Journal articles: 'Eureka College' – Grafiati (2024)

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In 1944, Freeman Dyson conjectured the existence of a “crank” function for partitions that would provide a combinatorial result of Ramanujan’s congruence modulo 11. In 1988, Andrews and Garvan stated such functions and described the celebrated result that the crank simultaneously explains the three Ramanujan congruences modulo 5, 7 and 11. Dyson wrote the article, titled Some Guesses in the theory of partitions, for Eureka, the undergraduate mathematics journal of Cambridge. He discovered the many conjectures in this article by attempting to find a combinatorial explanation of Ramanujan’s famous congruences for P (n), the number of partitions of n indeed, Ramanujan’s formulas lay unread until 1976 when Dyson found In the Trainty College Library of Cambridge University among papers from the estate of the late G.N.Watson. In 1986, F.Garvan wrote his Pennsylvania state Ph.D. Thesis Precisely on the formulas of Ramanujan relative to the crank. In view of this theoretical description, the story of the crank is a long romantic tale and the crank functions are intimately connected to all partitions congruences. In 2005, Mahlburg stated that the crank functions themselves obey Ramanujan type congruences.

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A partir da exposição realizada na Dickson Poon School of Law do King's College London (2016/2017) pelo artista e professor alemão da Universidade de Bonn, Werner Gephart, propõe-se aqui análise da obra “Produção babilônica de normatividade na Europa (2016)”, em diálogo com “A Torre de Babel”, de 1563 do artista belga Pieter Bruegel, o Velho, ambas cotejadas com os textos religiosos com os quais dialogam, com vistas a compreender as analogias feitas pelo autor da obra com história atual da Europa, sua unificação e os seus tantos dilemas mais contemporâneos.

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Se reseñan los contenidos de la obra Representaciones del mundo indígena en el cine hispanoamericano, editado por Ester Gimeno (Boston College) y Karen Poe (Universidad de Costa Rica). Compuesta por nueve artículos, escritos por investigadores de instituciones de América y Europa, la compilación destaca tanto por la relevancia temática (en boga, según resaltan las editoras en la introducción), como por la vigencia de las discusiones teóricas que moviliza (crítica poscolonial y decolonial, psicoanálisis, teoría de la historia).

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Sara Lagi obtuvo el grado de doctora en Historia del Pensamiento Político Europeo por la Universidad de Perugia en el año 2005. Actualmente es catedrática de la Universidad de Turín; también ha sido docente en la Universidad de Florencia (2007-2009), Middlebury College, Smith College y Fashion Institute of Technology (2005-2014). A lo largo de su prolífica trayectoria docente, Sara Lagi ha publicado un gran número de artículos y libros, entre los que destacan: “Pensare la democracia: Hans Kelsen e Hermann Heller a confronto”; “Kelsen e la Corte costituzionale austriaca: un percorso storico-politico (1918-1920)”; “Hans Kelsen, un pensatore democrático tra Europa e America (1920-1955)”; Il Pensiero político di Hans Kelsen (1911-1920). Le origini di Essenza e valore della democracia; “Georg Jellinek storico del pensiero politico (1883-1905)”; “Adolf Fischer e Karl Renner: la questione nazionale austriaca (1869-1917)”; “The formation of a liberal thinker: Georg Jellinek and his early writings”; “Hans Kelsen and the Austrian Constitutional Court (1918-1929)”; “Karl Renner: Staat und Nation”; “Hans Kelsen: pensador político”; “Territorio y pueblo en Hans Kelsen”.

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AbstractDie in diesem Beitrag behandelten Themen sind für die europäischen Bibliotheken, die immer stärker in das System der globalisierten internationalen Wissenschaft eingebunden sind, von großer Bedeutung. Fragen, die verstärkt von der Wissenschaftscommunity, aber in Zeiten der Krise und knapper finanzieller Mittel auch von der Politik an die Bibliotheken im 21. Jahrhundert gestellt werden dürften, sind etwa: Wie geographisch präsent sind die (durch den Staat oder Private subventionierten) Produkte einer bestimmten Wissenschaftscommunity auf dem „Weltmarkt“? Welche Standardliteratur ist in den Ländern der Welt vorhanden? Einst ein Monopol der alten Industrieländer, haben sich die Kataloge der Bibliotheksverbände heute stark auf Osteuropa und die Entwicklungsländer ausgeweitet. Unsere Sammlung umfasst 54 Unionskataloge, 81 Nationalbibliotheken, 17 Parlamentsbibliotheken und 10 Bibliotheken internationaler Organisationen. Eine weitere Annäherung an den globalen Bibliotheksbestand kann auch auf dem globalen Bibliotheksnetzwerk OCLC Worldcat basieren. Das Netzwerk wurde 1967 im Ohio College Library Center als Zusammenschluss von nur 54 Ohio Colleges gegründet und vereint heute bereits mehr als 70.000 Bibliotheken in mehr als 170 Ländern. Im Mai 2019 umfasste die Sammlung mehr als 450 Millionen Titelsätze und fast 2,8 Milliarden Bibliotheksbestände. Der OCLC katalogisiert somit einen Großteil des Reichtums der Weisheit der Menschheit, der in 484 Sprachen veröffentlicht wurde. Derzeit erreicht der Anteil der in englischer Sprache veröffentlichten Dokumente 39 Prozent. Es ist mit Abstand das größte Bibliotheksnetzwerk der Welt und bietet einzigartige Forschungsmöglichkeiten in allen Disziplinen. Die Vollversion OCLC First Search ist heute ein unverzichtbares Werkzeug für akademische Forschung, Analyse und akademische Strategieplanung. Europa ist längst in den Zug des OCLC eingestiegen, Länder wie Deutschlang, Frankreich, Italien und Spanien sind längst mit von der Partie; in Österreich ist die Expansion der Integration in dieses einmalige Netzwerk leider nur sehr schleppend.

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In questo articolo analizziamo il processo di transizione alla vita adulta, in particolare il raggiungimento dell'autonomia di giovani che vivono una situazione d'insicurezza lavorativa, in tre diversi contesti istituzionali di tre paesi europei: Germania, Italia, Polonia. I paesi coinvolti nello studio rappresentano diversi regimi di welfare in Europa (Esping-Andersen, 1990, 2000): quello familistico del Sud Europa (Italia), quello conservatore-corporativo (Germania) e quello ibrido post-comunista (Kazepov e Carbone, 2018) dell'Europa orientale (Polonia). Diventare adulto mette, infatti, in campo elementi macro, quali i riferimenti culturali e istituzionali, risorse meso, le relazioni sociali e familiari, e micro, legate alla capacità di attivare risorse personali per affrontare l'incertezza lavorativa ed economica. Nell'articolo i tre livelli di analisi sono ricostruiti e messi in relazione attraverso una metodologia qualitativa comparativa che collega il contesto macro istituzionale a dati micro-qualitativi per individuare i meccanismi sociali.

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Daniela Ortiz, artista peruana radicada en Barcelona, a través de su práctica política y artística, discute, reflexiona y debate sobre el colonialismo, el racismo, la migración y las prácticas represoras hacia el extranjero, el otro. A través del performance, fotografía, collage pone de manifiesto como en España y en Europa, pese a tener un discurso progresista frente al mundo, siguen vigentes leyes y normas que violentan al sujeto migrante. En Daniela Ortiz, el activismo artístico se manifiesta como detonador de pensamiento crítico y de acción.

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Na Europa e no mundo, vários grupos de investigação desenvolvem atividades de investigação em aços de alta resistência (HSS). Nesta série de artigos, o objetivo é divulgar resumidamente os projetos em andamento e finalizados com foco em HSS. Esta edição apresenta o projeto europeu Aços Mais Fortes no Ambiente Construído (STROBE), que é financiado pelo Fundo de Investigação do Carvão e do Aço. O projeto é coordenado pelo Steel Construction Institute (UK), os parceiros académicos do consórcio são Imperial College London (UK), RWTH Aachen (Alemanha) e University of Coimbra (Portugal), para além do projeto ter participação industrial da Dillinger ( Alemanha), fornecendo o material de aço de alta resistência e Hochtief (Alemanha), um gabinete de projeto.

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En 1933 surge en Carolina del Norte una escuela experimental que coincide con la llegada de aquellos que han de abandonar Europa, el Black Mountain College. Mientras los exiliados del viejo continente tratan de continuar en la nueva patria una historia lineal, la sociedad americana precursora del pragmatismo, se despoja de todo lo heredado y encuentra en la nada su propio punto de partida. En plena crisis económica, y tras la renuncia voluntaria de todo lo anterior, la nada, el material más abundante, representa la novedad. El auge de la ciencia y el descubrimiento del método de laboratorio que ya cosechara éxitos en el BMC, abren paso a una red de laboratorios domésticos que ambicionan manipular la nada para hacerla por un instante visible. La arquitectura encuentra en las efímeras apariciones de tan volátil material el origen de sus próximas ideas.

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Documentation of butterfly diversity is necessary for ecosystem management both at the local and the global scales. The varied types of functional role of the butterflies qualify them for conservation and thus sustenance of the ecosystem services. Information about the biodiversity of Purulia district as well as arid regions of Chota Nagpur Plateau is insufficient and this necessitates to investigate about the butterfly diversity of Purulia which will provide subsequent information for ecosystem management. On the basis of this proposition, the present study was carried out in the campus of Jagannath Kishore College, Purulia, West Bengal (India). The species richness, species diversity, seasonal variation and habitat utilisation by the butterflies were studied for a period of one year between February 2016 and January 2017 with photographic documentation. A total of seventy-one butterfly species under five families were encountered, of which, the family Nymphalidae represented highest number of species. The butterfly species richness was lower in summer probably due to the scarcity of water, but during monsoon and post-monsoon seasons water availabitity boost up the vegetation and therefore species richness increased to its maximum. Among the different species, Eurema hecabe was the most abundant species throughout the year followed by Leptosia nina, Danaus chrysippus and Catopsilia pomona. In the study area, thirty-one species of herbs and shrubs were identified as nectaring plants for adult butterflies. Among them, Tridax procumbens, Lantana camara, Alternanthera sessilis and Tagetes sp. were recognized as the preferred nectaring plants based on the number of butterflies visiting them. As an effort for conservation of the butterflies, the information on the plants and the species avaialble in the concerned region may be used further. However, long term monitoring of the concerned region is recommended to understand the changes in the environmental quality as reflected through the variations in the butterfly species assemblages.

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Este artículo ha presentado el estado del arte de la deserción universitaria en Europa y América Latina, y el modelo de Centro de Apoyo y Desarrollo Educativo Profesional (CADEP) para observar y tratar de disminuir la deserción estudiantil. Fue un estudio cualitativo con un enfoque hermenéutico donde se analizaron textos de libros, artículos científicos, informes de congresos, artículos de prensa, leyes, políticas y normas institucionales. Los resultados mostraron: que la deserción universitaria en Europa, América Latina y el Caribe oscila del 30% al 60%, centrada en factores como lo económico, familiar, ambiente pedagógico-didáctico, motivacional y afectivos, y que todos estos factores influyen en el rendimiento académico del estudiantado y propician el abandono de la universidad. Todo este planteamiento, permite al proyecto ACACIA ofrecer un sistema articulado de atención integral, que parte de un enfoque diferencial y con acciones que cubre no sólo las necesidades del estudiantado (de accesibilidad y afectividad en la experiencia de enseñanza y aprendizaje) y sus preferencias, sino también acciones y formación dirigidas al profesorado como al personal técnico y administrativo universitario, sin olvidar a la familia y el entorno social en el que se inscribe la universidad incluyendo al tejido empresarial, con una perspectiva integradora y aplicada de la innovación desarrollada.SummaryThis article presents the state of art of the college desertion in Europe and Latin America, as well as the model of the Support Center and Professional Educational Development (CADEP) in order to observe and try to reduce student’s desertion. The study was qualitative with a hermeneutic approach in which we analyzed different texts books, scientific articles, congress reports, press articles, laws, policies and institutional rules. The results revealed that the college desertion in Europe, Latin America and the Caribbean ranges from 30% to 60%, and it is focus on factors such as economic, family, educational, motivational and emotional environment, but most importantly is that all these factors influence the academic performance of students and contribute to the desertion from the university. This whole approach allows the ACACIA project to provide an articulated system of integral attention, that is based on differential approach which includes actions covering not only the needs of the students (accessibility and affection in the experience of teaching and learning) and its preferences, but also actions and training aimed at teachers as well as to the technical and administrative university staff, not forgetting family and the social environment in which the university is a fundamental part, including the business sector, with an integrated perspective of the developed innovation.

