share some common aspects that reveal the priorities and requirements of live coding. Firstly, they are dynamic environments where the musical/sonic processes are not interrupted by modifications to the code; changes can be made on the fly and code is modifiable at runtime. Secondly, they are text-based and quite general programming environments, which means that the full leverage of abstract coding structures can be applied during live coding performances. Thirdly, they all prioritise time, both at architectural and syntactic levels. They are designed for real-time performance where events need to occur reliably. The text-based nature of these tools means that using them in live performance is barely distinguishable from any other computer task, such as writing an email, and thus the practice of projecting the environment to reveal the live process has become standard in the live coding community as a way of communicating with an audience (Collins). It is interesting to reflect on how audiences respond to the projection of code as part of live coding performances. In the author’s experience as both an audience member and live coding performer, the reception has varied widely. Most people seem to find it curious and comforting. Even if they cannot follow the code, they understand or are reassured that the performance is being generated by the code. Those who understand the code often report a sense of increased anticipation as they see structures emerge, and sometimes opportunities missed. Some people dislike the projection of the code, and see it as a distasteful display of virtuosity or as a distraction to their listening experience. The live coding practitioners tend to see the projection of code as a way of revealing the underlying generative and gestural nature of their performance. For some, such as Julian Rohrhuber, code projection is a way of revealing ideas and their development during the performance. “The incremental process of livecoding really is what makes it an act of public reasoning” (Rohrhuber). For both audience and performer, live coding is an explicitly risky venture and this element of public risk taking has long been central to the appreciation of the performing arts (not to mention sport and other cultural activities). The place of live coding in the broader cultural setting is still being established. It certainly is a form of jamming, or improvisation, it also involves the generation of digital content and the remixing of cultural ideas and materials. In some ways it is also connected to instrument building. Live coding practices prioritise process and therefore have a link with conceptual visual art and serial music composition movements from the 20th century. Much of the music produced by live coding has aesthetic links, naturally enough, to electronic music genres including musique concrète, electronic dance music, glitch music, noise art and minimalism. A grouping that is not overly coherent besides a shared concern for processes and systems. Live coding is receiving greater popular and academic attention as evident in recent articles in Wired (Andrews), ABC Online (Martin) and media culture blogs including The Teeming Void (Whitelaw 2006). Whatever its future profile in the boarder cultural sector the live coding community continues to grow and flourish amongst enthusiasts. The TOPLAP site is a hub of live coding activities and links prominent practitioners including, Alex McLean, Nick Collins, Adrian Ward, Julian Rohrhuber, Amy Alexander, Frederick Olofsson, Ge Wang, and Andrew Sorensen. These people and many others are exploring live coding as a form of jamming in digital media and as a way of creating new cultural practices and works. References Andrews, R. “Real DJs Code Live.” Wired: Technology News 6 July 2006. http://www.wired.com/news/technology/0,71248-0.html>. Collins, N. “Generative Music and Laptop Performance.” Contemporary Music Review 22.4 (2004): 67-79. Fry, Ben, and Casey Reas. Processing. http://processing.org/>. Martin, R. “The Sound of Invention.” Catapult. ABC Online 2006. http://www.abc.net.au/catapult/indepth/s1725739.htm>. McCartney, J. “SuperCollider: A New Real-Time Sound Synthesis Language.” The International Computer Music Conference. San Francisco: International Computer Music Association, 1996. 257-258. Peters, K., M. Tan, and M. Jamie. Flash Math Creativity. Berkeley, CA: Friends of ED, 2004. Reas, Casey, and Ben Fry. “Processing: A Learning Environment for Creating Interactive Web Graphics.” International Conference on Computer Graphics and Interactive Techniques. San Diego: ACM SIGGRAPH, 2003. 1. Rohrhuber, J. Post to a Live Coding email list. livecode@slab.org. 10 Sep. 2006. Sorensen, A. “Impromptu: An Interactive Programming Environment for Composition and Performance.” In Proceedings of the Australasian Computer Music Conference 2005. Eds. A. R. Brown and T. Opie. Brisbane: ACMA, 2005. 149-153. Tarbell, Jared. Levitated. http://www.levitated.net/daily/index.html>. TOPLAP. http://toplap.org/>. Wang, G., and P.R. Cook. “ChucK: A Concurrent, On-the-fly, Audio Programming Language.” International Computer Music Conference. ICMA, 2003. 219-226 Whitelaw, M. “Data, Code & Performance.” The Teeming Void 21 Sep. 2006. http://teemingvoid.blogspot.com/2006/09/data-code-performance.html>. Citation reference for this article MLA Style Brown, Andrew R. "Code Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/03-brown.php>. APA Style Brown, A. (Dec. 2006) "Code Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/03-brown.php>.

