Displaying Lives: the Narrative of Objects in Biographical Exhibitions

Biographical exhibitions are a museum practice that asks for critical consideration. Grounding the argument in critical theory, social studies and museum theory, the article explores the narrative function of objects in biographical exhibitions by addressing the social significance of objects in relation to biography and their relevance when presented into an exhibition display. Central is the concept of objects as ‘biographical relics’ that are culturally fetishized in biographical narratives. This raises questions about biographical reliability and the cultural role that such objects plays in exhibition narratives as bearers of reality and as metonymical icons of the biographical subject. The article considers examples of biographical exhibitions of diverse figures such as Gregor Mendel, Madame de Pompadour and Roland Barthes, and the role that personal items, but also portraits and photographs, play in them

Nonlinearity as a strategy for creating postmodern musical texts in the 1970-1990s

It is relevant in this research context to consider the ways of organizing the text, algorithms, and ideological principles of modeling the content components of a musical work. The purpose of the study is to establish strategies for the development of postmodernism in music, as well as non-linearity in music as a creative strategy of postmodernism. The study is devoted to fragmentation as perception and accumulation of information, a form of artistic experience reflected in musical creativity. Precedent phenomena that perform the function of meaning-making in the music of the last decades of the 20th century are determined by their symbolism, the possibility of mentonization and evaluation. Thus, in the musical text of postmodernism, the new work is incorporated into the figurative and expressive system in the space of fragmentary discourse, and the extratextual content of the musical text is formed. The research methodology is based on complex approaches. The main methods used in work are description, analysis, and synthesis, the method of intertextuality and the comparative-historical method were used to work with the material. The result of the work is the definition of new methods of constructing musical works of fragmented discourse, where an effective means is the selection of precedent phenomena, an individualistic vision of the audience, and intertext

Layers of authorship in the tenth century : Constantine VII Porphyrogennetos and his "excerptor(es)"

Multilayered authorship can be found in the Excerpta Historica Constantiniana (EC), a Byzantine collection from the tenth century. The contribution focuses on the tension between the EC primary sources and the EC context as such, exploring the conceptual tool of Distributed Authorship and engaging both with the sender/receiver functions and with the power relations between the emperor and the excerptor(es). The EC Prooemium draws on the New Testament, namely, on the epistle to the Ephesians, which in turn sheds light on Constantine VII’s cultural, political and religious agenda.Negli Excerpta Historica Constantiniana (EC), silloge bizantina del X secolo, si può ravvisare una autorialità a più livelli (multilayered authorship). L’articolo lumeggia la tensione tra le fonti primarie e il contesto degli EC in quanto tali, esplorando lo strumento concettuale della Distributed Authorship, esaminando le funzioni di mittente/destinatario e il rapporto di potere tra l’imperatore e l’excerptor (o meglio gli excerptores). Il Proemio degli EC evidenzia una ripresa esplicita dal Nuovo Testamento, in particolare dall’epistola agli Efesini, che a sua volta getta luce sul programma culturale, politico e religioso di Costantino VII

In-between Wor(l)ds: female autofiction and postcolonial identity in Marie Cardinal´s Au pays de mes racines, Marguerite Duras´s L´amant and Isabela Figueiredo´s Caderno de Memórias Coloniais

Female autofiction can be considered as a form of feminist confessional since, by challenging dominant configurations of knowledge – such as those embodied by autobiographism – and drawing attention to women’s personal issues, it aims at articulating the multiplicity of the female narrative subject. Autofictional works such as Marie Cardinal’s Au pays de mes racines [In the Country of my Roots], Marguerite Duras’s L’amant [The Lover] and Isabela Figueiredo’s Caderno de Memórias Coloniais [Notebook of Colonial Memories] can therefore be viewed as dealing with female personal concerns in a political way. This is because their exploration of women’s marginal status in formerly colonial countries like Algeria, Indochina and Mozambique, functions as an empowering tool through which they challenge the structures of domination impinging on their identity while asserting their own individuality. The purpose of this dissertation is to explore how the literary genre of autofiction harmonizes with and serves to better articulate issues of female subjectivity and cultural hybridization, particularly as concerns the power dynamics at stake in the narratives’ transcultural contexts. The focus will be on the fragmented sense of self imbuing these novels and which is directly related to the liminal status occupied by the narrators who are in-between different cultures. The final objective is to investigate how the notion of in-betweenness, which underlies both the genre of autofiction itself and the structure of the texts, can function as a feminist category of representation of women’s subjectivity and which defies oppressive social conventions related to patriarchal colonial patterns

Multilayered linked democracy

Although confidence in democracy to tackle societal problems is falling, new civic participation tools are appearing supported by modern ICT technologies. These tools implicitly assume different views on democracy and citizenship which have not been fully analysed, but their main fault is their isolated operation in non-communicated silos. We can conceive public knowledge, like in Karl Popper's World 3, as distributed and connected in different layers and by different connectors, much as it happens with the information in the web or the data in the linked data cloud. The interaction between people, technology and data is still to be defined before alternative institutions are founded, but the so called linked democracy should rest on different layers of interaction: linked data, linked platforms and linked ecosystems; a robust connectivity between democratic institutions is fundamental in order to enhance the way knowledge circulates and collective decisions are made