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<p>¿Cómo representar el vacío cuando es invisible y carece de límites, y a su vez, sin embargo, constituye<br />el fundamento de toda una arquitectura? Esta paradoja fundacional de la modernidad tuvo en Mies<br />van der Rohe la expresión radical de una búsqueda intuitiva a través de unos dibujos probatorios<br />expresados en los bocetos de sus proyectos de casas patio de finales de los años veinte en Europa,<br />bocetos que culminaron en su obra más sorprendente y lograda: el Pabellón de Barcelona; y en los<br />años siguientes, en los collages de su primer proyecto en América, la casa Resor. Un recorrido por ellos<br />revelará por sí mismo la ambición visionaria desarrollada por el arquitecto y las dificultades que hubo<br />para su materialización; paradójicamente, ésta es una de las cualidades de las cuales carece dicho vacío<br />ilimitado, ingrávido e inconcluso, y el cual su arquitectura “construyó” de forma aporética haciendo de<br />él otro material más del proyecto, cuando no el más importante.</p>

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Roger Chartier, docteur par l'École Normale Supérieure de Saint-Cloud (France), est un influent historien, chercheur à l'École des Hautes Études en Sciences Sociales et professeur honoraire au Collège de France. Il a des recherches dans le domaine de l'histoire de la culture et des livres, de la trajectoire de la lecture et de l'écrit en tant que pratiques sociales. Ses études sur l'Histoire du Livre et de la Lecture en Europe sont particulièrement remarquables. Il a également publié une vaste production, y compris Lecture et lecteurs dans la France de l'Ancien Régime (1987), Les origines culturelles de la Révolution Française (1990), Escribir las prácticas. Foucault, De Certeau, Marin (1996), Écrire et effacer: culture écrite et littérature (2003), entre autres, et a co-dirigé Histoire de l'édition française (1983-1986) et Histoire de la lecture dans le monde occidental (1997).Roger Chartier, doutor pela École Normale Supérieure de Saint-Cloud (França), é um influente historiador, pesquisador da École des Hautes Études en Sciences Sociales e professor honorário do Collège de France. Possui investigação no campo da história da cultura e dos livros, da trajetória da leitura e da escrita como práticas sociais. Destacam-se sobretudo os seus estudos sobre a História do Livro e da Leitura na Europa. Possui ainda vastíssima produção publicada, das quais se destacam Lecture et lecteurs dans la France de l’Ancien Régime (1987), Les origines culturelles de la Révolution Française (1990), Escribir las prácticas. Foucault, De Certeau, Marin (1996), Écrire et effacer: culture écrite et littérature (2003), entre outros, e codirigiu Histoire de l’édition française (1983–1986) e Histoire de la lecture dans le monde occidental (1997).

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This study focuses on academic institutional repositories as tools that allow us open access to scientific and academic production. Specifically, we analyze the Top 50 European University repositories differentiating, firstly, those repositories linked to Spanish universities compared to those belonging to universities throughout Europe and, secondly, repositories that only include research content as opposed to those that also include teaching content. Specifically, this work complements previous studies on the consolidation of the repositories, focusing on the analysis of the competitive environment by considering their participation and relative visibility shares. The analysis, using competitive maps and comparative advantage method, allows us to identify European university repositories that lead their segments, in terms of their levels of participation and web visibility in the market. In general, without distinguishing by segments, results show that the leadership at European level in terms of participation is held by the University College of London (UK) and the repository of the University of Umea (Sweden) is the leader in visibility.El presente estudio se centra en los repositorios institucionales universitarios como instrumentos que posibilitan el acceso en abierto a la producción científica y académica. Se analizan los Top50 repositorios universitarios europeos diferenciando, en primer lugar, aquellos repositorios vinculados a universidades españolas frente a los pertenecientes a universidades del resto de Europa y, en segundo lugar, los repositorios que incluyen en sus contenidos exclusivamente resultados de investigación frente a aquéllos que también albergan recursos docentes. En concreto, este trabajo complementa estudios previos sobre la consolidación de los repositorios, profundizando en el análisis del entorno competitivo a partir de sus cuotas relativas de participación y de visibilidad web. El análisis efectuado, a través del diseño de mapas competitivos y la aplicación del método de la ventaja relativa, permite identificar los repositorios universitarios europeos líderes en sus segmentos respecto a sus niveles de participación y visibilidad web en el mercado. A nivel general, sin establecer diferencias por segmentos, los resultados muestran que el liderazgo a nivel europeo, en términos de participación, lo ostenta el University College of London (Reino Unido), mientras que el repositorio de la Universidad de Umea (Suecia) es líder en visibilidad.

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AbstractIn 1599 the Society of Jesus approved the Ratio atque Institutio Studiorum Societatis Iesu (Method and System of the Studies of the Society of Jesus). The document outlined policies and procedures on the administration, curriculum and teaching practices in its educational institutions in Europe and abroad. Part of the Ratio detailed a secondary program of studies in classical languages and literature. The subject of this study is the program of humane letters and the focus of the analysis is the professional behavior of the Jesuit teacher responsible for its implementation. This paper identifies the actions that a Brazilian Jesuit would have taken when teaching the humanities in a Brazilian college in the 17th and 18th centuries. His pedagogical actions and activities are inferred from the “Common Rules for the Teachers of the Lower Classes” of the Ratio Studiorum.Keywords: Society of Jesus. Ratio Studiorum. Curriculum. Teaching Practices.ResumoEm 1599 a Sociedade de Jesus aprovou o Ratio atque Institutio Studiorum Societatis Iesu ("Metodo e Sistema de Estudos da Companhia de Jesus”). O documento delineou as políticas, os procedimentos administrativos, os currículos e as práticas de ensino em suas instituições educacionais na Europa e no exterior. Uma parte da Ratio detalhou um programa de estudos das línguas e da literatura clássica. O objeto deste estudo é o programa das letras humanas e o foco da análise é o comportamento profissional do professor jesuíta responsável por sua implementação. Este trabalho identifica as ações que um jesuíta brasileiro teria demonstrado quando ensinando as humanidades em um colégio brasileiro nos séculos 17 e 18. Suas ações e atividades pedagógicas são inferidas das "Regras comuns para os professores das classes mais baixas" explicitadas no Ratio Studiorum.Palavras-chave: Companhia de Jesus. Ratio Studiorum. Currículos. Práticas de Ensino.ResumenEn 1599 la Compañía de Jesús aprobó el Ratio atque Institutio Studiorum Societatis Iesu ("Método y sistema de los estudios de la Compañía de Jesús"). El documento describe las políticas y procedimientos sobre la administración, el plan de estudios y las prácticas de enseñanza en sus instituciones educativas en Europa y en el extranjero. Parte del Ratio detalla un programa secundario de estudios en lenguajes clásicos y literatura. El tema de este trabajo es el programa de letras humanas y el enfoque del análisis es el comportamiento profesional del profesor jesuita responsable por su implementación. Este documento identifica las acciones que un profesor jesuita habría tomado al enseñar humanidades en un colegio brasileño en los siglos 17 y 18. Sus acciones y actividades pedagógicas se deducen de las "Reglas Comunes para los Profesores de las Clases Inferiores” del Ratio Studiorum.Palabras-clave: Compañia de Jesús. Ratio Studiorum. Plan de estudios. Prácicas de enseñanza.

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El síndrome de Larsen (SL) es una enfermedad hereditaria rara caracterizada por un defecto en la formación de colágeno debido a mutaciones en los genes que codifican la proteína citoesquelética filamina B. Su prevalencia en Europa es aproximadamente de 1/250.000 nacidos vivos. Esto implica una serie de rasgos y particularidades anatómicas de la vía aérea que debemos valorar en niños que van a ser sometidos a un acto anestésico. Se presenta el caso de un niño de 11 años diagnosticado de síndrome de Larsen que se interviene de aticotomía oído izquierdo. A este propósito, realizamos revisión bibliográfica sobre las peculiaridades del manejo anestésico de estos pacientes. ABSTRACT Anaesthetic implications in Larsen Syndrome: about a case Larsen Syndrome (SL) is a rare hereditary disease characterized by a defect in the formation of collagen due to mutations in the genes encoding the cytoskeletal protein filamin B. Its prevalence in Europe is approximately 1 to 250,000 live births. This implies a number of anatomical features of the airway that we must assess in children who are going under anesthesia. We present the case of an 11-year-old boy diagnosed with Larsen syndrome who underwent left ear aticotomy. In this regard, we conducted a literature review on the peculiarities of anesthetic management of these patients.

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ABSTRACTThe accelerator mass spectrometry (AMS) center at Horia Hulubei National Institute for R&D in Physics and Nuclear Engineering, Bucharest, is based on the latest-generation 1 MV Tandetron® accelerator, produced by High Voltage Engineering Europa (HVEE), The Netherlands. The AMS center became fully functional at the start of 2013, and at the end of 2015 the laboratory established the RoAMS international code and it was added to the list of AMS laboratories maintained by Radiocarbon journal. An important aspect in the establishment of a new AMS laboratory is the declaration and documentation of the adopted protocols and to demonstrate the reliability and reproducibility of the measurements in comparison to internationally recognized reference materials. In this paper, we present the dating results on the Sixth International Radiocarbon Intercomparison (SIRI) samples that were pretreated, graphitized, and measured in our laboratory. The newly developed sample preparation laboratory can handle sample materials as (1) organic materials, (2) wood, (3) bones, and (4) carbonates. The results of our measurements are in very good agreement with the SIRI consensus values and confirm the reliability of our sample preparation laboratory and also the good performance of the HVEE AMS system. The blank levels for the SIRI materials are 0.277±0.045/0.333±0.046 percent modern carbon (pMC) for wood samples, 0.441±0.038 pMC for bone collagen, and 0.239±0.030 pMC for carbonate materials, considering an average mass of 1 mg sample graphite.

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Resumen: Francisco Murillo Ferrol fue catedrático de derecho político en la Universidad de Valencia desde su acceso a la cátedra, en 1952, hasta su marcha a la Universidad de Granada en 1961. Fue el primer catedrático estable que tuvo la disciplina en Valencia desde 1932. Cuando llega, es un profesor formado en la filosofía del derecho y que había realizado algunas reflexiones sobre la teoría del Estado desde perspectivas históricas y clásicas. Sus ocho años y medio en Valencia fueron de intensa actividad: dirigió el colegio mayor “Luis Vives”; participó intensamente en la vida académica de la Facultad; impulsó un Seminario interdisciplinar de ciencias sociales centrado en la sociología y la ciencia política, cuyas corrientes principales en Europa y América empezó a introducir; creó una gran biblioteca sobre estas materias; animó un primer grupo de discípulos; etc. El presente estudio muestra toda esa actividad, al tiempo que hace una descripción de los principales rasgos de la personalidad del profesor, como su tolerancia política y personal, su vigorosa personalidad intelectual, caracterizada por una actitud crítica radical, su escepticismo rayano en el pesimismo y, sobre todo, su firme vocación docente, que le llevó a ser definido como “un maestro en tiempo de patronos”.Palabras clave: Universidad franquista, Murillo Ferrol, derecho político, ciencia política, sociología.Abstract: Francisco Murillo Ferrol was a professor of political law at the University of Valencia from his access to the chair in 1952, until his departure to the University of Granada in 1961. He was the first stable profesor this discipline had in Valencia since 1932. When arriving, he was a professor trained in philosophy of law who had done some reflections on the theory of the State from historical and classical perspectives. His eight and a half years in Valencia show an intense activity: he was the director of the college “Luis Vives”; he participated intensely in the academic life of the faculty; he promoted an interdisciplinary seminar on social sciences focused on sociology and political science, whose main currents in Europe and America he began to introduce; he created a large library on these matters and encouraged a first group of disciples; etc. The present study shows all this activity, as well as a description of the main features of the professor’s personality, such as his political and personal tolerance, his vigorous intelectual personality, characterized by a radical critical attitude, his scepticism bordering on pessimism and, above all, his strong vocation towards teaching, which led him to be defined as “a master in an age of bosses”.Keywords: Francoist university, Murillo Ferrol, political law, political science, sociology.

