Listen to the others: the rehearsal process as a constant act of care

While artists and performance makers use different strategies when engaging with participants in the rehearsal room, their presence provides the practitioner with a chance to care and ethically embed the other’s agency in the making process. In performance, care has often been discussed in the context of performance’s relationship with the viewer. In this article, I argue for listening as a rehearsal practice using a framework grounded in care. I propose DAR—Direction, Action, and Reflection, a way of making which fosters awareness of the other—that may be incorporated, adapted, and applied by practitioners across different creative fields. I discuss the rehearsal process of This is Not About Dance, a performative installation presented at the Reid Gallery in 2016, to argue for a conception of the rehearsal as a constant act of care, one that has the potential to grow one’s practice through co-listening.Publisher PD

Whereabouts you are

•‘Whereabouts you are’ was an exhibition of work by ten Glasgow School of Art PhD Researchers, curated by Allyson Keehan (Glasgow School of Art) and guest curator Viviana Checchia (Centre for Contemporary Arts) • The exhibition ran from Saturday 15th October to Thursday 10th November in The Reid Gallery, Glasgow School of Art ‘Whereabouts you are’ explored the diverse research practices of the Glasgow School of Art PhD cohort. Bringing together researchers from disciplines across the fields of Fine Art and Design, the exhibition posed a number of questions about the role of arts practice in academic research, its unique character, and its particular challenges. For the exhibiting researchers, pinpointing whereabouts you are is about marking a particular moment in the research process, pausing to reflect and take stock of their individual journey so far and to consider the next steps. In that spirit, rather than deferring the questions posed by the exhibition, they tackled them head-on through accompanying events organised in collaboration with the Centre for Contemporary Arts. By bringing their work out of the studio, the group hoped to not only shed light on the thought-provoking and innovative research undertaken at Glasgow School of Art, but to enliven the research through conversation with its new audience. The exhibiting researchers were: • Eszter Biró (School of Fine Art) • Jacqueline Butler (School of Fine Art) • Mirian Calvo (Institute for Design Innovation) • Inês Bento Coelho (School of Fine Art) • Allyson Keehan (School of Fine Art) • Fiona Jane MacLellan (Institute for Design Innovation) • Catherine M. Weir (School of Fine Art) • Dawn Worsley (School of Fine Art) • Hanan Makki Zakari (School of Simulation and Visualisation) • Polina Zioga (School of Simulation and Visualisation). Curated by Allyson Keehan (Glasgow School of Art) and guest curator Viviana Checchia (Centre for Contemporary Arts)

Whereabouts you are

'Whereabouts you are' was an exhibition of work by ten Glasgow School of Art Ph.D. Researchers, curated by Allyson Keehan (Glasgow School of Art) and guest curator Viviana Checchia (Centre for Contemporary Arts Glasgow). The exhibition ran from Saturday 15th October to Thursday 10th November 2016 in The Reid Gallery, Glasgow School of Art. 'Whereabouts you are' explored the diverse research practices of the Glasgow School of Art Ph.D. cohort. Bringing together researchers from disciplines across the fields of Fine Art and Design, the exhibition posed a number of questions about the role of arts practice in academic research, its unique character, and its particular challenges. For the exhibiting researchers, pinpointing 'whereabouts you are' is about marking a particular moment in the research process, pausing to reflect and take stock of their individual journey so far and to consider the next steps. In that spirit, rather than deferring the questions posed by the exhibition, they tackled them head-on through accompanying events organised in collaboration with the Centre for Contemporary Arts Glasgow. By bringing their work out of the studio, the group hoped to not only shed light on the thought-provoking and innovative research undertaken at Glasgow School of Art, but to enliven the research through conversation with its new audience. The exhibiting researchers were: • Eszter Biró (School of Fine Art) • Jacqueline Butler (School of Fine Art) • Mirian Calvo (Institute for Design Innovation) • Inês Bento Coelho (School of Fine Art) • Allyson Keehan (School of Fine Art) • Fiona Jane MacLellan (Institute for Design Innovation) • Catherine M. Weir (School of Fine Art) • Dawn Worsley (School of Fine Art) • Hanan Makki Zakari (School of Simulation and Visualisation) • Polina Zioga (School of Simulation and Visualisation)

