Performative, Informative and Emotive Systems The First Piece of the PIE

This paper distinguishes computer and communications systems that\u27perform\u27 fr om those that\u27inform\u27 and those that deal with emotive aspects of problems. It indicates some of the ways that peformative systems seem to differ from the other kinds, why this distinction is important to both users and designers, and suggests research-some of it currently underway-to investigate this area. Results from this research will allow us to improve existing performative systems and to expand the domain of their application

ON ILLOCUTIONARY LOGIC AS A TELECOMMUNICATIONS LANGUAGE

Interorganizational telecommunications-mediated messages are nearly always expressed either in natural language (via telephone, telex, electronic mail, etc) or through specific protocols developed for the application at hand. Natural language expression is powerful, flexible, equivocal, and not generally machine readable. Specific protocols have a limited expressive power, are inflexible, can be unequivocal, and are machine readable. This paper commences an exploration of the possibility of using a formal language for interorganizational messaging. Such a strategy promises to combine the virtues of natural language and of specific protocols for communication. Formal logic is a natural basis for such a language. Recent developments in illocutionary logic (an extension of predicate logic) bid fair to provide a sound basis for a formal language for business communications. The paper discusses these concepts and how they might be implemented

Farmers' markets as assemblage: social relations, social practice and the producer/consumer nexus in the north east of England

Farmers' markets have recently enjoyed some academic attention and situated within this is a valuable reading of the contexts that surround markets, of particular interest have been the nascent forces that have encouraged the re-emergence of food markets. Prior to the more recent growth interest towards food production and sourcing, opportunities to engage with alternative means of food sourcing were somewhat limited in a British context.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

'In short tyme it wil heale the sore'. A relevance perspective of promising in medical utilitarian texts of the earl y modern english period

Medical recipes written before the birth of modern scientific writing, at least as we know it today, are frequently characterised by the inclusion of expressions aimed at validating the efficacy of the remedies. These expressions have been traditionally considered as promises of efficacy. This research hypothesises that a closer examination of the context in which they are embedded may render interpretations that are different from promissory speech acts in the strictest sense. The corpus of study has been excerpted from the Corpus of Early English Recipesand it comprises medical recipes written in English between 1500 and 1600. The texts have been analysed using AntConc and the results have been manually checked afterwards. The detection of potential promises of efficacy has relied on Speech Act Theory and particularly on Searle¿s (1969) constitutive rules for promises. Relevance Theory (Sperber and Wilson 1995) has been used to account for the process of contextual enrichment the reader follows so as to derive the illocutionary force of efficacy statements. This work shows that not all efficacy statements are necessarily interpreted as promises in the Searlean sense. In fact, it has been observed that the occurrence of stance elements, i.e. epistemic and/or evidential devices, together with the authors¿ lexico-grammatical choices crucially shape their illocutionary force, normally by lowering the promissory value of the locutions.Quintana Toledo, E. (2020). 'In short tyme it wil heale the sore'. A relevance perspective of promising in medical utilitarian texts of the earl y modern english period. Editorial Universitat Politècnica de València. http://hdl.handle.net/10251/136916EDITORIA

Embodying Mrs. Wrights: The Dramaturgy of Embodiment as Praxis

Cartesian mind-body dualism undergirds much of modern Western culture, determining its ontological and epistemological values. Peeling away the hegemony of cognition, this thesis illustrates embodiment as a complementary way of knowing. It proposes the dramaturgy of embodiment as an emancipatory framework for interdisciplinary choreographic and ethnographic praxis. As method, embodied performance uses the body as the primary site for making and dissemination of information, asserting the validity of subjective epistemologies. Detailing the practical and academic exploration of an embodied dramaturgical process, this thesis analyzes the author’s creation and performance of Mrs. Wrights, an evening-length solo dance theatre production. Inspired by the five women closest to American architect Frank Lloyd Wright, the show blends embodiment and text to display lived experiences and convey historical stories. Covering a continuum from the phenomenal to the semiotic, the show’s form functions as an analogue to its content. Embodiment reflects the ephemerality of the women’s domestic lived experiences, while text mirrors the relatively permanent record of Wright’s architectural legacy. Confronting a sexist ontology of womanness, Mrs. Wrights invites audiences to consider cultural amnesia – collective forgetting on the basis of social power structures

Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation

Dominant theories of tactical innovation in contentious politics suggest that actors innovate in times of crisis or at the margins of familiar forms of action in order to achieve strategic advantage. I argue that these theories do not satisfactorily account for the tactical creativity of a form of contention called culture jamming. Instead, I employ a biographical theory of tactical innovation to explain their distinct repertoire of contention. This theory claims that tactics are partially explained as emanations of or congruent with the life experiences, identities, dispositions, and values of actors. Bourdieu’s field theory allows me to identify a social context generative of an aesthetic disposition, the field of art. It is my contention that a politicized aesthetic disposition is responsible for the observed tactical creativity and innovation of culture jamming. Such a disposition allows for the perception of everyday life objects, discourses, and practices as aesthetic. These common, mundane, even ugly materials are then susceptible to tactical and strategic appropriation. Through an analysis of two culture jamming groups, Critical Art Ensemble and Ubermorgen, I empirically illustrate my application of the biographical theory of innovation