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O tema deste estudo trata sobre a autonomia universitária com reflexões sobre o contexto vivido pelas universidades paranaenses, a partir da Universidade Estadual de Londrina - UEL. O conceito de autonomia faz parte do processo histórico constituinte da universidade, bem como da essência institucional, desde seu berço na Europa. A universidade contemporânea se estabeleceu pela conquista da ideia da autonomia do saber diante da religião e do Estado. Objetiva-se neste artigo reconhecer elementos do atual debate sobre autonomia, seus avanços e recuos, para refletir sobre a crise vivenciada nas universidades estaduais paranaenses e o processo de mobilização ocorrido em 2015, assim, levanta-se a trajetória sobre a autonomia universitária, analisando conceitualmente a autonomia e autonomia universitária. Utiliza-se a pesquisa qualitativa e como procedimento metodológico o levantamento de referenciais teóricos sobre a construção do conceito de autonomia, bem como uma análise documental dentre o período de 1992 a 2016, em que relatem os recentes embates entre a UEL e o poder público. Assim, se utilizaum vasto referencial bibliográfico dentre os quais se destaca Fávero (2006), Ranieri (1988), Teixeira (1988) e Cunha (2000). Infere-se quetem ocorrido um intenso confronto do poder público com as instituições universitárias a respeito do preceito constitucional sobre autonomiauniversitária, resultando em mobilizações pela comunidade acadêmica.Palavras-chave: Autonomia Universitária. Educação. Educação Superior.AbstractThe theme of this study is about university autonomy with reflections on the context lived by the universities of Paraná, from the State Universityof Londrina - UEL. The concept of autonomy is part of the historical constituent process of the university, as well as of the institutional essence,from its cradle in Europe. The contemporary university was established by the achievement of the idea of the knowledge autonomy beforethe religion and the State. This article aims to recognize elements of the current debate on autonomy, its advances and retreats, to reflect onthe crisis experienced in the state universities of Paraná and the process of mobilization that occurred in 2015, thus raising the trajectory onuniversity autonomy, analyzing conceptually the autonomy and University autonomy. Qualitative research was used and as a methodologicalprocedure, the theoretical reference on the construction of the concept of autonomy, as well as a documentary analysis between the periodfrom 1992 to 2016 in which they report the recent conflicts between UEL and the public Power. Thus a vast bibliographic reference was used,among which highlight Fávero (2006), Ranieri (1988), Teixeira (1988) and Cunha (2000) are highlighted. It is infered that there has been anintense confrontation of the public power with the university institutions regarding the constitutional precept on university autonomy, resultingin mobilizations by the academic community.Keywords: University autonomy. Education. College education.

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From the Grundtvig ArchivesEurope and America, or about the Imminent Change in State Relations (Fragment from 1820).By Gustav AlbeckThe fragment seems to be the beginning of a study (a review?), occasioned by C.F. von Schmidt-Phiseldeck’s book, "Europa und Amerika", oder die künftigen Verhältnisse der civilisierten Welt., which was published in the early summer of 1820.Grundtvig describes the book as .the strangest book that has been published in Denmark for a long time.. Its writer, who was German born, but became a Danish citizen already as a young man, held high posts in Danish government administration in the period from app. 1810 until his death in 1832 (e.g., in the College of Commerce and the National Bank), working at the same time as a writer of learned economic works as well as (more popular) philosophical writings.The book about Europe and America has been written from the writer’s conviction that the changed Europe (after the conclusion of the Napoleonic Wars) was going to loose her numerous colonies beyond the Atlantic Ocean and become weak and poor, whereas America (esp. the United States) would acquire increasing influence and wealth at the cost of the Old World.Grundtvig characterizes the dominant position of America as a matter of minor importance, and seems to want first of all to make his countrymen familiar with the thought that the European .State Household. is approaching a .Crisis., and to warn the apathetic Danes against the consequences of that crisis.The commentary on the fragment refers briefly to the - surprisingly few - passages in Grundtvig’s writings where he shows his view of America’s mission and place in world history. In .The World Chronicle., 1812, he describes Columbus as .a great Tool in God’s Hand, but adds that it was Columbus’ good fortune that the new continent ... did not come to bear his name.. This paradoxical attitude is noticeable wherever Grundtvig mentions America. The criticism is, in particular, directed against South America, whereas he often commends North America, esp. the .Free States. as a home of freedom. But Grundtvig has many difficulties in accepting the people of the American states, this peculiar motley crowd. (as he calls the immigrants in 1812), as a people created by God.In the 10th chapter of his book, Schmidt-Phiseldeck proposes the idea of a union of the states of Europe, a thought which he elaborated in detail in a subsequent volume, “Der europäische Bund”. If Grundtvig had finished his review, he would probably have rejected the idea of a union as early as 1820. At any rate, in the 1830s, he objects sharply to the Vienna Congress and its heavyhanded division of the European peoples, irrespective of their ethnic, national and cultural affiliations. He describes his view of these events, partly in his “Handbook of World History” (1833 sq), partly in the lectures he gave at Borch’s Kollegium in 1838 (which his son, Sven Grundtvig published in 1877 under the title .Within Living Memory. (“Mands Minde”)).There may be two explanations why Grundtvig did not finish his review in 1820. His intention seems primarily to draw attention to Schmidt-Phiseldeck’s book, but already in July 1820, A.C. Gierlew began work on a highly detailed, critical review, which appeared in 6 numbers of Dansk Litteratur-Tidende (Danish Literary News). At the same time a Danish translation of Schmidt-Phiseldeck’s book (by D. Didrichsen and H.A. Mortensen) was published, so that Grundtvig’s primary object was achieved.Another explanation why Grundtvig did not finish the article he had begun to work on, may be that in the summer of 1820, he felt tired and unfit for work, as it appears from his letter of September 9th, 1820, to his friend Christen Olesen.

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Given the growth and role of entrepreneurship today, it is becoming increasinglyimportant to understand how new entrepreneurial opportunities get developed. Discussions of the emergence of new entrepreneurial opportunities often include “eureka” moments, but our understanding of how new opportunities get brought forward is limited. We attribute the difference to a loosely defined quality that Kirzner called “entrepreneurial alertness”. Other market actors do not have the responsibility to create innovative market opportunities although they do have an obligation to consider such opportunities once they are available in the marketplace. Consequently, understanding the opportunity identification processrepresents one of the core intellectual questions for the domain of entrepreneurship. So the question of this paper is how are market environments represented and interpreted in the mind of the entrepreneur such that opportunity identification occurs? and what factors impress on it? To achieve this goal we distribute questionnaires between 115 M.A. students from Economics and Management college of University of Sistan & Baluchestan for the years2012 and 2013. Analysis was done by correlation test. Results showed that there is a significant relationship between market disequilibrium, accuracy vs. timeliness, schema complexity, counterfactual thinking, frame-breaking and sensitivity to profit potential and student’s entrepreneurial alertness; but the relationship between ignorance of new resource and excessive optimism or pessimism about resource and student’s entrepreneurial alertness was not significant.

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Onder de titel ‘Kwalitatief onderzoek naar migratie, vluchtelingen en mobiliteit’ werd op donderdagmiddag 8 december 2016 de najaarsconferentie van de Stichting KWALON gehouden op de Vrije Universiteit, Amsterdam. Voor de organisatie tekenden Fijgje de Boer en Joost Beuving van KWALON. Nienke Muurling, docente culturele antropologie (University College Amsterdam/Universiteit Utrecht) trad op als voorzitter. Zij gaf om te beginnen een toelichting op haar eigen persoonlijke betrokkenheid bij het thema Afrikaanse migranten in Europa.

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A Sociologias Plurais entrevistou a professora Vânia Penha-Lopes que aceitou conversar conosco enquanto ministrava o mini curso RELAÇÕES RACIAIS COMPARADAS: BRASIL E EUA, promovido pelo Programa de Pós-Graduação em Sociologia (PGSOCIO/UFPR); Núcleo de Estudos de Gênero (NEG/UFPR); Núcleo de Estudos Afro-Brasileiros (NEAB/UFPR); Programa de Pós-Graduação em Educação (PPGE/UFPR) e o Instituto de Estudos Avançado de Mobilidade Social. Vânia Penha-Lopes, Ph.D., é professora titular de Sociologia no Bloomfield College, em Nova Jérsei, EUA e, desde 2010, codiretora do Seminário do Brasil na Universidade Columbia, em Nova Iorque, também é membro do comitê executivo da Brazilian Studies Association-BRASA. É doutora em Sociologia pela Universidade de Nova Iorque (1999), com pós-doutorado em Ciências Sociais do Programa de Pós-graduação em Ciências Sociais da Universidade do Estado do Rio de Janeiro (2007). É também mestra em Sociologia (1991) e em Antropologia (1987), ambos pela Universidade de Nova Iorque, e bacharel em Ciências Sociais pela Universidade Federal do Rio de Janeiro (1982, com distinção acadêmica). A Professora Doutora Vânia é congressista e palestrante na América do Norte, América do Sul e Europa e é autora de vários artigos, em inglês e português, sobre relações raciais no Brasil e nos Estados Unidos, ações afirmativas comparadas, família e masculinidades. Durante sua passagem pelo Brasil em 2013, Vânia Penha-Lopes lançou o livro “Pioneiros: Cotistas na Universidade Brasileira” pela Paco Editorial.

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Resumo Procurando reconhecer uma inteligibilidade nas transformações fomentadas pelas políticas educativas dos últimos anos nas escolas portuguesas, este artigo apoia-se na analítica foucaultiana da governamentalidade enquanto instrumento crítico para uma interpretação das mudanças que estão ocorrendo na Europa e, em particular, em Portugal. Focando os processos, mais do que os resultados, revisita-se o curso realizado por Foucault no Collège de France - Sécurité, Territoire, Population - com o objetivo de traçar um paralelismo entre o reformismo das políticas educativas atuais, traduzidas num corpus legislativo, e a economia de poder especificada pelo neoliberalismo. Por este prisma, argumenta-se que os novos modos de governação das escolas, dos professores e dos estudantes visam progressivamente alcançar três desideratos estreitamente articulados entre si, a saber: a constituição de um milieu educativo favorável à circulação de pessoas, bens e informação; a normalização das condutas por meio da elaboração de standards; bem como a adoção da racionalidade da economia política no trabalho escolar. É pelo concurso destas três finalidades que o processo de autonomização das escolas se torna cada vez mais um instrumento-chave de governação das escolas, em detrimento do processo direto de administração estatal. A nova configuração semântica que acompanha este processo, centrada na autoavaliação, no desenvolvimento estratégico e na inovação pedagógica, destina-se a fazer impelir as escolas na realização de um trabalho hermenêutico sobre si próprias, operacionalizando ações de melhoria dos seus resultados, de modo a constituírem-se como escolas de qualidade.