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Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic description]) are resisted in the interests of the quiddity and discreteness of art, the space that each work or action creates around itself. – Ihab Hassan Ihab Hassan’s words, published in 1975, continue to resonate today. How should we approach art? Can an artwork ever really fully be described by its critical review, or does its description only lead to an ever multiplying succession of terms? Michel Foucault spoke of the construction of modern sexuality as being seen as the hidden, irresolvable “truth” of our subjectivity, as that secret which we must constantly speak about, and hence as an “incitement to discourse” (Foucault, History of Sexuality). Since the Romantic period, the appreciation of aesthetics has been tied to the subjectivity of the individual and to the degree an art work appeals to the individual’s sense of self: to one’s personal refinement, emotions and so on. Art might be considered part of the truth of our subjectivity which we seem to be endlessly talking about – without, however, actually ever resolving the issue of what a great art work really is (anymore than we have resolved the issue of what natural sexuality is). It is not my aim to explicate the relationship between art and sex but to re-inject a strategic understanding of discourse, as Foucault understood it, back into commonplace, contemporary aesthetic criticism. The problems in rendering into words subjective, emotional experiences and formal aesthetic criteria continue to dog criticism today. The chief hindrances to contemporary criticism remain such institutional factors as the economic function of newspapers. Given their primary function as tools for the selling of advertising space, newspapers are inherently unsuited to sustaining detailed, informed dialogue on any topic – be it international politics or aesthetics. As it is, reviews remain short, quickly written pieces squeezed into already overloaded arts pages. This does not prevent skilled, caring writers and their editorial supporters from ensuring that fine reviews are published. In the meantime, we muddle through as best we can. I argue that criticism, like art, should operate self-consciously as an incitement to discourse, to engagement, and so to further discussion, poetry, et cetera. The possibility of an endless recession of theoretical terms and subjective responses should not dissuade us. Rather, one should provisionally accept the instrumentality of aesthetic discourse provided one is able always to bear in mind the nominalism which is required to prevent the description of art from becoming an instrument of repression. This is to say, aesthetic criticism is clearly authored in order to demonstrate something: to argue a point, to make a fruitful comparison, and so on. This does not mean that criticism should be composed so as to dictate aesthetic taste to the reader. Instead, it should act as an invitation to further responses – much as the art work itself does. Foucault has described discourse – language, terminologies, metaphorical conceits and those logical and poetic structures which underpin them – as a form of technology (Foucault, Archaeology of Knowledge and History of Sexuality). Different discursive forces arise in response to different cultural needs and contexts, including, indeed, those formulated not only by artists, but also by reviewers. As Hassan intimates, what is or is not “postmodernism”, for example, depends less on the art work itself – it is less a matter of an art work’s specific “quiddity” and its internal qualities – but is, rather, fundamentally dependent upon what one is trying to say about the piece. If one is trying to describe something novel in a work, something which relates it to a series of new or unusual forms which have become dominant within society since World War Two, then the term “postmodernism” most usefully applies. This, then, would entail breaking down the “the space that each work … creates around itself” in order to emphasise horizontal “continuities”. If, on the other hand, the critic wishes to describe the work from the perspective of historical developments, so as to trace the common features of various art works across a genealogical pattern running from Romanticism to the present day, one must de-emphasise the quiddity of the work in favour of vertical continuities. In both cases, however, the identification of common themes across various art works so as to aid in the description of wider