Theatre and time ecology: deceleration in Stifters Dinge

This article explores the production of ‘time ecology’ in two works of postdramatic theatre: Heiner Goebbels’ Stifters Dinge (2007) and Philippe Quesne’s L’Effet de Serge (2007). By focusing on the practice of deceleration, it argues that theatre’s ecological potential resides not so much in its ability to represent the world, but rather in its capacity for producing new types of temporal experience that purposefully seek to break with modernity’s regime of historicity and the accelerated rhythms that it has given rise to. Importantly, my concern with deceleration is not an argument for slowness per se; on the contrary, I am interested in highlighting the presence of multiple and interpenetrating timescales and rhythms. As well as exposing the full extent of theatre’s temporal potential, such a concern with postdramatic ‘chronographies’ offers an implicit critique of dramatic theatre’s extant practices of eco-dramaturgy that, all too often, attempt to construct a linear narrative which is invested in conventional sequential models of temporality (beginning, middle, end)

AMBULANSSISSA TYÖSKENTELEVÄN TYÖTURVALLISUUS, VÄKIVALTAINEN ASIAKAS / ITSEPUOLUSTUS OC-KAASULLA. KOULUTUSMALLIN SUUNNITTELU, TOTEUTUS SEKÄ ARVIOINTI KYMENLAAKSON PELAS-TUSLAITOKSELLE

Tämän opinnäytetyön tarkoituksena oli järjestää Kymenlaakson Pelastuslaitoksen ensihoitohenki-löstölle koulutuspäivä, jossa käsiteltiin väkivaltaisen potilaan kohtaamista ensihoitotehtävissä sekä OC -kaasun käyttöä itsepuolustuksena. Ensihoitohenkilöstö joutuu nykypäivänä kohtaamaan työteh-tävissään erilaisia uhka- ja väkivaltatilanteita, joissa väkivallan merkkien tunteminen ja oikeanlai-nen toiminta uhkaavassa tilanteessa voivat ehkäistä tilanteen eskaloitumista. OC -kaasua voidaan käyttää itsepuolustustarkoituksessa, mutta sen käyttö vaatii lain mukaan asianmukaisen koulutuk-sen. Opinnäytetyön tavoitteena oli laatia Kymenlaakson Pelastuslaitoksen ensihoitohenkilöstölle yhte-näinen toimintamalli väkivaltaisen potilaan kohtaamiseen ja tilanteessa toimimiseen. Koulutuspäi-vän tavoitteena oli myös kouluttaa ensihoitajille OC -kaasun turvallinen käyttö viimeisenä keinona hätävarjelutilanteessa. Tavoitteen saavuttamiseen käytettiin OC -kaasun koulutuksessa vaadittavaa koulutuskorttia, jonka pohjalta koulutus pidettiin. Tämä työ toteutettiin toiminnallisena opinnäytetyönä. Opinnäytetyöhön liittyvät koulutukset toteu-tettiin Kymenlaakson Pelastuslaitoksen tiloissa Haminassa, Kotkassa ja Kouvolassa. Koulutuksesta saadun palautteen perusteella 96 % koulutettavista (n=78) oli sitä mieltä, että koulutus oli onnistu-nut ja tarpeellinen. 69 % oli sitä mieltä, että koulutus antoi heille riittävät tiedot väkivaltaisuuteen johtavista ennakoivista merkeistä. 42 % koulutettavista koki, että koulutus opetti heille selkeän toi-mintamallin vaaratilanteisiin.The purpose of this thesis was to arrange an education and training day for the personnel who are working as paramedics in Kymenlaakso Rescue Department. Education and training consisted of confronting a violent patient in emergency medical care tasks and using OC-gas for the purpose of self-defense. Paramedics have to confront different kind of threatening and violent situations at their work. Then, recognizing signs of violence in a patient and the right kind of action in a threatening situation can prevent the situation from escalating to violence. OC- gas can be used as a self-defense, but law requires that a person who uses or operates an OC-sprayer must have proper training to use it. The aim of this thesis was to establish a uniform operation model to confront a violent patient and to operate in violent situations for paramedics who work in Kymenlaakso Rescue Department. The aim of the education and training day was also to teach the safe use of OC- gas in act of self-defense as a last resort. For the proper use of OC-sprayer training, we used a training-card as a basis to a achieve of the objective. This work was implemented as a functional thesis. The education and training part related to this thesis were conducted in Kymenlaakso Rescue Department´s premises in Kotka, Hamina and Kou-vola. Based on feedback from the training 96% of trainees (n = 78) were of the opinion that the training was successful and necessary. 69% were of the opinion that the training gave them suffi-cient information of proactive signs that could lead to violence. 42% of trainees felt that the training taught them an explicit approach to hazard situation

Keeping it Real: Encountering Mixed Reality in igloo’s SwanQuake: House

This paper employs the writings of early twentieth-century phenomenologists to examine physical/virtual dualism a century later. It considers the nature of embodied experience in mixed reality environments through an analysis of the author’s encounter with an art installation. The paper reflects on post-Cartesian approaches to the body and new media, noting the resistance of the language of philosophy to the articulation of mixed reality as a concept. If the language of the field constructs dualism, and the cyborgian unitization of human/technology invokes responses of horror or pity, are we prepared socially or culturally to inhabit mixed reality environments as embodied beings

Improvisation practices and dramaturgical consciousness: a workshop

Re-presenting on the page a dance workshop, this article draws attention to what I describe as a dramaturgical consciousness within improvised dance performance. Developing this particular consciousness entails a reconfiguration of the dramaturgical and the improvisational, which allows us to understand them both as embodied practices that play with memory. The workshop takes the participant/reader through a series of activities designed to activate a sensibility through which action and intellect, inside and outside, and past and present are productively blurred. As a practical workshop, it requires the purposeful activation of embodied thinking while foregrounding the importance of the memory, perception, and composition as the basis of a dramaturgical consciousness in improvisatory performance