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04–403 Ammon, Ulrich. Sprachenpolitik in Europa- unter dem vorrangigen Aspekt von Deutsch als Fremdsprache (2). [Policy towards languages in Europe with special reference to German as a foreign language (2)]. Deutsch als Fremdsprache (Leipzig, Germany), 41 (2004), 3–10.04–404 Bray, Gayle Babbitt (U. of Iowa, USA; Email: gayle-bray@uiowa.edu), Pascarella, Ernest T. and Pierson, Christopher T. Postsecondary education and some dimensions of literacy development: An exploration of longitudinal evidence. Reading Research Quarterly (Newark, USA), 39, 3 (2004), 306–330.04–405 Dufon, Margaret A. (California State U., USA). Producing a video for teaching pragmatics in the second or foreign language. Prospect (Sydney, Australia), 19, 1 (2004), 65–83.04–406 Intachakra, S. (Thammasat U., Thailand; Email: songthama@tu.ac.th). Contrastive pragmatics and language teaching: apologies and thanks in English and Thai. RELC Journal (Singapore), 35, 1 (2004), 37–62.04–407 Kerkes, Julie (California State U., Los Angeles, USA). Preparing ESL learners for self-presentation in institutional settings outside the classroom. Prospect (Sydney, Australia), 19, 1 (2004), 22–46.04–408 Kozlova, Iryna (Georgia State U., USA). Can you complain? Cross-cultural comparison of indirect complaints in Russian and American English. Prospect (Sydney, Australia), 19, 1 (2004), 84–105.04–409 McLean, Terence (Grant MacEwan College, Edmonton, Canada; Email: mcleanky@telusplanet.net). Giving students a fighting chance: pragmatics in the language classroom. TESL Canada Journal/Revue TESL du Canada (Barnaby, Canada), 21, 2 (2004), 72–92.04–410 Newton, Jonathan (Victoria U. of Wellington, New Zealand). Face-threatening talk on the factory floor: using authentic workplace interactions in language teaching. Prospect (Sydney, Australia), 19, 1 (2004), 47–64.04–411 Nichols, Susan (U. of South Australia). Literacy learning and children's social agendas in the school entry classroom. Australian Journal of Language and Literacy (Norwood, Australia), 27, 2 (2004), 101–113.04–412 Yates, Lynda (La Trobe U., Australia). The ‘secret rules of language‘: tackling pragmatics in the classroom. Prospect (Sydney, Australia), 19, 1 (2004), 3–20.

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Resumen: Este artículo trata de la primera generación de verdaderos nativos digitales en Europa, nacidos en torno al año 2000 y que en la actualidad asisten a los institutos de secundaria. Son diferentes a los de generaciones anteriores debido sobre todo al impacto que la tecnología ha tenido en sus vidas, pero la mayoría sigue sistemas educativos desfasados, diseñados para alumnos del siglo pasado. Muchos profesores intentan adaptarse a la nueva situación incorporando las TIC en sus cursos. La autora analiza el proceso de creación de un telediario, actividad realizada en el marco de un proyecto piloto de uso de los Ipad en los cursos de E/LE. Este proyecto obtuvo el Primer Premio del concurso a la Mejor práctica docente de E/LE basada en las TIC convocado por la Editorial Difusión/Prolinter en 2017, con la colaboración del Instituto Cervantes y el patrocinio de SIELE y FEDELE. Palabras clave: E/LE con Ipads, nativos digitales, enfoque por proyectos, tarea final. Abstract: This article concerns the first generation of true digital natives in Europe, children born in 2000, who, today, attend colleges or secondary schools. They are different to the previous generations due to the important impact of technology on their lives. However, they are compelled to attend schools with an outdated educational system designed for the older generations. Some teachers try to adapt themselves to the new situation by incorporating the ICT. The Spanish teacher at the LFZ therefore analyzes in this article the elaboration process of a newscast, whilst using the school iPads with her students of second year of Spanish. This video was presented at a well-known contest amongst language teachers, where the best teaching practice of Spanish as a foreign language based on the use of ICT is selected, and won the first prize in March 2017. Keywords: S/FL, digital natives, S/FL with Ipads, Task-based language learning.

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Resumen: Este artículo trata de la primera generación de verdaderos nativos digitales en Europa, nacidos en torno al año 2000 y que en la actualidad asisten a los institutos de secundaria. Son diferentes a los de generaciones anteriores debido sobre todo al impacto que la tecnología ha tenido en sus vidas, pero la mayoría sigue sistemas educativos desfasados, diseñados para alumnos del siglo pasado. Muchos profesores intentan adaptarse a la nueva situación incorporando las TIC en sus cursos. La autora analiza el proceso de creación de un telediario, actividad realizada en el marco de un proyecto piloto de uso de los Ipad en los cursos de E/LE. Este proyecto obtuvo el Primer Premio del concurso a la Mejor práctica docente de E/LE basada en las TIC convocado por la Editorial Difusión/Prolinter en 2017, con la colaboración del Instituto Cervantes y el patrocinio de SIELE y FEDELE. Palabras clave: E/LE con Ipads, nativos digitales, enfoque por proyectos, tarea final. Abstract: This article concerns the first generation of true digital natives in Europe, children born in 2000, who, today, attend colleges or secondary schools. They are different to the previous generations due to the important impact of technology on their lives. However, they are compelled to attend schools with an outdated educational system designed for the older generations. Some teachers try to adapt themselves to the new situation by incorporating the ICT. The Spanish teacher at the LFZ therefore analyzes in this article the elaboration process of a newscast, whilst using the school iPads with her students of second year of Spanish. This video was presented at a well-known contest amongst language teachers, where the best teaching practice of Spanish as a foreign language based on the use of ICT is selected, and won the first prize in March 2017. Keywords: S/FL, digital natives, S/FL with Ipads, Task-based language learning.

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Denise Y. Arnold, reconocida antropóloga andinista, especialista en el área aymara boliviana, autora de más de veinte libros y una centena de ensayos, muchos de ellos en colaboración con Juan de Dios Yapita, divide su tiempo entre La Paz y Londres. En La Paz, dirige el Instituto de Lengua y Cultura Aymara (ILCA), que desde hace ya varios años se posiciona como uno de los centros de producción intelectual referentes del área andina, con una importante proyección regional e internacional. En Londres, dirige y participa de distintos proyectos vinculados actualmente al estudio de las técnicas textiles andinas, en Birkbeck College London, de la University of London. Estos caminos, entre Suramérica y Europa, sin duda colaboraron a definir buena parte de sus preocupaciones e intereses de investigación, pero son quizá los “caminos guerreros” que se trazan desde Qaqachaka aquellos que mejor permiten remontar hoy sus preguntas y búsquedas. Sabemos que Denise no sólo ha conseguido llamar la atención sobre temas en su momento poco estudiados (como la arquitectura “vernácula” del Altiplano), sino que lo ha hecho en colaboración con distintas personas de las comunidades “estudiadas”, junto a las cuales escribió numerosos artículos y libros. Además, lejos de invisibilizar su participación en proyectos de desarrollo, su producción plantea explícita y críticamente la necesidad de la intervención de los antropólogos, que en esta entrevista define como “abrir los estudios antropológicos a temas reales”. Esto no impidió (muy por el contrario) un desarrollo teórico consistente, cuyos desenlaces actuales se caracterizan por haber logrado articulaciones teórico-interpretativas con los debates antropológicos de otras regiones de América, especialmente con tierras bajas y Amazonía.Mediante distintos desplazamientos intelectuales (que muchos considerarían como arriesgados) y una buena dosis de “imaginación conceptual” (para parafrasear a Eduardo Viveiros de Castro), buena parte de la producción actual de Denise se ha ocupado de llevar hacia los Andes algunas de las preocupaciones que parecían “típicas” de tierras bajas, logrando acceder a las interpretaciones andinas de conceptos y categorías que parecían ajenos a las tierras altas. Así, nociones como “depredación ontológica” o “apropiación de subjetividades” devinieron parte de explicaciones que lentamente comenzaron (y continúan cada vez más) cobrando sentido en los Andes. Todo ello, claro, en el marco de la impronta etnográfica que caracteriza su producción, que se define por una densidad descriptiva y analítica (en español y en aymara, la mayoría de las veces) que no siempre es fácil de encontrar.En esta entrevista, realizada en una tarde de primavera en la biblioteca de ILCA, en La Paz, Denise señala los tambos de sus recorridos y desenrolla las madejas de algunas de sus propuestas más difundidas, recordando decisiones, azares, alegrías, frustraciones y develando también las razones que hacen imprescindible continuar con el estudio de sus ideas.

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A publicação desta breve entrevista, realizada há exatamente 10 anos, neste número temático da REVELLI, visa não apenas relembrar as reflexões de um dos mais importantes historiadores europeus da atualidade, Roger Chartier[1], acerca do impacto das novas formas de produção e circulação virtuais dos textos para as práticas de escrita e de leitura. Sua publicação visa também, diante das mudanças velozes e significativas ocorridas desde então, reiterar a importância de se refletir sobre as “contradições que atravessam a cultura escrita atualmente”, relativas à dimensão técnica mas também ética que se impõe ao mundo da escrita hoje. Apesar das dúvidas e desafios evocados nesta entrevista já serem outros em relação aos da atualidade imediata, eles guardam em comum com as de nosso presente atual a importância de uma melhor compreensão do passado, das relações entre as mudanças técnicas e as práticas, das apropriações diversas, da questão ética de uma produção constante, em larga escala, ubíqua e segmentada, baseada e alimentada nos dados que fornecemos dia-a-dia com nossa produção e recepção virtuais de textos. [1] Roger Chartier (Lyon, 1945) é professor emérito no Collège de France, junto à cátedra Écrit et cultures dans l’Europe moderne, na EHESS - École des Hautes Études en Sciences Sociales e, na condição de professor visitante, na University of Pennsylvania, nos EUA, e orienta estudos na Escola de Altos Estudos em Ciências Sociais (EHESS) em Paris. Presidiu o Conselho Científico da Biblioteca Nacional da França. Entre os prêmios recebidos, destaca-se o Annual Award de la American Printing History Association, em 1990, o grande prêmio de História da Academia Francesa (Prêmio Gobert), em 1992. Foi-lhe outorgado o título de Doutor honoris causa na Universidad Carlos III, em Madrid, e o título de Fellow da British Academy, entre outros prêmios e reconhecimentos. É um dos historiadores mais reconhecidos na atualidade. Seu trabalho se concentra na História Cultural da escrita e da leitura. Foi responsável, junto com Henri-Jean Martin, pela organização da obra magna História da Edição Francesa, assim como do terceiro volume de História da Vida Privada, projeto dirigido por Georges Duby e Phillipe Ariès. É autor de uma obra cujo impacto se faz reconhecer pelas numerosas traduções em diversas línguas. Em português já conta com 15 livros traduzidos e vários artigos publicados em livros e revistas, cuja repercussão o traz ao Brasil várias vezes ao ano a convite de pesquisadores de diferentes áreas das Ciências Humanas. Entre os livros publicados no Brasil, destacamos: Práticas da Leitura (1996); A ordem dos livros: leitores, autores e bibliotecas na Europa entre os séculos XIV e XVIII (1994); A Aventura do livro: do leitor ao navegador (1998); À Beira da Falésia: a história entre certezas e inquietude (2002); Leitura e Leitores na França do Antigo Regime (2003); Inscrever e Apagar: cultura escrita e literatura (2007); Origens culturais da Revolução Francesa (2008). “O que é um autor”: Revisão de uma genealogia (2012); A mão do autor e a mente do editor (2014); Do palco à página (2017).

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A globalização e os instrumentos (e. g. Erasmus, Europass, etc.) implementados pela União Europeia conduzem lentamente ao crescimento da mobilidade da força de trabalho na Europa. Genericamente, a mobilidade e a diversidade da força de trabalho são aspetos positivos de competitividade. Por exemplo, a nível macro, a mobilidade da força de trabalho permite um ajustamento das economias às novas exigências do mercado externo, conduzindo à competitividade. A um nível micro, as empresas podem beneficiar de uma força de trabalho diversa (recursos qualificados, inovação e adaptabilidade). Contudo, tal como referido por alguns investigadores e pelo European Monitoring Centre on Change (EMCC), a mobilidade e a diversidade da força de trabalho não surgem sem desafios associados e devem ser analisadas com atenção. A cultura organizacional é determinada por um ADN corporativo e pela cultura local, sendo assim provável que emerjam diferenças significativas entre os trabalhadores locais e trabalhadores estrangeiros, nomeadamente no que se refere a temas como a liderança, a ética laboral ou as políticas de recursos humanos. De forma a enfrentar o impacto da diversidade cultural, as empresas devem ter uma estratégia clara de diversidade que inclua todos os processos-chave da organização. O EMCC destaca o papel importante de um processo de recrutamento apropriado na resposta aos desafios da diversidade da força de trabalho. Tal é também identificado por outros investigadores: “Com a intensificação da globalização, o conhecimento das diferenças culturais torna-se um aspeto crítico. Na área de recrutamento, uma base de conhecimento cultural é crucial para fazer face aos desafios colocados na procura de talentos internacionais. Contudo, conhecemos muito pouco sobre a eficácia de práticas de recrutamento em ambiente de diversidade cultural, uma vez que a maioria dos estudos são aplicados nos EUA” (Mayer, R., Allen, D., 2009, Recruiting across cultures, Dep. Of Management, Fogelman College of Business & Economics, University of Memphis). Um outro estudo do Intercultural Management Institute refere também como as diferenças culturais podem afetar a forma como as competências chave são interpretadas. Enquanto as competências e a experiência continuam a ser importantes no recrutamento, alguns estudos e casos práticos apontam para a crescente importância do fit motivacional como um ponto diferenciador aquando o processo de seleção. Num relatório de investigação do centro australiano DDI, o fit motivacional é definido de duas formas distintas: job fit motivation e organisation fit motivation. O elemento mais comum e frequente relativamente ao fit organizacional foca a coerência entre os valores organizacionais e os valores individuais, sendo também frequentemente associado ao fit cultural. Uma vez que os critérios de empregos continuam a mudar e a diversidade da força de trabalho a aumentar, o fit cultural torna-se cada vez mais importante para um recrutamento de sucesso. No entanto, a investigação realizada demonstra que os profissionais de recrutamento não incluem este aspeto do fit cultural nas suas práticas. O projeto REDIVE, apoiado pela Comissão Europeia, visa incrementar os processos de recrutamento multicultural nas organizações europeias de forma a aumentar a eficácia da diversidade da força de trabalho. A parceria REDIVE propõe desenvolver e implementar um programa de desenvolvimento de competências para potenciar a eficácia dos processos de recrutamento multiculturais. Este programa deverá contribuir também para apoiar a eficácia da diversidade da força de trabalho, aumentando a competitividade e reduzindo os custos de recrutamento e retenção dos colaboradores. O projeto REDIVE pretende ainda apoiar a eficácia de programas de mobilidade, como o Programa Erasmus, e assegurar o sucesso da mobilidade e diversidade da força de trabalho europeia.