historical or aesthetic conditions requires a certain “abstraction” of the qualities of the aesthetic works in question. The “postmodernism”, or any other quality, of a single art work thus remains in the eye of the beholder. No art work is definitively “postmodern” as such. It is only “postmodern” inasmuch as this description aids one in understanding a certain aspect of the piece and its relationship to other objects of analysis. In short, the more either an art work or its critical review elides full descriptive explication, the more useful reflections which might be voiced in its wake. What then is the instrumental purpose of the arts review as a genre of writing? For liberal humanist critics such as Matthew Arnold, F.R. Leavis and Harold Bloom, the role of the critic is straight forward and authoritative. Great art is said to be imbued with the spirit of humanity; with the very essence of our common subjectivity itself. Critics in this mode seek the truth of art and once it has been found, they generally construct it as unified, cohesive and of great value to all of humanity. The authors of the various avant-garde manifestoes which arose in Europe from the fin de siècle period onwards significantly complicated this ideal of universal value by arguing that such aesthetic values were necessarily abstract and so were not immediately visible within the content of the work per se. Such values were rather often present in the art work’s form and expression. Surrealism, Futurism, Supremacism, the Bauhaus and the other movements were founded upon the contention that these avant-garde art works revealed fundamental truths about the essence of human subjectivity: the imperious power of the dream at the heart of our emotional and psychic life, the geometric principles of colour and shape which provide the language for all experience of the sublime, and so on. The critic was still obliged to identify greatness and to isolate and disseminate those pieces of art which revealed the hidden truth of our shared human experience. Few influential art movements did not, in fact, have a chief theoretician to promote their ideals to the world, be it Ezra Pound and Leavis as the explicators of the works of T.S. Eliot, Martin Esslin for Beckett, or the artist her or himself, such as choreographers Martha Graham or Merce Cunningham, both of whom described in considerable detail their own methodologies to various scribes. The great challenge presented in the writings of Foucault, Derrida, Hassan and others, however, is to abandon such a sense of universal aesthetic and philosophical value. Like their fellow travellers within the New Left and soixante huit-ièmes (the agitators and cultural critics of 1968 Paris), these critics contend that the idea of a universal human subjectivity is problematic at best, if not a discursive fiction, which has been used to justify repression, colonialism, the unequal institutional hierarchies of bourgeois democratic systems, and so on. Art does not therefore speak of universal human truths. It is rather – like aesthetic criticism itself – a discursive product whose value should be considered instrumentally. The kind of a critical relationship which I am proposing here might provisionally be classified as discursive or archaeological criticism (in the Foucauldian sense of tracing discursive relationships and their distribution within any given cross-section or strata of cultural life). The role of the critic in such a situation is not one of acknowledging great art. Rather, the critic’s function becomes highly strategic, with interpretations and opinions regarding art works acting as invitations to engagement, consideration and, hence, also to rejection. From the point of view of the audience, too, the critic’s role is one of utility. If a critical description prompts useful, interesting or pleasurable reflections in the reader, then the review has been effective. If it has not, it has no role to play. The response to criticism thus becomes as subjective as the response to the art work itself. Similarly, just as Marcel Duchamp’s act of inverting a urinal and calling it art showed that anyone could be an artist provided they adopted a suitably creative vision of the objects which surrounded them, so anyone and everyone is a legitimate critic of any art work addressed to him or her as an audience. The institutional power accorded to critics by merit of the publications to which they are attached should not obfuscate the fact that anyone has the moral right to venture a critical judgement. It is not actually logically possible to be “right” or “wrong” in attributing qualities to an art work (although I have had artists assert the contrary to me). I like noise art, for example, and find much to stimulate my intellect and my affect in the chaotic feedback characteristic of the work of Merzbow and others. Many others however simply find such sounds to constitute unpleasant noise. Neither commentator is “right”. Both views co-exist. What is important is how these ideas are expressed, what