Communicating through sound in museum exhibitions: unravelling a field of practice

The twentieth century was the stage for several phenomena which have paved the way for museums to start exhibiting sound and to nurture a vivid and increasing interest in its potentialities. The burgeoning of sound recording technologies stands as a milestone in this respect. These have allowed sound to become a physical object and, hence, new understandings and conceptualizations to emerge. In the wake of these developments, the ways in which museum curators look at sound has gone into a huge reconfiguration. The fact that both new museology and museum practice have been turning their attention to and focus on the visitor has similarly accelerated the curators’ interest in sound as a means to build museum exhibitions. One of the latest and most striking instances in this process has been the role of ethnomusicology and sound studies in demonstrating the cultural, social, political, economic and ethical significance of sound thereby stimulating museum’s interest in dealing with sound as a mode to build both individual subjectivities and communities in museum settings. The development of audio technologies and digital and multisensorial technologies (Virtual Reality, Augmented Reality and Mixed Reality) also plays a part in this process. These have the merit to provide ways to deal with the elusiveness of sound when exhibited in museum galleries and to facilitate interactions underpinned by rationales such as experience, embodiment, and emplacement. During at least the last ten years, there has been a boost in the development of sound-based multimodal museum practices. These practices, nonetheless, have yet to be mapped, and their representational and experiential (emotional and sensorial) opportunities to be closely analysed. My thesis strives to start closing this gap by taking two analytical steps. Based on the analysis of 69 sound-based multimodal museum exhibitions staged in Europe and in the United States of America, I provide a five-use framework categorizing sound-based multimodal museum practices into sound as a “lecturing” mode, sound as an artefact, sound as “ambiance”/soundtrack, sound as art, and sound as a mode for crowd-curation. The case-study of sound art The Visitors, it unravels the communicative potential of sound for museums. In detail, the analysis stresses how sound and space comingle to articulate individual subjectivities and a sense of “togetherness.” The scope of the thesis is clearly multidisciplinary, encompassing ethnomusicology, sound studies, museum studies, and social semiotics. Overall, I seek to contribute towards the development of the study of sound in museums to develop and establish as a cohesive research field. I moreover seek to foster a sensory formation shift from a visual epistemology to one that merges the visual and the auditory.O século XX foi palco de vários fenómenos que conduziram a que os museus começassem a expor o som e a demonstrar um interesse crescente pelas suas potencialidades comunicativas. O aparecimento das tecnologias de gravação sonora constitui-se como um momento fundamental neste processo. Ao permitirem que o som se estabeleça enquanto objeto físico, vieram potenciar o aparecimento de novos entendimentos e conceptualizações sobre o som. Na sequência destes acontecimentos, a forma como os curadores de exposições começaram a olhar para o som sofreu grandes alterações. Simultaneamente, o facto de tanto os estudos museológicos como a prática museológica estarem cada vez mais preocupados com o visitante veio também acelerar o interesse dos curadores pelo som como meio para construir exposições museológicas. Os estudos musicais, em particular a etnomusicologia e os estudos de som, tiveram igualmente um papel preponderante: ao demonstrarem o valor cultural, social, político, económico e ético do som vieram claramente estimular o interesse dos curadores em usar o som como material para trabalhar noções de identidade, subjectividade e “comunhão.” É ainda de destacar o papel que o desenvolvimento de tecnologias áudio, digitais e multisensoriais (Realidade Virtual, Realidade Aumentada e Realidade Mista) têm no processo. Ao proporcionarem formas de lidar com a imaterialidade do som quando exposto em galerias, vieram também fomentar interações museológicas sustentadas pela experiência. Nos últimos dez anos, os museus têm, pois, assistido ao incrementar das práticas museológicas multimodais baseadas no som. O mapeamento e a categorização destas práticas, bem como o estudo das suas potencialidades narrativas e experienciais (emocionais e sensoriais), no entanto, está claramente por determinar. A minha tese visa dar início ao colmatar desta lacuna através de dois passos: providenciar uma estrutura classificativa das práticas multimodais baseadas em som com base na análise de 69 exposições que tiveram lugar nos últimos dez anos na Europa e nos Estados Unidos da América. A estrutura compreende as seguintes categorias: som como um modo "discursivo," som como artefacto, som como "ambiance"/banda sonora, som como arte, e som como curadoria partilhada. Simultaneamente, dar início ao desvendar do potencial comunicativo do som para exposições museológicas através do estudo de caso de arte sonora The Visitors. A análise deste estudo de caso veio demonstrar que som, em articulação com o espaço permitem trabalhar noções de identidade, subjetividade, e ainda de “comunhão.” O âmbito da tese é claramente multidisciplinar e engloba a etnomusicologia, os estudos de som, os estudos museológicos e a semiótica social. De uma forma geral, com a minha dissertação procuro contribuir para o desenvolvimento e o estabelecimento do estudo do uso do som nos museus como um campo de investigação multidisciplinar e coeso. Procuro ainda potenciar uma mudança de formação sensorial nos museus, em particular, estimular a passagem de uma epistemologia visual para uma epistemologia simultaneamente visual e auditiva

