Architecture, festival and the city: introduction

The theme of this issue of Architecture and Culture is “Architecture, Festival and the City.” Our aim has been to posit and to explore the relationship between festivals and their settings, in order to ask what constitutes festival in the contemporary city - what allows a traditional festival to endure, and how can a new festival become meaningful

Architecture, festival and the city: introduction.

The theme of this issue of Architecture and Culture is "Architecture, Festival and the City". Our aim has been to posit and to explore the relationship between festivals and their settings in order to ask what constitutes festival in the contemporary city?; what allows a traditional festival to endure?; how can a new festival become meaningful?; and what do we expect a festival to do? The papers originate from the fourteenth conference of the Architectural Humanities Research Association (AHRA), held at Birmingham City University in November 2017, which itself grew out of our own research interests – Christian Frost's in the persistence of the Florentine festival of San Giovanni and its significance as a representation of civic order; María José Martínez Sánchez's in the articulation of public and civic spaces through performance; and Jieling Xiao's in the sensory experience of public space. The papers examine festivals through a variety of different lenses – through history (architectural and otherwise), anthropology, literary theory, phenomenological hermeneutics, and performance theory, to name the most prominent. Collectively, they explore the genesis of festivals and their continuity – often brought about, paradoxically, through changes to traditions, changes resulting from historical events. The importance of the specific temporality and the liminal status of festivals is made clear through discussions particularly of contemporary festive events, in which boundaries between "public" and "private" are frequently called into question. These themes, of festival and tradition, festival and time, festival and place, guided our editorial and curatorial decisions as we considered how to instigate the "Architecture, Festival and the City" conference and its exhibition as a festive event in its own right, and to understand its resultant publications (a book of the same title, and this journal issue) as versions of its continuity

Using an Indoor Localization System for Activity Recognition

Recognizing the activity performed by users is importantin many application domains, from e-health to home automation. Thispaper explores the use of a fine-grained indoor localization system, basedon ultra-wideband, for activity recognition. The user is supposed to weara number of active tags. The position of active tags is first determinedwith respect to the space where the user is moving, then some position-independent metrics are estimated and given as input to a previouslytrained system. Experimental results show that accuracy values as highas∼95% can be obtained when using a personalized model

The Montclarion, January 20, 2022

Student Newspaper of Montclair State Universityhttps://digitalcommons.montclair.edu/montclarion/2552/thumbnail.jp

Multi-view gait recognition on curved

Appearance changes due to viewing angle changes cause difficulties for most of the gait recognition methods. In this paper, we propose a new approach for multi-view recognition, which allows to recognize people walking on curved paths. The recognition is based on 3D angular analysis of the movement of the walking human. A coarse-to-fine gait signature represents local variations on the angular measurements along time. A Support Vector Machine is used for classifying, and a sliding temporal window for majority vote policy is used to smooth and reinforce the classification results. The proposed approach has been experimentally validated on the publicly available “Kyushu University 4D Gait Database”

Combining virtual reality enabled simulation with 3D scanning technologies towards smart manufacturing

Recent introduction of low-cost 3D sensing and affordable immersive virtual reality have lowered the barriers for creating and maintaining 3D virtual worlds. In this paper, we propose a way to combine these technologies with discrete-event simulation to improve the use of simulation in decision making in manufacturing. This work will describe how feedback is possible from real world systems directly into a simulation model to guide smart behaviors. Technologies included in the research include feedback from RGBD images of shop floor motion and human interaction within full immersive virtual reality that includes the latest headset technologies

The spatialization of democratic politics: Insights from Indignant Squares

This article departs from accounts that either deify Indignant Squares as a model for 21st century political praxis or demonize them as apolitical/post-political crowd gatherings. By performing a closer ethnographic reading of the Indignants’ protests at Athens’ Syntagma Square, we depict the Indignant Squares as a consensual and deeply spatialized staging of dissent, which nevertheless harbours in its underbelly internally conflicting and often radically opposing political imaginaries. A closer reading of the organization, practice and discourses that evolved at Syntagma Square unearths the existence of not one, but two distinct Indignant Squares, both at Syntagma, each with its own topography (upper and lower square), and its own discursive and material practices. Although both squares staged dissent, they nevertheless generated different (opposing, even) political imaginaries. The ‘upper square’ often divulged nationalistic or xenophobic discourses; the ‘lower square’ centred around more organized efforts to stage inclusive politics of solidarity. The paper suggests that, rather than focusing on the homogenizing terms Indignants’ movement/Indignant Squares we should instead be trying to develop a more nuanced theoretical understanding and a more finely grained empirical analysis of the discursive and spatial choreographies of these events. This, we argue, would allow us to go beyond either celebrating them as new political imaginaries, or condemning them as expressions of a post-political era. Talking of ‘Indignant Squares’ in the plural helps one explore in more grounded ways both the limitations and the possibilities that these events offer for opening up (or closing down) democratic politics