Manual de boas práticas e sustentabilidade no turismo

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Birds & On the choreographic beyond bodies - Screening & Talk

An event which consists of the screening of the piece ‘Birds’ followed by a discussion on choreography beyond the human body on screen. PART 1, Birds, 2016, Screening Inês Bento Coelho Birds is a performative film exploring choreography in everyday life. Filmed in an aviary in the Highlands with two simultaneous cameras using a documentary approach, the work captures real life moments, which are later edited to resemble a theatrical performance. While the birds are flying, jumping, and playing in the space, the eye of the camera delimitates and chooses what is part of the performance and what is not. The frame becomes a stage, which the birds can enter or leave as they please, highlighting everyday moments, and mixing the real with the performative. The film attends to the non-ordinary in everyday life, exploring the edge between reality and the potential for construction. A performance of the everyday unfolds in the film in a contemplative and meditative nature, as nothing else happens in the piece. PART 2, Post-Screen Talk: On the choreographic beyond bodies Inês Bento Coelho with Nina Enemark In ‘Birds’, there are no dancers or human bodies involved in the film. However, the work is essentially choreographic. Be that as it may, how can we choreograph without human bodies? How is choreography understood beyond the human figure? In this session, we will discuss the choreographic elements in ‘Birds’, explore what happens when choreographic approaches expand to wider contexts of practice and experimentation, such as the visual arts, and consider the potential of choreography beyond human bodies. This shared conversation is open to public participation

Borrowing methods: what might creative practitioners in visual arts and dance learn from each other?

Practitioners in different fields adopt disparage tools to produce work. Artists draw, photograph, walk, and use chance processes, amongst other methods. Dancers and choreographers have also drawn, used chance, and walked as well. Considering methods as essential tools to foster creativity, this talk addresses how artists in different fields may learn from each other’s processes of making. Focusing specifically in installation artists and choreographers, how might choreographic strategies be applied in visual arts? In the last five years, dance forms have taken over visual arts venues, in a tendency to show dance within exhibition settings (for instance, Tino Sehgal at Tate Modern and Documenta’13, Siobbhan Davies at ICA, and Alexandra Pirici at Venice Biennale). My research enquires how this tendency towards the choreographic impacts methodologies in visual arts, and how it may evolve in the next few years. Wayne McGregor sees choreography as a ‘process of physical thinking’ that operates in the mind and the body, developed through a collaborative cognitive process. Jonathan Burrows considers choreography as a process of choice and of arranging objects.1 Both approaches emphasize the methodological aspect of the term, and share principles with visual arts processes. This talk considers a translation of choreography as a method for the visual arts, as well as an understanding of its inherent implications in contemporary artistic practice. 1 J. Burrows, A Choreographer's Handbook, p.40

Choreographic Methods in Installation Work: Intersections Between Visual Arts and Dance

Visual arts and dance have been in close connection since the beginning of the twentieth century, a relationship that developed and strengthened in the sixties with the work of Judson Dance Theatre in New York City, USA. Although artists and dancers have collaborated for the last 50 years, few studies address the potential of employing choreographic methods within visual arts processes of making. It is in this context that my research inquires how installation artists may use choreographic strategies in their visual arts practices. Brad Haseman’s (2006) proposition of a new methodological paradigm for research – performative research – is my starting point for a mixed methodology. In my work, I use performative actions to investigate choreographic methods – such as improvisation, and real time composition – to produce installation work in site-specific locations. These performative actions are intended to act as a form of physical embodied knowledge production (Klein, 2010). Simultaneously, qualitative interviews with visual artists and choreographers provide data to shape and inform the construction of a conceptual framework, informed by a combination of visual arts and dance approaches to composition. It is expected that my research will offer a methodological approach that explores this new conceptual framework in practice. In this paper, I will introduce the research methodology I am currently developing as part of my doctoral study, and explain how the notions of performative research and embodied knowledge led the development of my installation work so far

