Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Fragmentation and the digital city: An analysis of Vicente Luis Mora's circular 07. Las afueras

This essay juxtaposes three recent publications, Vicente Luis Mora's Circular 07. Las afueras (2007-), Kenneth Goldsmith's Capital: New York, Capital of the 20th Century (2015), and Jorge Carrión's Barcelona. Libro de los pasajes (2016), in order to explore how contemporary digital technologies construct and fragment urban experience on a global scale. Despite their different political intentions, these three works share a common aesthetic of appropriation, unoriginal quotation, and fragmentation, as they are also all modelled after Walter Benjamin's Arcades Project. Just like Benjamin did with Paris, each of these works focuses on a particular Western city-Madrid, New York, and Barcelona-now being proposed as paradigmatic representations of urban experience, which is meant to mimic digital media's modularity and disintegration. Goldsmith's use of appropriation is read as a blank endorsement of digital mediation of everyday life, which sits in opposition to Carrión's and Mora's political projects. Circular 07 and Barcelona mix unoriginal writing techniques, like Goldsmith's conceptual writing, with other experimental methods to warn readers against apolitical adoption of digital technologies. Fragmentation is still proposed as the most important aesthetic form of twenty-first century writing, but these two Spanish works strive for its contextualization as a complex mechanism structured around reader/writer subjectivity. Finally, this essay ponders how to consider new reader/ writer subjectivities within the larger context of global cities in late capitalism

Further dimensions: text, typography and play in the metaverse

In this text I wish to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds, which are known as the metaverse. I am particularly focused upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose which takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of readability. In such environments readability, or indeed even legibility, may often be displaced through the usage of text and typography as a playful device, as artifacts which may manifest in puzzle-like configurations, or as visual structures the contents of which are meant to be understood through means other than straightforward reading; thus bringing about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the spaces which are brought about through their very agency. I also wish to expand upon this subject by talking about my own experiments with this material and will conclude by positing that further virtual dimensions can be instrumental in eliciting exciting alternative usages of text and typography which bring to the fore the allographic properties of text as an artistic/creative expressive media that may well bear further scrutiny and exploration

The Pragmatics of Arabic Religious Posts on Facebook: A Relevance-Theoretic Account

Despite growing interest in the impact of computer-mediated communication on our lives, linguistic studies on such communication conducted in the Arabic language are scarce. Grounded in Relevance Theory, this paper seeks to fill this void by analysing the linguistic structure of Arabic religious posts on Facebook. First, I discuss communication on Facebook, treating it as a relevance-seeking process of writing or sharing posts, with the functions of ‘Like’ and ‘Share’ seen as cues for communicating propositional attitude. Second, I analyse a corpus of around 80 posts, revealing an interesting use of imperatives, interrogatives and conditionals which manipulate the interpretation of such posts between descriptive and interpretive readings. I also argue that a rigorous system of incentives is employed in such posts in order to boost their relevance. Positive, negative and challenging incentives link the textual to the visual message in an attempt to raise more cognitive effects for the readers

A short curriculum of the robotics and technology of computer lab

Our research Lab is directed by Prof. Anton Civit. It is an interdisciplinary group of 23 researchers that carry out their teaching and researching labor at the Escuela Politécnica Superior (Higher Polytechnic School) and the Escuela de Ingeniería Informática (Computer Engineering School). The main research fields are: a) Industrial and mobile Robotics, b) Neuro-inspired processing using electronic spikes, c) Embedded and real-time systems, d) Parallel and massive processing computer architecture, d) Information Technologies for rehabilitation, handicapped and elder people, e) Web accessibility and usability In this paper, the Lab history is presented and its main publications and research projects over the last few years are summarized.Nuestro grupo de investigación está liderado por el profesor Civit. Somos un grupo multidisciplinar de 23 investigadores que realizan su labor docente e investigadora en la Escuela Politécnica Superior y en Escuela de Ingeniería Informática. Las principales líneas de investigaciones son: a) Robótica industrial y móvil. b) Procesamiento neuro-inspirado basado en pulsos electrónicos. c) Sistemas empotrados y de tiempo real. d) Arquitecturas paralelas y de procesamiento masivo. e) Tecnología de la información aplicada a la discapacidad, rehabilitación y a las personas mayores. f) Usabilidad y accesibilidad Web. En este artículo se reseña la historia del grupo y se resumen las principales publicaciones y proyectos que ha conseguido en los últimos años

Digital Image

This paper considers the ontological significance of invisibility in relation to the question ‘what is a digital image?’ Its argument in a nutshell is that the emphasis on visibility comes at the expense of latency and is symptomatic of the style of thinking that dominated Western philosophy since Plato. This privileging of visible content necessarily binds images to linguistic (semiotic and structuralist) paradigms of interpretation which promote representation, subjectivity, identity and negation over multiplicity, indeterminacy and affect. Photography is the case in point because until recently critical approaches to photography had one thing in common: they all shared in the implicit and incontrovertible understanding that photographs are a medium that must be approached visually; they took it as a given that photographs are there to be looked at and they all agreed that it is only through the practices of spectatorship that the secrets of the image can be unlocked. Whatever subsequent interpretations followed, the priori- ty of vision in relation to the image remained unperturbed. This undisputed belief in the visibility of the image has such a strong grasp on theory that it imperceptibly bonded together otherwise dissimilar and sometimes contradictory methodol- ogies, preventing them from noticing that which is the most unexplained about images: the precedence of looking itself. This self-evident truth of visibility casts a long shadow on im- age theory because it blocks the possibility of inquiring after everything that is invisible, latent and hidden