‘White People All Over’: Refugee Performance, Fictional Aesthetics, and Dramaturgies of Alterity-Empathy

This article by Graça P. Corrêa and Szabolcs Musca follows the production process of Passajar, an immersive participatory theatre project collaboratively created by four theatre-makers and refugees from Congo, Iran, Iraq, Syria and Zimbabwe. Developed under the curatorship of Portuguese choreographer Madalena Victorino for Festival Todos in Lisbon, this multilingual experimental work focused on representing migrant experiences through a postdramatic artistic gaze. The production refused the forms of testimonial theatre and with it the contradictory role of facilitators, opting instead for a multidimensional fictional aesthetics practice. In this article the authors explore how Passajar performance and dramaturgical processes address difference in actual creative practice; and what are the ‘refugeedom’ aesthetics and ethical affects being generated by working with refugee participants. Similar to a growing number of non-verbatim migrant theatre initiatives, Passajar switched from the real to the fictitious via non-realistic representations and processes of abstraction. Arguably, this practice went against victimhood narratives, but does suspending traditional means of identification and empathy help develop new understandings on migration, or, on the contrary create detachment in audiences? What are the ethical consequences to audiences and refugee participants alike? Drawing upon philosophical concepts by Henri Bergson, Baruch Spinoza and Gilles Deleuze, the article examines how they critically contribute towards a discussion of the dramaturgies of alterity and empathy that were deployed in Passajar. By reflecting on both rehearsal process and final production, it reveals the ethical affects of Passajar, as well as transformative alternatives for migrant representation beyond the stage.Este artigo, da autoria de Graça P. Corrêa e Szabolcs Musca, acompanha o processo de produção de Passajar, um projeto de teatro imersivo gerado colaborativamente entre quatro criadores artísticos (teatro, dança e música) e vários refugiados do Congo, do Irão, do Iraque, da Síria e do Zimbabué. Desenvolvido sob a curadoria da coreógrafa portuguesa Madalena Victorino para o Festival Todos em Lisboa, esta produção experimental e multilingue centrou-se na apresentação de experiências dos migrantes através de uma perspectiva pós-dramática. Deste modo, a produção recusou formas de teatro de testemunho bem como o papel contraditório de facilitadores, para optar por uma prática estética ficcional e multidimensional. Neste artigo, os autores exploram as formas como a performance e processos dramatúrgicos de Passajar abordam a diferença na prática teatral; e que efeitos estéticos e éticos são gerados ao longo do trabalho criativo com refugiados. À semelhança de um número crescente de iniciativas teatrais não-documentais sobre migração, Passajar alterna entre o real e o fictício através de representações não-realistas e processos de abstração. Poderá argumentar-se que tal prática contraria as narrativas de vitimização, mas será que ao suspender os meios tradicionais de identificação e de empatia esta performance ajudou a desenvolver novos entendimentos sobre a migração ou, pelo contrário, gerou um distanciamento para com os espetadores? Quais foram as consequências éticas para o público e para os refugiados que nela participaram? Inspirado em conceitos filosóficos delineados por Henri Bergson, Baruch Spinoza e Gilles Deleuze, o artigo examina como essas contribuições críticas podem enriquecer uma discussão sobre as dramaturgias da alteridade e da empatia que foram despoletadas pela performance de Passajar. Ao refletir sobre o processo dos ensaios e a produção final, revelam-se os efeitos éticos de Passajar, assim como alternativas transformadoras para a representação dos migrantes, dentro e fora do palco.info:eu-repo/semantics/publishedVersio

Discovery of orexant and anorexant agents with indazole scaffold endowed with peripheral antiedema activity

CB1 receptors and endocannabinoids are integrated components of neuronal networks controlling different organism’s functions, such as appetite and food intake in the hypothalamus. A series of Rimonabant/Fubinaca hybrids have been synthesized in solution as C-terminal amides, acids, methyl esters and N-methyl amides. These compounds have been studied in cannabinoid receptor binding assay and functional receptor assay in vitro, the most active among them as agonist (LONI 11) and antagonist (LONI 4) were tested in vivo to evaluate their ability to stimulate or suppress the feeding behavior after i.p. administration. For LONI 11 formalin test and tail flick tests after s.c. and i.c.v. routes respectively, were also performed in vivo with the aim to investigate the antinociceptive effect at the central or peripheral level. In the Zymosan-induced edema and hyperalgesia, LONI 11 reduced the % paw volume increase and % paw latency after s.c. administration, also suggesting a potential anti-inflammatory activity at the periphery. Keywords. Cannabinoid receptor, Rimonabant, food intake, anorexant agent, edema

Global fluid phase behavior in binary mixtures of rodlike and platelike molecules

Published versio

A theory for long-memory in supply and demand

Recent empirical studies have demonstrated long-memory in the signs of orders to buy or sell in financial markets [2, 19]. We show how this can be caused by delays in market clearing. Under the common practice of order splitting, large orders are broken up into pieces and executed incrementally. If the size of such large orders is power law distributed, this gives rise to power law decaying autocorrelations in the signs of executed orders. More specifically, we show that if the cumulative distribution of large orders of volume v is proportional to v to the power -alpha and the size of executed orders is constant, the autocorrelation of order signs as a function of the lag tau is asymptotically proportional to tau to the power -(alpha - 1). This is a long-memory process when alpha < 2. With a few caveats, this gives a good match to the data. A version of the model also shows long-memory fluctuations in order execution rates, which may be relevant for explaining the long-memory of price diffusion rates.Comment: 12 pages, 7 figure