The Threshold-Part III (original) (raw)
Related papers
Crisis in Greece and Beyond: Documentary and Politics
Focusing on two formally contrasting recent examples of Greek documentaries that deal with the contemporary economic, social and political crisis, the paper will explore issues of aesthetics and modes of engagement. Setting a polemical, expository documentary funded through crowdfunding and circulating freely on the internet through a ‘creative commons licence’, in contrast to a more subtle, observational film, funded privately by the director himself and circulating through film festivals and theatrical screenings, the paper will explore the aims and effects of such choices. Aris Chatzistefanou and Katerina Kitidi’s Catastroika (2012) prioritises informative analysis and activism over aesthetic concerns, while Marco Gastine’s Democracy: The way of the cross (2012) follows a set of rules of non-authorial intervention that leads to a far more subtle and ‘open’ text. At times of crisis, the paper will assess the two films’ respective merits as political texts.
According to data from the Brazilian Institute of Geography and Statistics (IBGE), 86.8% of Brazilians (nearly 208 million people) declare themselves Christians, divided between 64.6% Roman Catholic and 22.2% Evangelical. This shows that in comparison with the 91.8% of Brazilian Catholics declared in 1970, the group declined, so that the segment denominated Pentecostal in forty years increased from 5.2% of the population to 22.2%. Religious mobility is a fundamental aspect of social understanding both in Late Antiquity and in the present context, precisely because of the capacity to manage cosmologies and retain power and political relations. UNESP/LARP-MAE/USP WebGIS program is framed between the most basic archaeological database research documentation for visualization and contextualization of archaeological spatial data in the Eastern part of the Mediterranean. This type of data enables us to approach for instance the correlations between the spread of synagogues and churches during Late Antiquity, beyond providing support data to many other queries. Therefore, bound together with FAIR data principles and Digital Humanities concepts, the main efforts are to improve thematic interests, methods, and approaches, use archaeological evidence for critical historical analysis, and develop new interdisciplinary methods and approaches.
NECS Workshop: "The Toxicity of European Archives" in Lodz
Each culture of cinema has its toxic audiovisual heritage, usually only accessible to archivists and historians. Outside these limited circles these toxic films in the past were only known by title, in Germany for example the so called Vorbehaltsfilms stemming from the time of the "3rd Reich". The word Vorbehaltsfilm describes Nazi propaganda films which were banned by the Allies after the war. Until today they are forbidden in regular theatrical exhibition and as commercial product in Germany and Austria. Since the advent of the internet and the growth of accessibility to movies on a variety of sites these forbidden films have now become visible. The prohibited nature of these films in the past has added to their interest and enhanced their distribution. The attraction of gazing upon the forbidden only boosts their circulation and with this numerous myths growing around them. Locking them away had several side effects: There is neither a stable body of knowledge nor a debated and approved range of interpretations of these blacklisted films who have broken out of their archival cages. Films such as the Der ewige Jude / Eternal Jew disseminate their poisonous visual messages internationally on the internet. But this is only one example from the dark history of the poison cabinets of our archives. There is more toxic film material, and also from more recent times. At the workshop I would like to discuss current practices of dealing with films considered toxic. Which films are singled out by whom as belonging into that special cupboard. How does censorship and memory inside film archives work? What is the status of the special storage system in different cultures. How were and are now toxic films catalogued and accessed, by whom exactly, who posts them on youtube, and why?
Globalisation has created increased complexity in relation to institutions, governments and events. While traditional social and cultural enclaves are increasingly vulnerable to and wary of the impact of globalised commerce, technology and human movement, some contemporary artists and designers actively seek out these sites of difference in order to explore the intricacies of aesthetic value. In universities and schools of art and design, the influence of this ever-expanding horizon of cultural and political perception is evident in the changing nature of student design and artistic work. The impact of embracing globalised perspectives is potentially positive and negative: productive and repressive. Ideas and information, transported as new knowledge through creative practices, are moving seamlessly across institutional and national boundaries. This fluidity of transfer, encouraged by open access to institutions, partnership and trans-national agreements, is further enabled by widespread use of digital media and financial support for academics and students to be mobile. While geographical mobility is encouraged and increasing, the patterns of adaptation within educational programmes and structures may not be responding as fast. This paper reflects on artistic identity and aesthetics based on personal accounts of immersive experience in educational environments. We examine the value and risks of flexible artistic identity and aesthetics and conclude by proposing a couple of key adaptive strategies for ensuring that the strengths and cultural integrity of internationalised creative practices are protected. Conference presentation co-authored by: Nancy de Freitas, Associate Professor, Postgraduate Studies, School of Art and Design, Faculty of Design and Creative Technologies, Auckland University of Technology. King Tong Ho, Senior Lecturer, International Student Liaison, School of Art and Design, Faculty of Design and Creative Technologies, Auckland University of Technology. Rosemary Martin, Lecturer, Dance Studies, Dance Studies Postgraduate Advisor, National Institute of Creative Arts and Industries, University of Auckland. Te Oti Rakena, Associate Head of Performance, Coordinator of Vocal Studies (Classical), School of Music, National Institute of Creative Arts and Industries, University of Auckland.
Pixillation: Studies Beyond the “Trick” (Page 100)
The Cosmos of Animation: 28th Annual Conference of the Society for Animation Studies, 2016
Expanded abstract of a presentation done at the 28th Annual International Society for Animation Studies Conference at Singapore in 2016. You can see my expanded abstract on page 100 of the catalogue.