Poetic design: a theory of everyday practice

This study aims to define design poetics as a category of design practice set apart from commercial, industrial or market-led design that generates a collection of experimental artefacts which investigate the everyday life of contemporary culture. It is argued that in creating an active interplay between users (human agents) and objects, poetic design involves a different kind of production (which is not about improving the functionality of a product) and alternative forms of "consumption" (which is not about a „using up‟ of objects), by developing new practices of living with things. As such it is suggested that design poetics depends on the production developed by consumers as a creative users (postproducers), within unconventional experiential and social scenarios of living. In changing the bilateral relationship object-user poetic design develops objects from the point of view of the user – its activities and models of operation and this aspect is related to an emotional and experiential evaluation. Thus the study proposes a re-evaluation of objects and users through experiential, narrative and performative criteria in order to understand their various roles and functions. In proposing these particular points of evaluation, poetic objects are distinguished as a particular category of objects together with the practices they engender or support; and within a network of relationships and contexts, as specific sites of interaction.1 In this light, it is shown that poetic design proposes a class of objects that respond to needs beyond the objects‟ instrumental (functional, practical) power; but to their contribution to life experience, embodying a variety of processes and manifestations. They translate immaterial interactions and make these interrelations visible

The Ethos of Dissent: Epideictic Rhetoric and the Democratic Function of American Protest and Countercultural Literature

My dissertation, “The Ethos of Dissent: Epideictic Rhetoric and the Democratic Function of American Protest and Countercultural Literature, 1940-1962,” establishes a theoretical frame-work, the literary epideictic, for reading the African American social protest literature of Richard Wright and Ralph Ellison, and the American countercultural literature of Jack Kerouac and Ken Kesey. I argue that epideictic rhetoric affords insight into how these authors’ narratives embody a post-World War II “ethos of dissent,” a counterdiscourse that emerges out of a climate of dynamism deadlocked with controlling ideologies. Epideictic, the branch of rhetoric concerned with civic matters, commends or censures a particular individual, institution, or social practice, preserves or revises value systems, and builds social cohesion. A developing postwar American society provides “epideictic exigencies” for these authors, i.e., historical events that inform each novel’s counter-narrative – the script and myth of the black male rapist in Native Son, the nonrecognition of African Americans in the social and political sphere in Invisible Man, the Cold War’s ideology of domestic containment and desire in On the Road, and the emerging measures of social control in One Flew Over The Cuckoo’s Nest. These narratives reveal how their respective social environments impede the realization of democratic freedoms for individuals who refuse to adhere to cultural codes of acquiescence, and they feature alternative values that clash with the dominant social forces attempting to control individual activity. Chapter one applies Sarah Ahmed’s “affective economy of fear” to Wright’s Native Son and helps elucidate Wright’s literary project, which reveals Bigger Thomas’s traumatic fear as the impetus for his actions, an intense fear embedded in violent histories of contact between black and white bodies. Chapter two attends to Ellison’s Invisible Man and the theme of invisibility as a rhetorical strategy calling for the social and political recognition of African Americans. In chapter three, I apply the capitalist conception of a Deleuzian desire to On the Road and argue that Kerouac recodes postwar desire and offers a vision of mobility and authenticity that is akin to a Deleuzian becoming, producing a shift in American values within a culture of containment. Finally, chapter four examines Kesey’s Cuckoo’s Nest and how the narrative captures an emerg-ing culture of surveillance and parens patriae, and counters with the notion, “play as power.” “The Ethos of Dissent” offers two new insights: 1) my dissertation contributes to literary scholarship by providing a new framework for reading authors who are not ordinarily compared, but who, as Ellison proposes, “report what is going on in their particular area of the American experience” during the postwar period; and 2) it adds to rhetorical criticism by extending epideictic rhetoric from the public civic arena (oratory) to the private literary realm, as well as contributes to a previously unexplored relationship between affect and epideictic rhetoric. While scholars have attended to the function of communal values uniting an audience, there is no work delving into the affective components of the epideictic process. These social protest and counter-cultural novels strive to affect readers emotionally by incorporating emotive discourse that relates to their targeted issues, and the novels instigate a moral examination of the narratively depicted realities against the democratic ideals by critiquing the broad values of racism, conformism, and authoritarianism. Ultimately, the authors and their texts expose failing value systems, promote positive values alluding to a democratic interdependence, and imagine alternative possibilities to the current state of social and political affairs

The posthuman body in performance

Abstract available: p.1