Un approccio ecologico cognitivo alla presenza scenica nelle arti della performance

The concept of stage presence in performing arts is generally understood as the ability of the skilled performer to capture the attention of the audience, a prerogative of the talented actor, who occupies a position of power in respect to the audience. This work challenges the classic model of stage presence as an intrinsic quality of the performer and proposes instead a cognitive ecological ethnographic framework which considers the role played by various social actors — the public and the performers, embedded in specific historical, cultural, and social environments — in shaping the performance event. Through an ethnographic and phenomenological analysis of the concept of stage presence in different performative contexts, this work proposes a cognitive ecological approach to the study of stage presence, suggesting possible methodological directions

Un approccio ecologico cognitivo alla presenza scenica nelle arti della performance

The concept of stage presence in performing arts is generally understood as the ability of the skilled performer to capture the attention of the audience, a prerogative of the talented actor, who occupies a position of power in respect to the audience. This work challenges the classic model of stage presence as an intrinsic quality of the performer and proposes instead a cognitive ecological ethnographic framework which considers the role played by various social actors — the public and the performers, embedded in specific historical, cultural, and social environments — in shaping the performance event. Through an ethnographic and phenomenological analysis of the concept of stage presence in different performative contexts, this work proposes a cognitive ecological approach to the study of stage presence, suggesting possible methodological directions.Il concetto di presenza scenica nelle arti performative è generalmente inteso come la capacità del performer di catturare l’attenzione del pubblico, una qualità propria dell’artista, che occupa una posizione di potere rispetto allo spettatore. Questo lavoro mette in discussione l’interpretazione classica di presenza come qualità intrinseca del performer, proponendo invece un’interpretazione secondo un quadro etnografico ecologico cognitivo che prende in esame il ruolo svolto da vari attori sociali — il pubblico e i performers, immersi in un preciso contesto storico-culturale, sociale e ambientale — altrettanto partecipi dell’esperienza performativa. Attraverso un’analisi etnografica e fenomenologica del concetto di presenza scenica in diversi contesti performativi, questo lavoro propone un approccio ecologico cognitivo, suggerendo possibili direzioni metodologiche

Resisting the ‘Patient’ Body: A Phenomenological Account

According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience of illness? By applying a phenomenological approach and auto-ethnographic analysis to the experience of cancer, this visual exploration provides support for rethinking the cancer event through a performative perspective. This work previews images and video material collected over ten years of haematological treatments, video dance performances and physical explorations. This work displays how processes of healing can be set in motion by creative embodied practices, physical explorations and unexpected journeys. By resisting the biomedical model and allowing the emergence of new meanings, it illustrates how dance and performative practices offer ground for transformation

Re-tracing the encounter: interkinaesthetic forms of knowledge in Contact Improvisation

We adopted a phenomenological approach, directly engaging with the community of practice of the form of movement under study. We discuss some methodological approaches that we considered in investigating the lived experience of a heterogeneous group of Contact Improvisation (CI) practitioners. We delineate how such a system of movement could provide a unique example for the analysis of the interpersonal dynamics between movers with a different degree of expertise, re-tracing some common paths towards the acquisition of interkinaesthetic knowledge.Adottando un approccio fenomenologico e una partecipazione diretta nella comunità della pratica di movimento studiata, abbiamo discusso alcuni approcci metodologici che sono stati presi in esame durante l’analisi dell’esperienza vissuta da un gruppo eterogeneo di danzatori di Contact Improvisation. Abbiamo descritto come questo sistema di movimento possa rappresentare un caso di studio peculiare per l’analisi delle dinamiche interpersonali che intercorrono fra praticanti con gradi diversi di esperienza, delineando alcuni percorsi comuni nell’acquisizione della conoscenza inter-cinestetica

Shifting Perspectives: A cinematic dialogue about Synthetic Biology in a more-than-human world

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world

Transiently expressed CRISPR/Cas9 induces wild-type dystrophin in vitro in DMD patient myoblasts carrying duplications

Among the mutations arising in the DMD gene and causing Duchenne Muscular Dystrophy (DMD), 10-15% are multi-exon duplications. There are no current therapeutic approaches with the ability to excise large multi-exon duplications, leaving this patient cohort without mutation-specific treatment. Using CRISPR/Cas9 could provide a valid alternative to achieve targeted excision of genomic duplications of any size. Here we show that the expression of a single CRISPR/Cas9 nuclease targeting a genomic region within a DMD duplication can restore the production of wild-type dystrophin in vitro. We assessed the extent of dystrophin repair following both constitutive and transient nuclease expression by either transducing DMD patient-derived myoblasts with integrating lentiviral vectors or electroporating them with CRISPR/Cas9 expressing plasmids. Comparing genomic, transcript and protein data, we observed that both continuous and transient nuclease expression resulted in approximately 50% dystrophin protein restoration in treated myoblasts. Our data demonstrate that a high transient expression profile of Cas9 circumvents its requirement of continuous expression within the cell for targeting DMD duplications. This proof-of-concept study therefore helps progress towards a clinically relevant gene editing strategy for in vivo dystrophin restoration, by highlighting important considerations for optimizing future therapeutic approaches

Synchronous vs non-synchronous imitation: using dance to explore interpersonal coordination during observational learning

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice dancers who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a realtime mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning

Adjuvant endocrine therapy initiation and persistence in a diverse sample of patients with breast cancer

Abstract Adjuvant endocrine therapy for breast cancer reduces recurrence and improves survival rates. Many patients never start treatment or discontinue prematurely. A better understanding of factors associated with endocrine therapy initiation and persistence could inform practitioners how to support patients. We analyzed data from a longitudinal study of 2,268 women diagnosed with breast cancer and reported to the Metropolitan Detroit and Los Angeles SEER cancer registries in 2005–2007. Patients were surveyed approximately both 9 months and 4 years after diagnosis. At the 4-year mark, patients were asked if they had initiated endocrine therapy, terminated therapy, or were currently taking therapy (defined as persistence). Multivariable logistic regression models examined factors associated with initiation and persistence. Of the 743 patients eligible for endocrine therapy, 80 (10.8 %) never initiated therapy, 112 (15.1 %) started therapy but discontinued prematurely, and 551 (74.2 %) continued use at the second time point. Compared with whites, Latinas (OR 2.80, 95 % CI 1.08–7.23) and black women (OR 3.63, 95 % CI 1.22–10.78) were more likely to initiate therapy. Other factors associated with initiation included worry about recurrence (OR 3.54, 95 % CI 1.31–9.56) and inadequate information about side effects (OR 0.24, 95 % CI 0.10–0.55). Factors associated with persistence included two or more medications taken weekly (OR 4.19, 95 % CI 2.28–7.68) and increased age (OR 0.98, 95 % CI 0.95–0.99). Enhanced patient education about potential side effects and the effectiveness of adjuvant endocrine therapy in improving outcomes may improve initiation and persistence rates and optimize breast cancer survival. Keywords Breast neoplasms Aromatase inhibitors Selective estrogen receptor modulators Medication taking Health services researchhttp://deepblue.lib.umich.edu/bitstream/2027.42/97045/1/Adjuvant endocrine therapy initiation and persistence in a diverse sample of patients with breast cancer.pd