Tejuelo. Didáctica de la lengua y la literatura. Educación

Resumen en inglés y portuguésResumen basado en el de la publicaciónSe describe un proyecto de educación literaria llevado a cabo en el primer año de la escuela Primaria. Se pretendía desarrollar una educación literaria en la que participaran las familias junto con el profesorado y la escuela. Se siguió una metología de trabajo por proyectos. Se concluye que después de realizar la experiencia los alumnos incrementaron su conocimiento del mundo, aumentaron sus competencias literarias y estéticas, comenzaron a disfrutar de los libros y la lectura e iniciaron su formación como lectores críticos y reflexivosES

Studying iodine intake of Portuguese children school meals

Iodine is an essential trace element, and its nutritional importance is well established. The iodine content of school meals of Portuguese children aged between 6 and 10 years (collected in the metropolitan area of Lisbon) was analyzed by ICP-MS. The samples were cooked with and without iodized salt and additionally some complementary foods were purchased as supplements to the main meals or to the other meal along the day. The results report six meals per day and they suggest that at least one main meals (lunch or dinner) prepared with iodized salt is enough to reach the recommended daily iodine intake (AI), 90 μg/day, not exceeding the tolerable upper intake (UL) level of 300 μg/day. When both main meals are cooked without iodized salt, 11 % of the hypotheses present an iodine content less than 90 μg/day. However, when lunch and dinner are prepared with iodized salt, 1 % exceeds the value of the UL. The food groups with the highest levels of iodine are daily products and fish. These results presuppose a balanced diet without any dietary restrictions. So, for ideological or medical reasons, special attention must be paid to diets with some limitations, such as vegetarian, lactose or high content of proteins free diets.Highlights: Plant based foods had the lowest levels of naturally occurring iodine; Animal based foods had the highest naturally occurring iodine content; Foods cooked with iodized salt presented the highest iodine content; Main meals cooked without iodized salt - 11 % were below of recommended daily intake; The intake of foods containing appropriate iodized salt noncommittal UL.The scientific work was funded by the Project WHO Collaborating Centre funded by the Instituto Nacional de Saúde Doutor Ricardo Jorge, I.P. Lisbon, Portugal (2013DAN850), by the METROFOOD-PP project, funded by European Union’s Horizon 2020 research and innovation program under grant agreement No 871083 and by Project UIDB/04292/2020 granted to MARE - Marine and Environmental Sciences Centre, and project LA/P/0069/2020 granted to the Associate Laboratory ARNET - Aquatic Research Network.info:eu-repo/semantics/publishedVersio

reflexões sobre um projecto de investigação e divulgação patrimonial

UIDB/04666/2020 UIDP/04666/2020Entre 2018 e 2020 decorreram trabalhos arqueológicos na Cidade Velha, a antiga capital de Cabo Verde, que prosperou entre os séculos XVI e XVII como entreposto atlântico do comércio de escravos e base de apoio à navegação oceânica. As escavações incidiram sobre dois locais: um contexto habitacional numa das suas principais artérias, a rua da Banana, e num dos mais antigos espaços de culto do arquipélago, a igreja de Nossa Senhora do Rosário. Estas intervenções permitiram recolher novos dados sobre o urbanismo e espaços de habitat da antiga cidade aquando do seu abandono no século XVIII, bem como sobre a configuração daquela estrutura religiosa. A investigação articulou-se com o programa educativo do Museu de Arqueologia, de Cabo Verde.aquando do seu abandono no século XVIII, bem como sobre a configuração daquela estrutura religiosa. A investigação articulou-se com o programa educativo do Museu de Arqueologia, de Cabo Verde. Between 2018 and 2020, archaeological work took place in Cidade Velha, the former capital of Cape Verde, which flourished amid the 16th and 17th centuries as an Atlantic trading post for the slave trade and a support base for the ocean navigation. The excavations focused on two sites: a housing context in one of its main arteries, Rua da Banana, and the other on one of the oldest religious spaces in the archipelago, the church of Nossa Senhora do Rosário. These archaeological interventions made it possible to collect new data on the urbanism and habitat areas of the old city, when it was abandoned in the 18th century, as well as on the configuration of that religious structure. The investigation was linked to the educational program of the Museum of Archaeology, of Cape Verdepublishersversionpublishe