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Introduction This year, 2008, marks the tenth anniversary of the portable MP3 player. MPMan F10, the first such device to utilise the MP3-encoding format, was launched in March 1998 (Smith). However it was not until April 2003 when Apple Inc launched the iPod that the market began the massive growth that has made the devices almost ubiquitous in everyday life. In 2006 iPods were rated as more popular than beer amongst college students in the United States, according to Student Monitor. Beer had only previously surpassed in popularity once before, in 1997, by the Internet (Zeff). This year will also see the launch in Australia of the latest offering in this line of products – the iPhone – which incorporates the popular MP3 player in an advanced mobile phone. The iPhone features a touch-sensitive flat screen that serves as the interface for its operating system. While the design is striking, it also generates accessibility problems. There are obvious implications for those with vision impairments when there are no physical markers to point towards the phone’s functions (Crichton). This article critically examines the promise of Internet-based digital technology to open up the world to people with disabilities, and the parallel danger that the social construction of disability in the digital environment will simply come to mirror pre-existing analogue discrimination. This paper explores how technologies and innovations designed to improve access by the disabled actually enhance access for all users. The first part of the paper focuses on ‘Web 2.0’ and digital access for people with disability, particularly those with vision impairment. The online software that drives the iPod and iPhone and exclusively delivers content to these devices is iTunes. While iTunes seems on the surface to provide enormous opportunity for the vision impaired to access a broad selection of audio content, its design actually works to inhibit access to the platform for this group. Apple promotes the use of iTunes in educational settings through the iTunes U channel, and this potentially excludes those who have difficulty with access to the technology. Critically, it is these excluded people who, potentially, could benefit the most from the new technology. We consider the difficulty experienced by users of screen readers and braille tablets in relation to iTunes and highlight the potential problems for universities who seek to utilise iTunes U. In the second part of the paper we reframe disability accessibility as a principle of universal access and design and outline how changes made to assist users with disability can enhance the learning experience of all students using the Lectopia lecture recording and distribution system as an example. The third section of the paper situates these digital developments within the continuum of disability theory deploying Finkelstein’s three stages of disability development. The focus then shifts to the potential of online virtual worlds such as Second Life to act as a place where the promise of technology to mediate for disability might be realised. Goggin and Newell suggest that the Internet will not be fully accessible until disability is considered a cultural identity in the same way that class, gender and sexuality are. This article argues that accessibility must be addressed through the context of design and shared open standards for digital platforms. Web 2.0 and Accessibility The World Wide Web based its successful development on a set of common standards that worked across different software and operating systems. This interoperability held out great opportunity for the implementation of enabling software for those with disability, particularly sight and hearing impairments. The increasing sophistication and diversification of online content has confounded this initial promise. Websites have become more complex, particularly with the rise of ‘Web 2.0’ and the associated trends in coding and website design. This has aggravated attempts to mediate this content for a disabled audience through software (Zajicek). As Wood notes, ‘these days many computers are used principally to access the Internet – and there is no telling what a blind person will encounter there’. As the content requiring translation – either from text into audio or onto a braille tablet, or from audio into text captions – become less standardised and more complex, it becomes both harder for software to act as a translator, and harder to navigate this media once translated. This is particularly the case when links are generated ‘on the fly’ for each view of a website and where images replace words as hyperlinks. These problems can trace their origin to before the development of the World Wide Web. Reihing, addressing another Apple product in 1987 notes: The Apple Macintosh is particularly hard to use because it depends heavily on graphics. Some word processors ‘paint’ pictures of letters on the screen instead of using standard computer codes, and speech or braille devices can’t cope (in Goggin and Newell). Web 2.0 sites loaded with Ajax and other forms of Java scripting present a particular challenge for translation software (Zajicek). iTunes, an iconic Web 2.0 application, is a further step away from easily translated content as proprietary software that while operating though the Internet, does not conform to Web standards. Many translation software packages are unable to read the iTunes software at all or are limited and only able to read part of the page, but not enough of it to use the program (Furendal). As websites utilising ‘Web 2.0’ technology increase in popularity they become less attractive to users who are visually impaired, particularly because the dynamic elements can not be accessed using screen readers provided with the operating system (Bigham, Prince and Ladner). While at one level this presents an inability for a user with a disability to engage with the popular software, it also meant that universities seeking to use iTunes U to deliver content were excluding these students. To Apple’s credit they have taken some of these access concerns on board with the recent release of both the Apple operating system and iTunes, to better enable Apple’s own access software to translate the iTunes screen for blind users. However this also illustrates the problems with this type of software operating outside of nominated standards as there are still serious problems with access to iTunes on Microsoft’s dominant Windows operating system (Furendal). While Widows provides its own integrated screen reading software, the company acknowledges that this is not sufficiently powerful for regular use by disabled users who will need to use more specialised programs (Wood). The recent upgrade of the standard Windows operating system from XP to Vista seems to have abandoned the previous stipulation that there was a keyboard shortcut for each operation the system performed – a key requirement for those unable to use a visual interface on the screen to ‘point and click’ with a mouse (Wood). Other factors, such as the push towards iTunes U, explored in the next section, explain the importance of digital accessibility for everyone, not just the disabled as this technology becomes ubiquitous. The use of Lectopia in higher education demonstrates the value of flexibility of delivery to the whole student population, inclusive of the disabled. iPods and Higher Education iTunes is the enabling software supporting the iPod and iPhone. As well as commercial content, iTunes also acts as a distribution medium for other content that is free to use. It allows individuals or organisations to record and publish audio and video files – podcasts and vodcasts – that can be automatically downloaded from the Internet and onto individual computers and iPods as they become available. Significantly this technology has provided opportunities for educational use. iTunes U has been developed by Apple to facilitate the delivery of content from universities through the service. While Apple has acknowledged that this is, in part, a deliberate effort to drive the uptake of iTunes (Udell), there are particular opportunities for the distribution of information through this channel afforded by the technology. Duke University in the United States was an early adopter, distributing iPods to each of its first-year students for educational use as early as 2004 (Dean). A recent study of students at The University of Western Australia (UWA) by Williams and Fardon found that students who listen to lectures through portable media players such as iPods (the ‘Pod’ in iPod stands for ‘portable on demand’) have a higher attendance rate at lectures than those who do not. In 1998, the same year that the first portable MP3 player was being launched, the Lectopia (or iLecture) lecture recording and distribution system was introduced in Australia at UWA to enable students with disabilities better access to lecture materials. While there have been significant criticisms of this platform (Brabazon), the broad uptake and popularity of this technology, both at UWA and at many universities across Australia, demonstrates how changes made to assist disability can potentially help the broader community. This underpins the concept of ‘universal design’ where consideration given to people with disability also improves the lives of people without disability. A report by the Australian Human Rights and Equal Opportunity Commission, examined the accessibility of digital technology. Disability issues, such as access to digital content, were reframed as universal design issues: Disability accessibility issues are more accurately perceived in many cases as universal access issues, such that appropriate design for access by people with disabilities will improve accessibility and usability for … the community more generally. The idea of universal access was integral to Tim Berners-Lee’s original conception of the Web – however the platform has developed into a more complex and less ordered environment that can stray from agreed standards (Edwards, "Stop"). iTunes comes with its own accessibility issues. Furendal demonstrated that its design has added utility for some impairments notably dyslexia and colour blindness. However, as noted above, iTunes is highly problematic for those with other vision impairment particularly the blind. It is an example of the condition noted by Regan: There exists a false perception among designers that accessibility represents a restriction on creativity. There are few examples that exist in the world that can dissuade designers of this notion. While there are no technical reasons for this division between accessibility and design, the notion exists just the same. The invisibility of this issue confirms that while an awareness of differing abilities can assist all users, this blinkered approach to diverse visual acuities is not only blocking social justice imperatives but future marketing opportunities. The iPhone is notable for problems associated with use by people with disabilities, particularly people with hearing (Keizer) and vision impairments (Crichton). In colder climates the fact that the screen would not be activated by a gloved hand has also been a problem, its design reflects bias against not just the physically impaired. Design decisions reflect the socially constructed nature of disability where disability is related to how humans have chosen to construct the world (Finkelstein ,"To Deny"). Disability Theory and Technology Nora Groce conducted an anthropological study of Martha’s Vineyard in the United States. During the nineteenth century the island had an unusually high incidence of deafness. In response to this everyone on the island was able to communicate in sign language, regardless of the hearing capability, as a standard mode of communication. As a result the impairment of deafness did not become a disability in relation to communication. Society on the island was constructed to be inclusive without regard to a person’s hearing ability. Finkelstein (Attitudes) identified three stages of disability ‘creation’ to suggest disability (as it is defined socially) can be eradicated through technology. He is confident that the third phase, which he argues has been occurring