Relationships and trust: Two key pillars of a well-functioning freestanding midwifery unit

Background Despite strong evidence supporting the expansion of midwife‐led unit provision, as a result of optimal maternal and perinatal outcomes, cost‐effectiveness, and positive service user and staff experiences, scaling‐up has been slow. Systemic barriers associated with gender, professional, economic, cultural, and social factors continue to constrain the expansion of midwifery as a public health intervention globally. This article aimed to explore relationships and trust as key components of a well‐functioning freestanding midwifery unit (FMU). Method(s) A critical realist ethnographic study of an FMU located in East London, England, was conducted over a period of 15 months. Recruitment of the 82 participants was purposive. Data collection included participant observation and semi‐structured interviews, and data were analyzed thematically along with relevant local guidelines and documents. Results Twelve themes emerged. Relationships and Trust were identified as a core theme. The other 11 themes were grouped into six families, three of which: Ownership, Autonomy, and Continuous Learning; Team Spirit, Interdependency, and Power Relations; and Salutogenesis will be covered in this paper. The remaining three families: Friendly Environment; Having Time and Mindfulness; and Social Capital, will be covered in a separate paper. Conclusions A relationship‐based model of care was crucial for both the functioning of the FMU and service users’ satisfaction and may offer a compelling response to high levels of stress and burnout among midwives

AN UNDERSTANDING OF STYLE OF BAROQUE ORNAMENTATION IN HANDEL’S OPERATIC ARIAS: A STUDY OF SELECTED RECORDINGS (1950s – 2010s)

From the early 20th century to the present, new discoveries in Handel scholarship and changing ideas of Baroque performance practice have greatly affected the manner in which Handel’s operas and individual arias have been performed. Since the appearance of the first volumes of the Hallische Handel-Ausgabe in 1958, Handel’s works have experienced a renewed appreciation among performers and scholars alike, including countless opera productions. Since the introduction of the CD, many talented singers have published recordings of his operas and individual arias, influenced by a greater under-standing of period-performance practices and audience expectations. As such, performers are expected to be conversant in Baroque-period performance practices, especially improvised embellishments. However, many published recordings of Baroque arias seem more focused on demonstrating virtuosic vocal technique than historically informed ornaments, leading to an indiscriminate application of excessive, stylistically inappropriate embellishments among performers. Handel’s Italian singers were experts in vocal ornamentation; thus, he did not notate expected ornaments on the scores. However, Winton Dean’s composite volume Three Ornamented Arias provides Handel’s notations of intended embellishments to these works. In order to consider period-appropriate embellishments in other operatic arias by Handel, this study will 1) compare Handel’s notated embellishments in relation to the unembellished score, and 2) examine Robert Donington’s recommendations for specific ornaments in Baroque Music: Style and Performance. In doing so, I will provide an authentic, historically informed view of embellishments and ornaments in Baroque music. This project will focus on the performance practice of Baroque ornamentation in Handel’s arias in the 20th and 21st centuries, as reflected in authentic Baroque performance practice and selected recordings. Handel’s four soprano arias: Lascia ch’io pianga, V’adoro pupille, Piangerò la sorte mia, and Tornami a vagheggiar will be discussed to compare changing ideas of vocal ornamentation through selected recordings from the late 1950s and until the 2010s. The selection of recordings will be considered in relation to the ‘well-known’ virtuosos, Baroque music singers, and conductors as well. Based on the investigation of Handelian performance practices, this paper will provide a framework for critically evaluating improvised embellishments in published recordings, which may be 1) deficiently ornamented, 2) stylistically appropriate, or 3) excessively ornamented

Kenyon Collegian - November 7, 2013

https://digital.kenyon.edu/collegian/1278/thumbnail.jp