Essaying Place: Time and Landscape in the Essay Film

This practice as research thesis explores the representation of place in the essay film. Place and landscape are frequent subjects of the essay film, films that often form through, and in response to, encounters with the spaces of the world. This thesis seeks to shed light onto the essayistic representation of place through exploring the structures, make-up and experience of places and landscapes and through the application of theory from the field of geography. I establish what I call an essaying of place in order to describe the processes and outcomes of an approach to cities and landscapes through the essay film, one in which the complexities and multiplicities of place come to the fore. Central to the thesis is a focus on temporality in a consideration of place and in developing an understanding of the relationship between place and the essay film. I produced two film works that both take an essayistic form in an approach to representing place and landscape, embodying the theoretical research and expanding this research through creative production. My practice approaches the spaces of England through the essay film, where travelling acts as a film production device, as a research tool and as a method of putting into practice an essaying of place. The process oriented nature of a practice as research project positions filmmaking as a key element in understanding my work as a practitioner alongside the wider research into the essay form

Network Structures Algorithms of Group Method of Data Handling

The article presents the comparative characteristic of network structures of GMDH algorithms, in accordance with the proposed classification of algorithms. The main diversity of algorithms is described. Structures of algorithms search of models allow visualize the similarities and differences between the basic GMDH algorithms show their connection with neural networks and algorithms of deep learning. Fragments' structure of algorithms (or functions of partial descriptions) gives you the ability to visualize their common and distinctive features and assess the computational complexity of algorithms.У статті представлена порівняльна характеристика мережевих структур алгоритмів МГУА, відповідно до запропонованої класифікації алгоритмів. Наведено основні різновиди алгоритмів. Структури алгоритмів пошуку моделей дозволяють візуалізувати подібності та відмінності між основними алгоритмами МГУА, показати їх зв'язок з нейронних мереж і алгоритмів глибокого навчання. Структура фрагментів алгоритмів (функцій частинних описів) дає можливість наочно представити їх спільні та відмінні риси і оцінити обчислювальну складність алгоритмів.В статье представлена сравнительная характеристика сетевых структур алгоритмов МГУА, в соответствии с предложенной классификацией алгоритмов. Приведены основные разновидности алгоритмов. Структуры алгоритмов поиска моделей позволяют визуализировать сходства и различия между основными алгоритмами МГУА, показать их связь с нейронными сетями и алгоритмами глубокого обучения. Структура фрагментов алгоритмов (функций частных описаний) дает возможность наглядно представить их общие и отличительные особенности и оценить вычислительную сложность алгоритмов

An electronic edition of eighteenth-century drama manuscripts: performing for editing

This article addresses a project of electronic edition of eighteenth-century drama manuscripts, introducing performance art as an active methodology. This was meant to isolate the specific features of eighteenth-century drama manuscripts, in order to assess their improved electronic edition. So, to fully grasp the distinctive features of these historical testimonies, performance art was used as a mediation process, and different interrelated performance initiatives took place. Through performance it was possible to restitute the "take place" (Kobialka, 2002) i.e. the eventful nature contained in the manuscripts, instead of searching for metadata innovations, or an ideal critical apparatus. The focus was laid on drama as a particular type of happening and accomplishment, silenced amidst the archive. The happening quality of the manuscripts was then put to proof through different contexts and practices of performance. The resultant digital edition reflects the "remains" of taking drama manuscripts into performance practice, allowing for a new format of reading material.info:eu-repo/semantics/publishedVersio

Displaying lives: the narrative of objects in biographical exhibitions

Biographical exhibitions are a museum practice that asks for critical consideration. Grounding the argument in critical theory, social studies and museum theory, the article explores the narrative function of objects in biographical exhibitions by addressing the social significance of objects in relation to biography and their relevance when presented into an exhibition display. Central is the concept of objects as ‘biographical relics’ that are culturally fetishized in biographical narratives. This raises questions about biographical reliability and the cultural role that such objects plays in exhibition narratives as bearers of reality and as metonymical icons of the biographical subject. The article considers examples of biographical exhibitions of diverse figures such as Gregor Mendel, Madame de Pompadour and Roland Barthes, and the role that personal items, but also portraits and photographs, play in them

Modeling, scaling and sequencing writing phases of Swiss television journalists

Writing phases – defined as identifiable temporal procedural units with typical dominant writing actions such as formulating or source reading – have long been conceived fundamental for the success of writing processes. However, the methodology for an objectively verifiable analysis of the nature and interplay of writing phases has not yet been developed. Also, most of the current scientific concepts of writing phases are based on introspection, single case studies or experimental research designs. This thesis drew on one of the most extensive data collections of writing processes in natural settings: Over 120 multimodal writing processes of Swiss television journalists were recorded, annotated and merged into one dataset. Since the data was collected in an ethnographic research framework, writing activities such as insertions or deletions could be related to background conditions such as the writing environment, the writing task and the experience of the writers. In a first methodological step, the writing processes were coded qualitatively, and writing phases on different scales and timeframes were identified. Based on the time series format of the data, statistical models of scalable writing phases were developed in a second step, which enabled automated detection of writing phases in the corpus in a third step. In a fourth step, the effect of sequences of writing phases on writing processes and products was investigated. As a result, phases and their sequence in natural writing processes were described and explained, which contributes to both theoretical and practical endeavors of applied linguistics. From a theoretical perspective, the concept of the writing phase and its relation to writing practices were clarified and refined on a strong empirical basis. From a practical perspective, the thesis provides tools for the process oriented, domain specific teaching of writing