RECIPROCAL DRAWING: Bodies’ Co–dependence and Direct Contact in Performance Drawing

The author has not given permission for Aaltodoc -publishing.Reciprocal Drawing is an original method of collaborative practice situated within the field of performance drawing. In Reciprocal Drawing, two collaborators draw in the frame of reciprocal partnering strategy, which imposes uninterrupted co–dependence and contact between their bodies. The practice is carried out within two additional frames: the repertoire of actions and the score (rules and diagrams). Although these frames have been applied before, this research further jointly develops them to tackle challenges emerging from application of reciprocal strategies in drawing. The combination of frames facilitates co–exploration of reciprocal strategies’ potential for the medium. Supported by the frames, the collaborators devise complex reciprocal processes resulting in products that reflect ambiguous and nuanced human relations. The developed Reciprocal Drawing aims to extend conventional drawing by underlining the medium’s bodily–reciprocal, social potential. As an artistic research, the study focuses on Reciprocal Drawing processes and products as sources of embodied knowledge and explores the opportunities which they bring for drawing. As a phenomenological research, the study explores the embodied, relational–social dimension of Reciprocal Drawing. This is done by discussing the drawing–based experimentation conducted first solo by the researcher and then in duo form with collaborating artists. In the solo phase, the repertoire of actions was formed based on Laban Movement Analysis (LMA), a system of codified vocabulary used in understanding human movement. LMA helped the researcher to systemize and adapt body actions to the conditions of drawing in contact with the two–dimensional horizontal plane. In the collaborative phase, two strategies were identified as establishing the bodies’ co–dependence: rope–binding, originally used by Tehching Hsieh in his One Year Performance. Rope Piece (1983–84) and point–of–contact, the principle of Contact Improvisation dance. The use of rules and diagrams in the co–experiments links them to the 1970s practices of the Fluxus artists. In the reflection following the experimentation, LMA was also utilized to establish links between the complex reciprocal dynamics, the finalized drawings, and the mental states that accompanied their co–production. This aided the evaluation of the emerging opportunities. Phenomenological research theoretically guided the project allowing description, analysis, and thematic interpretation of the artist–researcher’s experience of the process to be verbalized. Following Merleau–Ponty’s philosophy, the embodied, expressive and dialogic character of Reciprocal Drawing is underlined as is its products’ capacity to be a source of self–knowledge for the creators. Additionally, with a support of theoretical perspectives in art and performance Reciprocal Drawing is identified as enabling co–exploration of physicality. Further, Reciprocal Drawing processes are presented as finely reflecting the social and relational aspect of human life: Defined as play, Reciprocal Drawing reveals its subversive, transformative and solidifying function, it renders possible learning new approaches to drawing. Finally, in this thesis Reciprocal Drawing is recognized as a postconsensual practice, where the engaged artists deliberately generate embodied conflict and co–explore its benefits without posing a threat to each other’s integrity. This is supported with the ethics derived from Jean–Luc Nancy’s and Emmanuel Levinas’ philosophies whose thinking is also employed to acknowledge Reciprocal Drawing as evoking loss, self–limitation and responsibility for the other

Bibliothèques monastiques au 21e siècle : la bibliothèque virtuelle de Sankt Peter

La bibliothèque de l’ancienne abbaye bénédictine de Sankt Peter en Forêt-Noire Vue générale Cliché Geistliches Zentrum St. Peter im Schwarzwald La bibliothèque historique de Sankt Peter : un lieu et ses collections La bibliothèque de l’ancienne abbaye bénédictine de Sankt Peter (Saint-Pierre) en Forêt-Noire combine harmonieusement l’espace architectural et l’agencement des fonds d’ouvrages : aujourd’hui encore, elle donne à ses visiteurs l’impression que les collections de livres se découvre..

"Ich glaube an eine ausgleichende Gerechtigkeit Gottes und an das stellvertretende Leiden."

Die Diplomarbeit „‚Ich glaube an eine ausgleichende Gerechtigkeit Gottes und an das stellvertretende Leiden.‘ Schuld oder Sühne bei Wilm Hosenfeld‚ beschäftigt sich mit der Person des Wehrmachtsoffiziers Wilm Hosenfeld (1895-1952), der als Sportoffizier in Warschau seine Kompetenzen genutzt hat, um über 10 Menschen das Leben zu retten. Seine mutige Einsatzbereitschaft beruhte auf seiner Men-schenliebe, die er durch seinen tiefen katholischen Glauben angespornt sah. Anhand seiner Schriften, die aus Tagebucheinträgen, Briefen und Notizen beste-hen, läßt sich ein recht klares Charakterbild erkennen, in dem auch die Zerris-senheit zwischen Wollen, Tun und Angst deutlich zum Ausdruck kommt. Ho-senfeld stellte sich früh seiner Verantwortung als deutscher Soldat vor den unterdrückten Polen und Juden, indem zu helfen versuchte, wo er nur konnte. Dennoch war im durchaus die Mangelhaftigkeit seiner Hilfe bewußt, da er selbst Angst vor Repressalien hatte. Mit der großen Schuld konfrontiert, die er auf dem Namen der Deutschen lasten sah, erhoffte er sich Verzeihung von Gott für sein Volk und sich selbst, indem er stellvertretende Wiedergutmachung zu leisten versuchte. Der Sühnegedanke taucht immer wieder in seiner Schriften, verstärkt in der Gefangenschaft, die ihm den Tod bringen sollte, auf. Die Arbeit befaßt sich mit dem Thema der Schuld, wie sie zu definieren und zu beurteilen sei, dazu werden philosophische und theologische Standpunkte vor-gestellt. Sodann untersucht sie die Möglichkeit der Wiedergutmachung, beson-ders der christlichen Sühne, und fragt, inwieweit diese Einstellung mit den Über-zeugungen Hosenfelds übereinstimmen. Am Rande wird auch die Kollektiv-schuldthese behandelt, da sie in gewisser Weise bei Hosenfeld aufzutauchen scheint. Zuletzt stellt die Arbeit die Frage, ob Hosenfelds Sühnegedanke heute noch Relevanz besitzt