propositions are marshalled to support either position, and how internally cohesive are the arguments supplied by supporters of either proposition. The merit of any particular critical intervention is therefore strictly formal or expressive, lying in its rhetorical construction, rather than in the subjective content of the criticism itself, per se. Clearly, such discursive criticism is of little value in describing works devised according to either an unequivocally liberal humanist or modernist avant-garde perspective. Aesthetic criticism authored in this spirit will not identify the universal, timeless truths of the work, nor will it act as an authoritative barometer of aesthetic value. By the same token though, a recognition of pluralism and instrumentality does not necessarily entail the rejection of categories of value altogether. Such a technique of aesthetic analysis functions primarily in the realm of superficial discursive qualities and formal features, rather than subterranean essences. It is in this sense both anti-Romantic and anti-Platonic. Discursive analysis has its own categories of truth and evaluation. Similarities between works, influences amongst artists and generic or affective precedents become the primary objects of analysis. Such a form of criticism is, in this sense, directly in accord with a similarly self-reflexive, historicised approach to art making itself. Where artists are consciously seeking to engage with their predecessors or peers, to find ways of situating their own work through the development of ideas visible in other cultural objects and historic aesthetic works, then the creation of art becomes itself a form of practical criticism or praxis. The distinction between criticism and its object is, therefore, one of formal expression, not one of nature or essence. Both practices engage with similar materials through a process of reflection (Marshall, “Vertigo”). Having described in philosophical and critical terms what constitutes an unfettered, democratic and strategic model of discursive criticism, it is perhaps useful to close with a more pragmatic description of how I myself attempt to proceed in authoring such criticism and, so, offer at least one possible (and, by definition, subjective) model for discursive criticism. Given that discursive analysis itself developed out of linguistic theory and Saussure’s discussion of the structural nature of signification, it is no surprise that the primary methodology underlying discursive analysis remains that of semiotics: namely how systems of representation and meaning mutually reinforce and support each other, and how they fail to do so. As a critic viewing an art work, it is, therefore, always my first goal to attempt to identify what it is that the artist appears to be trying to do in mounting a production. Is the art work intended as a cultural critique, a political protest, an avant-garde statement, a work of pure escapism, or some other kind of project – and hence one which can be judged according to the generic forms and values associated with such a style in comparison with those by other artists who work in this field? Having determined or intuited this, several related but nominally distinct critical reflections follow. Firstly, how effectively is this intent underpinning the art work achieved, how internally consistent are the tools, forms and themes utilised within the production, and do the affective and historic resonances evoked by the materials employed therein cohere into a logical (or a deliberately fragmented) whole? Secondly, how valid or aesthetically interesting is such a project in the first place, irrespective of whether it was successfully achieved or not? In short, how does the artist’s work compare with its own apparent generic rules, precedents and peers, and is the idea behind the work a contextually valid one or not? The questions of value which inevitably come into these judgements must be weighed according to explicit arguments regarding context, history and genre. It is the discursive transparency of the critique which enables readers to mentally contest the author. Implicitly transcendental models of universal emotional or aesthetic responses should not be invoked. Works of art should, therefore, be judged according to their own manifest terms, and, so, according to the values which appear to govern the relationships which organise materials within the art work. They should also, however, be viewed from a position definitively outside the work, placing the overall concept and its implicit, underlying theses within the context of other precedents, cultural values, political considerations and so on. In other words, one should attempt to heed Hassan’s caution that all art works may be seen both from the perspective of historico-genealogical continuities, as well as according to their own unique, self-defining characteristics and intentions. At the same time, the critical framework of the review itself – while remaining potentially dense and complex – should be as apparent to the