in conjunction with the information age, will offset many of the prejudicial attitudes established during the second phase that he characterised as the industrial era. Digital technologies are often presented as a way to eradicate disability as it is socially constructed. Discussions around the Web and the benefits for people with disability usually centre on accessibility and social interaction. Digital documents on the Internet enable people with disability greater access than physical spaces, such as libraries, especially for the visually impaired who are able to make use of screen readers. There are more than 38 million blind people who utilise screen reading technology to access the Web (Bigham, Prince and Ladner). A visually impaired person is able to access digital texts whereas traditional, analogue, books remain inaccessible. The Web also allows people with disability to interact with others in a way that is not usually possible in general society. In a similar fashion to arguments that the Web is both gender and race neutral, people with disability need not identify as disabled in online spaces and can instead be judged on their personality first. In this way disability is not always a factor in the social encounter. These arguments however fail to address several factors integral to the social construction of disability. While the idea that a visually impaired person can access books electronically, in conjunction with a screen reader, sounds like a disability-free utopia, this is not always the case as ‘digital’ does not always mean ‘accessible’. Often digital documents will be in an image format that cannot be read by the user’s screen reader and will need to be converted and corrected by a sighted person. Sapey found that people with disabilities are excluded from informational occupations. Computer programming positions were fourth least likely of the 58 occupations examined to employ disabled people. As Rehing observed in 1987, it is a fantasy to think that accessibility for blind people simply means turning on a computer (Rehing in Goggin and Newell). Although it may sound empowering for people with disability to interact in an environment where they can live out an identity different from the rhythm of their daily patterns, the reality serves to decrease the visibility of disability in society. Further, the Internet may not be accessible for people with disability as a social environment in the first place. AbilityNet’s State of the eNation Web Accessibility Report: Social Networking Sites found a number of social networking sites including the popular MySpace and Facebook are inaccessible to users with a number of different disabilities, particularly those with a visual impairment such as blindness or a cognitive disability like dyslexia. This study noted the use of ‘Captcha’ – ‘Completely Automated Public Turing test to tell Computers and Humans Apart’ – technology designed to differentiate between a person signing up for an account and an automated computer process. This system presents an image of a word deliberately blurred and disfigured so that it cannot be readily identified by a computer, which can only be translated by a human user. This presents an obstacle to people with a visual impairment, particularly those relying on transcription software that will, by design, not be able to read the image, as well as those with dyslexia who may also have trouble translating the image on the screen. Virtual Worlds and New Possibilities The development of complex online virtual worlds such as Second Life presents their own set of challenges for access, for example, the use of Captcha. However they also afford opportunity. With over a million residents, there is a diversity of creativity. People are using Second Life to try on different identities or campaign for causes relevant in the real world. For example, Simon Stevens (Simon Walsh in SL), runs the nightclub Wheelies in the virtual world and continues to use a wheelchair and helmet in SL – similar to his real-life self: I personally changed Second Life’s attitude toward disability when I set up ‘Wheelies’, its first disability nightclub. This was one of those daft ideas which grew and grew and… has remained a central point for disability issues within Second Life. Many new Disabled users make contact with me for advice and wheelies has helped some of them ‘come out’ and use a wheelchair (Carter). Able-bodied people are also becoming involved in raising disability awareness through Second Life, for example Fez Richardson is developing applications for use in Second Life so that the non-disabled can experience the effects of impairment in this virtual realm (Cassidy) Tertiary Institutions are embracing the potential of Second Life, utilising the world as a virtual classroom. Bates argues that Second Life provides a learning environment free of physical barriers that has the potential to provide an enriched learning experience for all students regardless of whether they have a disability. While Second Life might be a good environment for those with mobility impairment there are still potential access problems for the vision and hearing impaired. However, Second Life has recently become open source and is actively making changes to aid accessibility for the visually impaired including an audible system where leaves rustle to denote a tree is nearby, and text to speech software (Sierra). Conclusion Goggin and Newell observe that new technology is a prominent component of social, cultural and political changes with the potential to mitigate for disability. The uneven interface of the virtual and the analogue, as demonstrated by the implementation and operation of iTunes, indicates that this mitigation is far from an inevitable consequence of this development. However James Edwards, author of the Brothercake blog, is optimistic that technology does have an important role in decreasing disability in wider society, in line with Finkelstein’s third phase: Technology is the last, best hope for accessibility. It's not like the physical world, where there are good, tangible reasons why some things can never be accessible. A person who's blind will never be able to drive a car manually; someone in a wheelchair will never be able to climb the steps of an ancient stone cathedral. Technology is not like the physical world – technology can take any shape. Technology is our slave, and we can make it do what we want. With technology there are no good reasons, only excuses (Edwards, "Technology"). Internet-based technologies have the potential to open up the world to people with disabilities, and are often presented as a way to eradicate disability as it is socially constructed. While Finkelstein believes new technologies characteristic of the information age will offset many of the prejudicial attitudes established during the industrial revolution, where technology was established around able-bodied norms, the examples of the iPhone and Captcha illustrate that digital technology is often constructed in the same social world that people with disability are routinely disabled by. The Lectopia system on the other hand enables students with disabilities to access lecture materials and highlights the concept of universal access, the original ideology underpinning design of the Web. Lectopia has been widely utilised by many different types of students, not just the disabled, who are seeking flexibility. While we should be optimistic, we must also be aware as noted by Goggin and Newell the Internet cannot be fully accessible until disability is considered a cultural identity in the same way that class, gender and sexuality are. Accessibility is a universal design issue that potentially benefits both those with a disability and the wider community. References AbilityNet Web Accessibility Team. State of the eNation Web Accessibility Reports: Social Networking Sites. AbilityNet. January 2008. 12 Apr. 2008 ‹http://www.abilitynet.org.uk/docs/enation/2008SocialNetworkingSites.pdf›. Bates, Jacqueline. "Disability and Access in Virtual Worlds." Paper presented at Alternative Format Conference, LaTrobe University, Melbourne, 21–23 Jan. 2008. Bigham, Jeffrey P., Craig M. Prince, and Richard E. Ladner . "WebAnywhere: A Screen Reader On-the-Go." Paper presented at 17th International World Wide Web Conference, Beijing, 21–22 April 2008. 29 Apr. 2008 ‹http://webinsight.cs.washington.edu/papers/webanywhere-html/›. Brabazon, Tara. "Socrates in Earpods: The iPodification of Education." Fast Capitalism 2.1, (July 2006). 8 June 2008 ‹http://www.uta.edu/huma/agger/fastcapitalism/2_1/brabazon.htm›. Carter, Paul. "Virtually the Same." Disability Now (May 2007). Cassidy, Margaret. "Flying with Disability in Second Life." Eureka Street 18.1 (10 Jan. 2008): 22-24. 15 June 2007 ‹http://www.eurekastreet.com.au/article.aspx?aeid=4849›. Crichton, Paul. "More on the iPhone…" Access 2.0. BBC.co.uk 22 Jan. 2007. 12 Apr. 2008 ‹http://www.bbc.co.uk/blogs/access20/2007/01/more_on_the_iphone.shtml›. Dean, Katie. "Duke Gives iPods to Freshmen." Wired Magazine (20 July 2004). 29 Apr. 2008 ‹http://www.wired.com/entertainment/music/news/2004/07/64282›. Edwards, James. "Stop Using Ajax!" Brothercake (24 April 2008). 1 May 2008 ‹http://dev.opera.com/articles/view/stop-using-ajax›. –––. "Technology Is the Last, Best Hope for Accessibility." Brothercake 13 Mar. 2007. 1 May 2008 ‹http://www.brothercake.com/site/resources/reference/hope›. Finkelstein, Victor. "To Deny or Not to Deny Disability." Magic Carpet 27.1 (1975): 31-38. 1 May 2008 ‹http://www.independentliving.org/docs1/finkelstein.html›. –––. Attitudes and Disabled People: Issues for Discussion. Geneva: World Rehabilitation Fund, 1980. 1 May 2008 ‹http://www.leeds.ac.uk/disability-studies/archiveuk/finkelstein/attitudes.pdf›. Furendal, David. "Downloading Music and Videos from the Internet: A Study of the Accessibility of The Pirate Bay and iTunes store." Presentation at Uneå University, 24 Jan. 2007. 13 Apr. 2008 ‹http://www.david.furendal.com/Accessibility.aspx›. Groce, Nora E. Everyone Here Spoke Sign Language: Hereditary Deafness on Martha's Vineyard. Cambridge, MA: Harvard University, 1985. Goggin, Gerard, and Christopher Newell. Digital Disability: The Social Construction of Disability in New Media. Oxford: Rowman & Littlefield, 2003. Human Rights and Equal Opportunities Commission. Accessibility of Electronic Commerce and New Service and Information Technologies for Older Australians and People with a Disability. 31 March 2000. 30 Apr. 2008 ‹http://www.hreoc.gov.au/disability_rights/inquiries/ecom/ecomrep.htm#BM2_1›. Keizer, Gregg. "Hearing Loss Group Complains to FCC about iPhone." Computerworld (20 Sep. 2007). 12 Apr. 2008 ‹http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleId=9037999›. Regan, Bob. "Accessibility and Design: A Failure of the Imagination." ACM International Conference Proceedings Series 63: Proceedings of The 2004 International Cross-disciplinary Workshop on Web Accessibility (W4A). 29–37. Sapey, Bob. "Disablement in the Information Age." Disability and Society 15.4 (June 2000): 619–637. Sierra. "IBM Project: Second Life Accessible for Blind People." Techpin (24 Sep. 2007). 3 May 2008 ‹http://www.techpin.com/ibm-project-second-life-accessible-for-blind-people/›. Smith, Tony. "Ten Years Old: The World’s First MP3 Player." Register Hardware (10 Mar. 2008). 12 Apr. 2008 ‹http://www.reghardware.co.uk/2008/03/10/ft_first_mp3_player/›. Udell, Jon. "The iTunes U Agenda." InfoWorld (22 Feb. 2006). 13 Apr. 2008 ‹http://weblog.infoworld.com/udell/2006/02/22.html›. Williams, Jocasta, and Michael Fardon. "Perpetual Connectivity: Lecture Recordings and Portable Media Players." Proceedings from Ascilite, Singapore, 2–5 Dec. 2007. 1084–1092. Wood, Lamont. "Blind Users Still Struggle with 'Maddening' Computing Obstacles." Computerworld (16 Apr. 2008). 27 Apr. 2008 ‹http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleId=9077118&source=NLT_AM&nlid=1›. Zajicek, Mary. "Web 2.0: Hype or Happiness?" Paper presented at International Cross-Disciplinary Conference on Web Accessibility, Banff, Canada, 2–9 May 2007. 12 Apr. 2008 ‹http://www.w4a.info/2007/prog/k2-zajicek.pdf›. Zeff, Robbin. "Universal Design across the Curriculum." New Directions for Higher Education 137 (Spring 2007): 27–44.

