The Upper Guinea Coast in Global Perspective

For centuries, Africa’s Upper Guinea Coast region has been the site of regional and global interactions, with societies from different parts of the African continent and beyond engaging in economic trade, cultural exchange, and various forms of conflict. This book provides a wide-ranging look at how such encounters have continued into the present day, identifying the disruptions and continuities in religion, language, economics, and various other social phenomena that have resulted. These accounts show a region that, while still grappling with the legacies of colonialism and the slave trade, is both shaped by and an important actor within ever-denser global networks, exhibiting consistent transformation and creative adaptation

Physics-based models for the acoustic representation of space in virtual environments

In questo lavoro sono state affrontate alcune questioni inserite nel tema pi\uf9 generale della rappresentazione di scene e ambienti virtuali in contesti d\u2019interazione uomo-macchina, nei quali la modalit\ue0 acustica costituisca parte integrante o prevalente dell\u2019informazione complessiva trasmessa dalla macchina all\u2019utilizzatore attraverso un\u2019interfaccia personale multimodale oppure monomodale acustica. Pi\uf9 precisamente \ue8 stato preso in esame il problema di come presentare il messaggio audio, in modo tale che lo stesso messaggio fornisca all\u2019utilizzatore un\u2019informazione quanto pi\uf9 precisa e utilizzabile relativamente al contesto rappresentato. Il fine di tutto ci\uf2 \ue8 riuscire a integrare all\u2019interno di uno scenario virtuale almeno parte dell\u2019informazione acustica che lo stesso utilizzatore, in un contesto stavolta reale, normalmente utilizza per trarre esperienza dal mondo circostante nel suo complesso. Ci\uf2 \ue8 importante soprattutto quando il focus dell\u2019attenzione, che tipicamente impegna il canale visivo quasi completamente, \ue8 volto a un compito specifico.This work deals with the simulation of virtual acoustic spaces using physics-based models. The acoustic space is what we perceive about space using our auditory system. The physical nature of the models means that they will present spatial attributes (such as, for example, shape and size) as a salient feature of their structure, in a way that space will be directly represented and manipulated by means of them

Come to Your Senses, Remember Belongings: A Pedagogy of Making, Memory and the Haptics of Home

The relationships of memory to place, and of place to body, assert haptic memory and sensory knowing in this art practice research. Beginning with evocative objects a wardrobe, a pair of shoes, a dress this dissertation traces a circuitous material journey to a sensual biography of place. It culminates in two exhibitions, Her Place and What was Learned There, and Her Place-Scraps, distinct drawing installations of graphite rubbings on tracing paper, assembling a feminist response to familial vulnerabilities. The subject is the floors, walls, windows, ceilings, doors, stairs, furniture, clothing and surrounding landscape of an inherited home, forming a partial and fragmented archive reminiscent of memorys inconsistency, clarity, unreliability and fragility. The physically demanding process of art making asserted my body in that inheritance, while the architectural structures, the many objects and substances used throughout the studio research, reflect Mezeis domestic effects. What evolves is the notion of haptics of home, sensuous memory and the residue of emotion rooted in tactile experience, supported by theorists Krasner and Fisher. I bring Kuhns memory work methodology into conversation with Kadar and Perreaults interrelated concept of auto/ biography, reflecting personal and social memory as specific to time and place. Incorporating memory work, I use creative writing to open a range of experiences that confront gender politics of the domestic in material, familial and narrative inheritances, and a requisite disinheritance, referring to Bailey and Goodall. I discuss contemporary women artists critically addressing materials, auto/ biography, place, and the domestic sphere, as well as the historical and contemporary uses of rubbings in the West and East, encompassing geographical, biographical and educational purpose. I document the studio work in Process Journals, which elucidate a pedagogy of making, exemplifying the entwined processes of art making, thinking and theorizing; more significantly, this studio-making pedagogy reveals working with uncertainty, following curiosity and, ultimately, recognizing not knowing as intrinsic to art practice and to education. As artist and visual art teacher, I consider the generative potential of art practice in relation to natality, Hannah Arendts call for the necessity of education to continually re-invent itself

Performing Citizenship

This open access book discusses how citizenship is performed today, mostly through the optic of the arts, in particular the performing arts, but also from the perspective of a wide range of academic disciplines such as urbanism and media studies, cultural education and postcolonial theory. It is a compendium that includes insights from artistic and activist experimentation. Each chapter investigates a different aspect of citizenship, such as identity and belonging, rights and responsibilities, bodies and materials, agencies and spaces, and limitations and interventions. It rewrites and rethinks the many-layered concept of citizenship by emphasising the performative tensions produced by various uses, occupations, interpretations and framings

Communicating the Unspeakable: Linguistic Phenomena in the Psychedelic Sphere

Psychedelics can enable a broad and paradoxical spectrum of linguistic phenomena from the unspeakability of mystical experience to the eloquence of the songs of the shaman or curandera. Interior dialogues with the Other, whether framed as the voice of the Logos, an alien download, or communion with ancestors and spirits, are relatively common. Sentient visual languages are encountered, their forms unrelated to the representation of speech in natural language writing systems. This thesis constructs a theoretical model of linguistic phenomena encountered in the psychedelic sphere for the field of altered states of consciousness research (ASCR). The model is developed from a neurophenomenological perspective, especially the work of Francisco Varela, and Michael Winkelman’s work in shamanistic ASC, which in turn builds on the biogenetic structuralism of Charles Laughlin, John McManus, and Eugene d’Aquili. Neurophenomenology relates the physical and functional organization of the brain to the subjective reports of lived experience in altered states as mutually informative, without reducing consciousness to one or the other. Consciousness is seen as a dynamic multistate process of the recursive interaction of biology and culture, thereby navigating the traditional dichotomies of objective/subjective, body/mind, and inner/outer realities that problematically characterize much of the discourse in consciousness studies. The theoretical work of Renaissance scholar Stephen Farmer on the evolution of syncretic and correlative systems and their relation to neurobiological structures provides a further framework for the exegesis of the descriptions of linguistic phenomena in first-person texts of long-term psychedelic selfexploration. Since the classification of most psychedelics as Schedule I drugs, legal research came to a halt; self-experimentation as research did not. Scientists such as Timothy Leary and John Lilly became outlaw scientists, a social aspect of the “unspeakability” of these experiences. Academic ASCR has largely side-stepped examination of the extensive literature of psychedelic selfexploration. This thesis examines aspects of both form and content from these works, focusing on those that treat linguistic phenomena, and asking what these linguistic experiences can tell us about how the psychedelic landscape is constructed, how it can be navigated, interpreted, and communicated within its own experiential field, and communicated about to make the data accessible to inter-subjective comparison and validation. The methodological core of this practice-based research is a technoetic practice as defined by artist and theoretician Roy Ascott: the exploration of consciousness through interactive, artistic, and psychoactive technologies. The iterative process of psychedelic self-exploration and creation of interactive software defines my own technoetic practice and is the means by which I examine my states of consciousness employing the multidimensional visual language Glide