reader as possible. The kind of criticism which I author is, therefore, based on a combination of art-historical, generic and socio-cultural comparisons. Critics are clearly able to elaborate more parallels between various artistic and cultural activities than many of their peers in the audience simply because it is the profession of the former to be as familiar with as wide a range of art-historical, cultural and political materials as is possible. This does not, however, make the opinions of the critic “correct”, it merely makes them more potentially dense. Other audiences nevertheless make their own connections, while spectators remain free to state that the particular parallels identified by the critic were not, to their minds, as significant as the critic would contend. The quantity of knowledge from which the critic can select does not verify the accuracy of his or her observations. It rather enables the potential richness of the description. In short, it is high time critics gave up all pretensions to closing off discourse by describing aesthetic works. On the contrary, arts reviewing, like arts production itself, should be seen as an invitation to further discourse, as a gift offered to those who might want it, rather than a Leavisite or Bloom-esque bludgeon to instruct the insensitive masses as to what is supposed to subjectively enlighten and uplift them. It is this sense of engagement – between critic, artist and audience – which provides the truly poetic quality to arts criticism, allowing readers to think creatively in their own right through their own interaction with a collaborative process of rumination on aesthetics and culture. In this way, artists, audiences and critics come to occupy the same terrain, exchanging views and constructing a community of shared ideas, debate and ever-multiplying discursive forms. Ideally, written criticism would come to occupy the same level of authority as an argument between an audience member and a critic at the bar following the staging of a production. I admit myself that even my best written compositions rarely achieve the level of playful interaction which such an environment often provokes. I nevertheless continue to strive for such a form of discursive exchange and bibulous poetry. References Apollonio, Umbro, ed. Futurist Manifestos. London: Thames and Hudson, 1973. Arnold, Matthew. Essays in Criticism. London: Macmillan, 1903-27, published as 2 series. Barthes, Roland. Mythologies. Trans. by Annette Lavers. London: Vintage, 1993. Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998. Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writings. Trans. by Edmund Jephcott. New York: Harcourt, 1978. Breton, André. Manifestoes of Surrealism. Trans. by Richard Seaver and Helen Lane. Ann Arbor: Michigan UP, 1972. Eliot, T.S. Collected Poems 1909-1962. London: Faber, 1963. Esslin, Martin. Theatre of the Absurd. Harmondsworth: Penguin, 1968. Foucault, Michel. The Archaeology of Knowledge. Trans. by A.M. Sheridan Smith. London: Tavistock, 1972. ———. The History of Sexuality: Volume I: An Introduction. Trans. by Robert Hurley. London: Penguin, 1990. f*ckuyama, Francis. The End of History and the Last Man. London: Penguin, 1992. Graham, Martha. Blood Memory. New York: Doubleday, 1991. Hassan, Ihab. “Joyce, Beckett and the Postmodern Imagination.” Triquarterly 32.4 (1975): 192ff. Jameson, Fredric. “Postmodernism, or the Cultural Dominant of Late Capitalism,” New Left Review 146 (1984): 53-92. Leavis, F.R. F.R. Leavis: Essays and Documents. Eds. Ian MacKillop and Richard Storer. Sheffield: Sheffield Academic Press, 1995. Malevich, Kazimir. In Penny Guggenheim, ed. Art of This Century – Drawings – Photographs – Sculpture – Collages. New York: Art Aid, 1942. Marshall, Jonathan. “Documents in Australian Postmodern Dance: Two Interviews with Lucy Guerin,” in Adrian Kiernander, ed. Dance and Physical Theatre, special edition of Australasian Drama Studies 41 (October 2002): 102-33. ———. “Operatic Tradition and Ambivalence in Chamber Made Opera’s Recital (Chesworth, Horton, Noonan),” in Keith Gallasch and Laura Ginters, eds. Music Theatre in Australia, special edition of Australasian Drama Studies 45 (October 2004): 72-96. ———. “Vertigo: Between the Word and the Act,” Independent Performance Forums, series of essays commissioned by Not Yet It’s Difficult theatre company and published in RealTime Australia 35 (2000): 10. Merzbow. Venereology. Audio recording. USA: Relapse, 1994. Richards, Alison, Geoffrey Milne, et al., eds. Pearls before Swine: Australian Theatre Criticism, special edition of Meajin 53.3 (Spring 1994). Tzara, Tristan. Seven Dada Manifestos and Lampisteries. Trans. by Barbara Wright. London: Calder, 1992. Vaughan, David. Merce Cunningham: Fifty Years. Ed. Melissa Harris. New York: Aperture, 1997. Citation reference for this article MLA Style Marshall, Jonathan. "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/08-marshall.php>. APA Style Marshall, J. (Oct. 2005) "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/08-marshall.php>.