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Sticky, messy and nauseatingly saccharine, the sensory properties of jam may be a long way from the stylized corporate polish of Australia’s multi-billion dollar film exhibition industry, yet the history of Australian cinema space will be forever indebted to the Victoria Preserving Company; one-time producer of the humblest of sweet treats. Through an analysis of Melbourne’s Jam Factory cinema complex, this article explores the unusual intersection of jam, sensory gratification and contemporary Australian cinema-going at the dawn of the 21st century. Encompassing the historic architecture of the former Victoria Preserving Company, South Yarra’s Jam Factory complex provides a gentrified gloss to an inner suburban precinct historically renowned for the manufacturing of jam and preserves. Nestled in the heart of Chapel Street, less than two blocks down from Toorak road and a stone’s throw from the nightclub precinct of Commercial road, the Jam Factory occupies an important part of Melbourne’s cultural heritage; functioning as a quintessential signifier of the city’s traversal from wholesale manufacturing during the early 1900s into the service vectors of digital media technologies and mixed-use retail entertainment destinations at the start of the new millennium. Established in 1876, the Victoria Preserving Company, AKA the ‘Jam Factory’, hosts an array of diverse retail and leisure outlets. Included amongst its tenants are Borders Books, Villa & Hut, TGI Fridays, The Pancake Parlour, a Virgin Music Mega-store, an elaborate Village Cinema megaplex, and a range of ancillary restaurants, fashion stores and cafes. According to the venue’s promotional material, “The Jam Factory of today is, in short, ‘jam packed’ with entertainment” (Chapel St Precinct, n.pag.). With the original building’s façade and cooling store still intact, the architectural remnants of the Victoria Preserving Factory provide a culturally significant backdrop for what is ostensibly Australia’s most noteworthy cinema venture; Village Roadshow’s megaplex cinema flagship. Replete with fifteen large format screens, including two Gold Class cinemas, a Cinema Europa enclave and an interactive games alcove, The Village Jam Factory signifies Australia’s first foray into cinema-based retail entertainment destinations. In commenting on the opening of the Jam Factory megaplex in 1998, Village Roadshow’s general manager Mr. David Herman said, “The objective was to create Australia’s first non-gambling cinema and lifestyle complex” (Catalano 6). More than any other cinema venue, the Village Jam Factory played a key role in pushing Australian film exhibition standards into the new millennium. In an era marked by competing home theatre technologies and diversified sites of media consumption, the Jam Factory’s shift from suburban cinema to lifestyle complex dramatically altered both the business and social practice of movie-going in Australia. Central to this shift was a tripartite marketing strategy which sought to capitalize on: protracted movie-going experiences; sensory stimulation; and, venue promotion. Experiential Jam The promotion of a protracted movie-going experience has been essential to the continued success of the Village Jam Factory. As I have argued elsewhere, the Australian cinema industry of the mid 1990s faced a number of significant incentives for extending the movie going experience beyond the auditorium; not the least being the steady decline of box office takings that occurred during the late 1980s (Downing). In the face of new media technologies such as the internet, DVD and Pay TV, many cinema operators were forced to look beyond the box office as a primary source of profits. To this end Village Roadshow effectively used the Jam Factory as a testing ground for the generation of ancillary leisure and retail income streams. During the mid 1990s Village actively promoted the Jam Factory as a space in which audiences could not only see a film, but also engage in a series of expanded retail activities such as shopping, dining and video-game playing. Discussing the development of multi-use cinema venues during the 1990s, Charles Acland has commented that such spaces “…do not situate conditions of spectatorship alone; they also construct relations between public and cinematic practices” (Acland 119). Sensory Jam Far from being a traditional site of film consumption, the Jam Factory set an industry precedent by becoming the nation’s first cinema venue in which audiences were encouraged to engage in an entertainment experience that was, above all, aimed at stimulating the senses. In keeping with the ‘lifestyle destination’ mantra, the Village Jam Factory provided a new generation of Australians with a multi-sensory entertainment experience that could not be emulated by home theatre technologies. Wide sweeping foyers and elaborate ticket and merchandising counters greet the eye; ‘luxury’ stadium seating with wide aisles and broad armrests offer the ‘ultimate’ in tactile comfort; digital surround sound facilities pleasure the ears and a plethora of food and beverage novelties work to gratify the senses of taste and smell. More than any other Village cinema outlet, the Jam Factory venue smacks of sugar-coated commerce. With a revenue contribution of over 18%, the Village Roadshow candy bar is the undisputed cash-cow of the enterprise (Australian Film Commission 143). Colloquially known as ‘Lollywood’, the Village confectionary counter is an over-priced explosion of colour and candy that sustains industry revenue through a deliberate appeal to the audience’s sense of taste. This sugar dependency synchronistically mirrors the former success of Henry Jones, the entrepreneur behind Australia’s IXL jam brand, who operated his famous preserving company on the site between 1895 and 1926 (Chapel St Precinct, n.pag.). Venue Jam Village Roadshow’s promotion of the Jam Factory venue over the actual films being screened is indicative of Australia’s primary shift towards retail entertainment based cinema complexes. Unlike the hom*ogenous multiplex venues of the 1970s and 1980s, the Village Jam Factory Complex has been aggressively marketed as a Melbourne icon, capable of offering a unique entertainment experience. This agenda is clearly documented in the 1999 Village Roadshow annual report which, pointing towards a perceived threat of home theatre technologies, proclaimed: [In] broadening the cinema going experience … [Village] aims to create an environment of quality entertainment theming and ancillary lifestyle retailing, thus providing a consistently high level of incentive for people to leave their homes for cinema anchored destinations. (Village Roadshow 19) To this end, the Jam Factory became the physical embodiment of Village Cinemas’ corporate tagline “Where Movies Live” (Village Cinemas, n.pag.). Throughout the late 1990s, a number of similar sites proliferated across Europe, the United States and Canada. Two noteworthy examples of this trend are the Manchester Times building in the UK (initially managed by a short lived Village-Warner synergy) and the Sony Centre at Potsdamer Platz, Berlin; previous home to the Third Reich and later, the Berlin Wall. In both of these examples a similar venue-promotion agenda is clearly at work. In reflecting the cultural specificities of their host cities, each of these venues pays a semiotic homage to the previous occupants of their space. The Manchester Times building, for example, retains much of its former architecture and reflects the nocturnal vibrancy of 19th century printing plant. Similarly, the Sony Centre offers an architectural reflection on the complexities of Berlin history and German cinema. In Melbourne, the Jam Factory’s history of jam and jam making are equally preserved. Drawing heavily on postmodern architectural styles, the Jam Factory’s interior uses South Yarra’s local history as a backdrop for a schizophrenic collage of seemingly incommensurate time/place references. From the distinctive red-brick cooling tower (located in the centre of the building) one encounters a hybrid fusion of Mediterranean pasta courts, European coffee lounges, Romanesque artwork and columns (complete with weathered-look paint and ‘crumbling’ tops), statues of Hollywood stars, as well as a dazzling gaming alcove and a series of subdued ‘luxury’ (Gold Class) cinemas. Such eclectic displays of visual hyperbole have been prefigured by Umberto Eco, whose discussion on hyperreality addresses an imagination which “… demands the real thing, and in order to attain it, must fabricate the absolute fake” (Eco 8). As a relatively recent contributor to Australian cinema history, the Village Jam Factory has achieved little sustained academic attention, yet its significance must not be undervalued. As Australia’s first cinema-oriented retail entertainment destination, the Village Jam Factory has been crucial in placing Australia into the global film exhibition arena. While the pungent aromas of ripened fruit, vinegar and boiling sugar have long since been replaced by the scent of popcorn and recycled air, the legacy and architecture of jam-making has played a key role in propelling Australian film exhibition into the new millennium. References Acland, Charles. Screen Traffic: Movies, Multiplexes and Global Culture. Durham: Duke UP, 2003. Australian Film Commission. Get the Picture. Sydney: Australian Film Commission, 2001. Catalano, Anthony. “Village to Extend Jam Factory to 14 Cinemas.” The Age 5 Aug. 1998. Chapel St Precinct. General History of Chapel Street & Surrounds. 2006. 30 Dec. 2006 http://www.chapelstreet.com.au/default.asp?mode=history>. Downing, Leanne. “More than Meets the Eye: The Suburban Cinema Megaplex as Sensory Heterotopia.” Refractory: Journal of Media and Culture 8 (2005). http://www.refractory.unimelb.edu.au/journalissues/vol8/downing.html>. Eco, Umberto. Travels in Hyper Reality. Orlando Florida: Harcourt Brace Jovanovich, 1986. Village Cinemas. 2006. 30 Dec. 2006. http://www.villagecinemas.com.au/>. Village Roadshow. Annual Report. Melbourne: Village Roadshow, 1999. Citation reference for this article MLA Style Downing, Leanne. "Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/05-downing.php>. APA Style Downing, L. (Dec. 2006) "Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/05-downing.php>.