GenBank

GenBank(R) is a comprehensive database that contains publicly available nucleotide sequences for more than 380,000 organisms named at the genus level or lower, obtained primarily through submissions from individual laboratories and batch submissions from large-scale sequencing projects, including whole genome shotgun (WGS) and environmental sampling projects. Most submissions are made using the web-based BankIt or standalone Sequin programs, and accession numbers are assigned by GenBank staff upon receipt. Daily data exchange with the European Nucleotide Archive (ENA) and the DNA Data Bank of Japan (DDBJ) ensures worldwide coverage. GenBank is accessible through the NCBI Entrez retrieval system that integrates data from the major DNA and protein sequence databases along with taxonomy, genome, mapping, protein structure and domain information, and the biomedical journal literature via PubMed. BLAST provides sequence similarity searches of GenBank and other sequence databases. Complete bimonthly releases and daily updates of the GenBank database are available by FTP. To access GenBank and its related retrieval and analysis services, begin at the NCBI Homepage: https://www.ncbi.nlm.nih.gov

"On the Spot": travelling artists and Abolitionism, 1770-1830

Until recently the visual culture of Atlantic slavery has rarely been critically scrutinised. Yet in the first decades of the nineteenth century slavery was frequently represented by European travelling artists, often in the most graphic, sometimes voyeuristic, detail. This paper examines the work of several itinerant artists, in particular Augustus Earle (1793-1838) and Agostino Brunias (1730–1796), whose very mobility along the edges of empire was part of a much larger circulatory system of exchange (people, goods and ideas) and diplomacy that characterised Europe’s Age of Expansion. It focuses on the role of the travelling artist, and visual culture more generally, in the development of British abolitionism between 1770 and 1830. It discusses the broad circulation of slave imagery within European culture and argues for greater recognition of the role of such imagery in the abolitionist debates that divided Britain. Furthermore, it suggests that the epistemological authority conferred on the travelling artist—the quintessential eyewitness—was key to the rhetorical power of his (rarely her) images. Artists such as Earle viewed the New World as a boundless source of fresh material that could potentially propel them to fame and fortune. Johann Moritz Rugendas (1802-1858), on the other hand, was conscious of contributing to a global scientific mission, a Humboldtian imperative that by the 1820s propelled him and others to travel beyond the traditional itinerary of the Grand Tour. Some artists were implicated in the very fabric of slavery itself, particularly those in the British West Indies such as William Clark (working 1820s) and Richard Bridgens (1785-1846); others, particularly those in Brazil, expressed strong abolitionist sentiments. Fuelled by evangelical zeal to record all aspects of the New World, these artists recognised the importance of representing the harsh realities of slave life. Unlike those in the metropole who depicted slavery (most often in caustic satirical drawings), many travelling artists believed strongly in the evidential value of their images, a value attributed to their global mobility. The paper examines the varied and complex means by which visual culture played a significant and often overlooked role in the political struggles that beset the period

Stature in nineteenth-century Rio de Janeiro: preliminary evidence from prison records

Esta análise sobre condições de vida no Rio de Janeiro, no século XIX, baseia-se em dados antropométricos e descritivos obtidos na documentação da Casa de Detenção. A pesquisa mostra que houve mudanças significativas nas alturas de presos ao longo do tempo e em função de sua cor e nacionalidade. Principalmente, houve um declínio na estatura de escravos, a partir dos nascidos nos anos 1830 e continuando ate os anos 1860, onde se interrompe o presente estudo. As diferenças entre escravos e homens livres por um lado, e entre brasileiros nativos no Rio de Janeiro e brasileiros nascidos fora da capital por outro lado, mostram que, além do declínio percebido na estatura dos escravos, houve também uma «penalidade urbana» na estatura, indicada pelo fato de serem os presos nascidos no Rio de Janeiro menos altos do que os outros presos brasileiros. Falta de alimentação, aumento no custo de vida em geral, transferência de escravos para fora da cidade depois de 1850, e epidemias urbanas eram fatores que influíam nas alturas dos presos.Based on anthropometric data and descriptive information contained in the records of the Rio de Janeiro city jail (Casa de Detenção), this paper explores patterns of change in living conditions during the nineteenth century. The research shows that there were significant changes in the heights of prisoners over time and according to race and nationality. Most importantly, heights of Brazilian-born slaves declined for the cohorts born in the 1830s through the beginning of the 1860s. In addition, differences in heights for natives of the city of Rio de Janeiro and for other Brazilian prisoners provide evidence of an «urban penalty» in stature during this period. Poor nutrition, the high cost of food and shelter, the movement of some slaves out of the city and into plantation work after 1850, and urban epidemics are assessed as the factors influencing trends in prisoner heights. Throughout the analysis, height trends discovered in Rio de Janeiro are placed in international comparative perspective