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En 2004, X. Andrade, antropólogo, creó una plataforma de arte llamada Corporación Full Dollar. Entre junio y agosto de 2013, Andrade presentó The Full Dollar Collection of Contemporary Art, en la galería dpm (Guayaquil) y en El Conteiner (Quito). The Full Dollar es una serie de 23 imágenes elaboradas por Victor «Don Pili» Escalante, oriundo de Playas, quien, en su propuesta, se apropia de obras de arte contemporáneo y las reconstruye bajo el lenguaje de la gráfica popular. post(s) presenta una conversación con Andrade sobre los temas que giran alrededor del proyecto: la crítica al mercado, la réplica, la cultura popular…Anamaría Garzón (AG): En las últimas décadas, las tendencias del arte contemporáneo apuntan hacia corrientes que convierten al artista en etnógrafo (Hal Foster) o en historiador (Mark Godfrey). Haces un proceso a la inversa: el antropólogo como artista. ¿Puedes explicar cómo ejecutas ese tránsito inverso?X. Andrade (XA): Recorro un camino de doble vía plagado de obstáculos. Por un lado están las discusiones del arte, que hablan del artista como etnógrafo, y dan cuenta de un traslado de los artistas hacia otro tipo de praxis a través de estrategias distintas a las usuales. Y, por otro, está el interés de la antropología por el arte contemporáneo, trazable a partir de una genealogía más bien corta, a un par de nichos de discusión que están centrados en Europa, a través de Amanda Ravetz, Arnd Schneider y Christopher Wright, quienes han publicado varios volúmenes en esta dirección; y en Estados Unidos, a través de los aportes de George Marcus, Fred Myers, Sally Price y James Clifford. Mis influencias teóricas más importantes vienen del lado de la antropología y de las discusiones sobre las formas posibles de hacer trabajo de campo, ya no como una instancia de observación participante, sino como una instancia de catalización de procesos de conocimiento donde el antropólogo moviliza discusiones a partir del reconocimiento sobre su presencia activa en el campo. Las exhibiciones de The Full Dollar Collection of Contemporary Art son cortes en un proyecto de investigación más amplio que he tratado de sistematizar alrededor de «lo popular» en distintos años. Ahora trabajo con el lenguaje de la ilustración popular en diálogo directo con un pintor heredero de dicha tradición, «Don Pili» Escalante, del pueblito pesquero de Playas, Ecuador. El hecho de que sea un trabajador de provincia es importante porque su trabajo como rotulista habla fehacientemente de la importancia de la localidad y de cómo aquella expresa flujos regionales y globales paralelamente.Hugo Burgos (HB): Hay una doble entrada: el sentido que viene dado por lo artístico, y la antropología renunciando a la objetividad para empezar a colaborar. Pero al generar este giro debes transparentar: ¿dónde está tu intención política, tu relación ética con la obra? Podríamos asumir que no te debes a nadie, pero es un trabajo colaborativo. Hay un tallerista, y si bien el producto es ilícito, la persona no escapa de ese doble anclaje. ¿Cómo lo negocias y dónde están esas costuras?XA: Esta exhibición ha despertado una serie de preguntas, porque una cosa es establecer una relación dialógica con un informante en un proceso etnográfico, y otra es trabajar con alguien a quien comisionas obra y [donde] el punto de partida es un intercambio económico. Mi interés sobre el coleccionismo parte de la lectura del libro del Lindemann [Coleccionar Arte Contemporáneo],1 que es una especie de biblia para mi proyecto, donde se compilan las voces de la gente dura del coleccionismo —los que hacen billete—, y la única voz que está excluida es la del artista. Entonces, ¿es una relación etnográfica la establecida para mi colección? Sí y no. Tenemos un diálogo que está sujeto a la lógica de producción de una obra que yo comisiono y parte de un intercambio mercantil claro y sin misterios. Don Pili espera un pago, determinado por cómo tasa su obra con respecto a las obras o trabajos que hace cotidianamente desde hace mucho tiempo, y ese precio ha ido evolucionando de manera sui géneris durante estos cuatro años de colaboración. Son solo 23 piezas producidas desde 2009. No he logrado comisionarle una por mes, por ejemplo, para que tenga un recurso estable adicional a su salario. Pero eso ya marca una diferencia. En el momento en que entras a una relación económica, mi política es tener las reglas claras. Parte del método es distinguir cómo establecemos el diálogo sobre las obras; la otra parte es cómo manejamos la creación de valor de las obras. Cuando se exhibieron en Guayaquil se vendieron siete, y para cada uno eso significa algo diferente. Ha generado probablemente una serie de sospechas de parte de Don Pili hacia mí, sospechas en el buen sentido. No se han desatado tensiones, pero sí preguntas sobre el modus operandi del arte. Mi posición es más compleja que en una etnografía tradicional porque en este momento puedes leer mi rol como el de un marchante de la obra de Don Pili, como un curador, o como un coleccionista de la obra que forma parte de mi colección privada de arte que ahora se hace pública y sale por primera vez a la venta. Porque así nació el proyecto, con el afán de crearme —para mi propio consumo— una colección de arte contemporáneo en el lenguaje de la rotulación popular.HB: ¿Después eso se desborda a la academia, a la academia dura de papel y presentaciones? Porque también es ilícito por ese lado, hay un tráfico de una práctica mercantilizada.XA: Soy consciente de que el proyecto genera un espacio dialógico bastante particular porque sé que mi circuito no se intersecta normalmente con el de Don Pili. En Los Ángeles2 traté de usar el mismo método, con un artista visual que cede su obra y un rotulista a quien le pido que se apropie y la convierta en un rótulo comercial. Pero en esa instancia de diálogo los rotulistas piden que se les trate como artistas. Ello revela que, en Los Ángeles, las relaciones de poder entre arte y rotulismo son diferentes, se cruzan, los rotulistas son gente formada en escuelas, etc. Entonces esa etiqueta que la manejo tan fácilmente aquí —si ves cómo la prensa lidia con Don Pili es fascinante, ciertos periodistas lo ven como un «rotulista» y creo que hasta ahora nadie lo califica como «artista», que es como yo lo veo— refleja desencuentros y un contexto de relaciones de poder claramente estructuradas y desiguales, de las que yo soy consciente. Hay expectativas y agendas diferentes de mi parte y de parte de Don Pili, quien quiere aprovechar el proyecto para hacerse ver como un artista capaz de reproducir lo que le pongas en frente.AG: ¿Cómo es el proceso de toma de decisiones, la selección de obras y de títulos? ¿En qué medida aporta Don Pili en la intervención?XA: En 2009, fui a Playas con el libro referido y le pedí que trabajáramos sobre tres imágenes: las de Sarah Lucas, Gilbert and George y Paul McCarthy, una selección arbitraria realmente. Le pedí que hiciéramos una prueba, que destacara los materiales que usa para pintar, el esmalte, el colorido… Le pedí que absorbiera desde su tradición tipográfica y que creara unos rótulos donde la tipografía se articulara con la imagen, y que de esa manera sirviera para ilustrar un negocio hipotético. Don Pili lo entendió a su manera y la única pregunta que hizo fue: «¿El rótulo va a ser colocado dentro o fuera del negocio?», pensando las obras desde su propia locación y lectura del proyecto. Quise tener un método que funcionara de forma automática, donde jugáramos con el nombre del artista o de la obra, y viéramos hasta qué punto podemos lidiar con el poder ilustrativo de la imagen.AG: ¿Crees que más que hablar de apropiación de imágenes se puede hablar de reconstrucción en el lenguaje de la gráfica popular? Porque no solo se apropian y replican, sino que crean con otros medios, es evidente en los materiales, las pinceladas, los colores…XA: Sí. No es mera apropiación. En Los Ángeles, Irene Tsatsos, directora del The Armory Center for the Arts, me decía que es un proyecto basado en la falsa traducción, porque cuando Don Pili traduce una imagen como la de Gilbert and George, lo hace a partir de su tradición rotulista y altera significativamente la imagen. El original de esa obra, Sting-land, es de enorme escala, y Don Pili lo reduce a una placa de madera y esmalte, agrega tipografía y texto para que funcione como rótulo, y en esa traducción hay una suma de traducciones fallidas en el camino. También hay que tener en cuenta que Don Pili necesita optimizar su tiempo, entonces utiliza talleristas; y cuando meten la pata, pone el grito en el aire y decide hacer la obra él mismo. Esas cosas juegan bien con el proyecto, que es copia de copia, copia fallida de copia.Y con referencia a la pregunta sobre la academia, algo que me fascina es que ahí se acostumbra a defender el derecho autoral, pero aquí no. ¿Quién es dueño de qué? Don Pili hace patente su autoría en algunas de las obras, no en todas. El proyecto es mío, la factura manual es suya, pero algunos giros y textos son míos. Entonces es muy complicada esa cuestión de autoría. El rótulo principal de la galería, donde dice Full Dollar Collection, es una apropiación de Don Pili de un diseño de Oswaldo Terreros, quien a su vez intenta aludir a un diseño desde la gráfica popular. Todos terminamos en esa lógica de la réplica, y eso es lo valioso para mí como artista/antropólogo. Hablamos de La vida social de las cosas a partir de Appadurai, y seguimos enfatizando en el referente único y auténtico cuando la mayoría de nosotros vivimos con réplicas, las adoramos, tenemos altares de réplicas religiosas en nuestras casas… Como antropólogo, me interesa el valor de la réplica. Como artista, mis verdaderos intereses están en las copias. Con tanto legado visual creado, ¿para qué me voy a preocupar de ser original? Con la derrota del genio artístico, ¿para qué reiterar su valor? Lo popular es algo imbuido de la naturaleza serial de las cosas; eso es lo que me interesa destacar: la serie y el aura que emite la copia.AG: Al hablar del valor de la réplica y de economía visual, también propones un juego para encontrar referentes en un lugar donde las obras de muchos de los artistas ni siquiera se conocen, y propones una crítica al hipermercantilismo en un lugar donde no hay siquiera un mercado.XA: Buen punto, y se puede ver que hay una decisión explícita al respecto, reflejada en la ausencia de placas museográficas. La muestra está diseñada para ser una especie de prueba sobre el saber del arte contemporáneo en el medio ecuatoriano. La primera opción de los visitantes es total ignorancia: alguien entra, lee la serie como rótulos y dice: «¿Qué hace eso en la galería?». La segunda es que tal vez se topen con Jeff Koons o con Damien Hirst, que son imágenes icónicas de los noventa, y tengan una pista; pero después tienes esta serie de rótulos que son absurdos, rótulos que son jocosos, irónicos, sarcásticos. Es una crítica al coleccionismo de arte a nivel global, que ciertamente no alude a dinámicas locales, y por otro lado está la idea de jugar con el nivel de conocimiento que tenemos sobre esas tradiciones. Además, el arte juega con estrategias con las que me identifico plenamente porque los códigos de corrección política de la academia me resultan extremadamente aburridos. El sarcasmo, la ironía, la parodia, esos códigos que están excluidos de la academia me permiten hacerlos patente en todos los proyectos que hago con Full Dollar. El arte me salva de la academia, aunque lo que hago sea antropología por otros medios.HB: ¿El énfasis por usar rotulación, que es un lenguaje mercantilizado, como elemento de traducción para Don Pili, tiene que ver con la idea de dar una visibilidad emblemática a la cultura popular, que también condensa lo mercantilista, el mundo de consumo?XA: Exactamente. Cuando me dijeron que definiera el proyecto, dije que es una crítica al coleccionismo contemporáneo a través del lenguaje de la rotulación popular; y eso tiene una doble misión. Por un lado, entrometer las dinámicas de rotulación o las tradiciones de la gráfica popular dentro de espacios legitimados del arte, con todo lo precarios que son en el medio. Desde mi mirada de antropólogo interesado en culturas populares, también quise resaltar que tenemos un legado interesante al respecto, porque la rotulación en Ecuador es bastante similar a la de Perú o Argentina, y no conocemos la genealogía de esos flujos. Entonces, la importancia de la rotulación popular tiene que ver con formular una crítica al coleccionismo desde esa lógica, mostrando un conflicto entre esos mundos, si se quiere, entre lo bajo y lo alto, que es tan problemático. Y aparte está una de las misiones que tiene este tipo de proyectos, que es visibilizar un legado cuyo estatus de «ecuatoriano» es dudoso precisamente por sus conexiones con flujos más amplios y que necesitan todavía ser trazados desde la historia, en este caso representado magníficamente por el trabajo de Don Pili.HB: Es interesante pensar también que todo esto es muy benjaminiano, en el sentido de «la obra de arte en la era de la reproductibilidad técnica». Creo que nunca se aboga o se espera el original. Vivimos en un mundo de falsos, de copias de las copias. Escoge un ámbito y es un reciclaje. Vivimos eternamente en el pasado, citando a Jameson o a Appadurai. Entonces, ¿cuál es el siguiente nivel de discusiones que podemos punzar, potenciar o movilizar?XA: Creo que hay varios. Uno tendría que ver con las discusiones que tenemos en antropología: ¿qué tipo de tradiciones de estudios se establecen? ¿Cuáles son los objetos legítimos de reflexión antropológica? Ahí viene la idea de la réplica y la apropiación, y creo que hay que tratarlo como un campo de legitimación. La gente que investiga en cultura material está abogando por eso. Para la subdisciplina de antropología visual, que es el campo donde me muevo en el país, lo que me interesa es fomentar otros tipos de referentes y objetos de estudios, quizás contrarios a la trayectoria andeanista de la disciplina. En el campo del arte no soy el primero que hace eso, ni mucho menos. Todo lo contrario. Hay casi un siglo de transposiciones desde el ready made, el collage surrealista, las apropiaciones y recontextualizaciones dadaístas, y las convenciones pop, pero estoy tratando de provocar una discusión que tiene que ver con las fronteras entre quién es artista y quién no; las relaciones de poder en la producción del sistema del arte; por qué un antropólogo puede pasar las fronteras del arte y un artista tiene más reticencias para ser acogido en el campo de la teoría; quiénes me brindan la autoridad para hablar desde el campo del arte; cuáles son los dispositivos que legitiman mis prácticas; cómo se generan sospechas o indiferencia en el arte y en la antropología. El camino que recorro es de doble vía pero poblado de obstáculos disciplinarios, resultantes de la multiplicidad de sospechas y competencias que han constituido históricamente la relación entre antropología y arte, desde la eficacia simbólica de Lévi-Strauss, pasando por la etnoestética de Howard Murphy hasta, con Alfred Gell, la comprensión del arte de la otredad a través de las preguntas puestas sobre la mesa por el arte conceptual. Si el peso de la mirada modernista ha encapsulado buena parte del debate entre ambos campos —preguntas sobre autenticidad, originalidad, genio, funcionalidad, etc.—, ahora hay una interrogación más productiva sobre el arte y el mundo de losobjetos. Es ahí donde me sitúo: ubicando al arte en el imperio de los objetos, para parafrasear a Fred Myers, interrogando su circulación y la creación de valor. Parte de la serie The Full Dollar Collection ha sido vendida a coleccionistas importantes del país. ¿Qué significa eso exactamente? Al mismo tiempo, paralelamente al show en El Conteiner, Don Pili fue contratado para retocar el logo de El Pobre Diablo. ¿Qué signfica eso? Las relaciones desiguales de poder no se resuelven con un proyecto de esta naturaleza. Las exhibiciones crean un espacio de encuentro, pero también de fricciones decidoras sobre el estatus de uno u otro circuito, de uno u otro actor social, de una u otra tradición. Adiós a cualquier posicion ingenua en la materia.AG: Cuando hablas de la relación de poder en la producción del sistema del arte,¿cómo aterrizas en la dimensión ética que esa relación establece en tu trabajo con Don Pili? No es un contrato sencillo, porque intervienes en su espacio de creación, en su cotidianidad…XA: El principal dilema es la relación de dependencia. No sé si es posible convertirme en un patrono, porque no sé hasta cuándo voy a poder trabajar en esta serie. Después de estas exhibiciones, estoy teniendo diálogos con alguna gente, para darle un nuevo giro, para que la relación respetuosa con Don Pili se preserve, pero también se mantenga una producción. Don Pili tiene una expectativa puesta en este tipo de relación; él necesita los recursos, y tambiénreconocimiento y respeto. Estaba muy contento con la atención de los medios, porque eso lo convierte en una sensación en Playas y la gente lo ve de otra manera. Eso es importante a nivel simbólico. Pero claro, soy consciente de las relaciones de poder en las que me estoy moviendo. También es posible que otra gente le empiece a comisionar obras o quiera réplicas de lo que vio en la exposición. La muestra conlleva un sinnúmero de preguntas sobre autenticidad y réplica, y propiedad intelectual, y negociaciones entre las partes.HB: Es interesante porque el tipo de proyecto se presta para esto. Anclado en la rotulación popular, es posible que alguien pida que hagas otro, y a pesar de ser un trabajomanual único, viene ese dilema, la pregunta de dónde radica esa unicidad; porque es el trazo de Don Pili, pero es una técnica para objetos de circulación comercial…XA: Claro. En los tiburones de Hirst —que son los únicos que son réplica de réplica estrictamente hablando dentro de la serie— se ve claramente que ambas versiones son harto diferentes. El de arriba es el original y el otro es su copia, pero viene con una tipografía distinta, otro tamaño, otros colores. Y ver eso es fascinante, porque abre preguntas sobre qué significa hacer una réplica y hacer evidente las variaciones que se dan a nivel manual, que fueron elecciones deliberadas de Don Pili, para que el cuadro no sea una copia, pese a que esa era la consigna.HB: Mary Douglas decía que la antropología es la disciplina textual por excelencia: traer el conocimiento, la experiencia, y ponerla en otro texto. Don Pili hace eso, en un registro limitado, pero ocurre. Hay un conocimiento y una manera de acceder. Es interesante leerlo de esta manera, como un juego de espejos, porque hay una lectura de Don Pili sumada a las reglas del sistema de representación. Son instancias dentro deotro punto de exploración. La presentación de The Full Dollar Collection of Contemporary Art es apenas un corte en el trabajo de investigación de X. Andrade. Abre una discusión valiosa sobre la legitimidad de los sistemas del arte, sobre el consumo de réplicas, sobre esa relación de ida y vuelta entre el arte y la academia, que propone nuevas formas de exploración de los sujetos y sus contextos. post(s).

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” that abominations should be the best of our time (Bangs, 1978). This absurd pretzel logic sounds uncannily like Jacques Derrida’s definition of the “post” condition, since for it to arrive it begins by not arriving (Derrida 1987, 29). Lester is thinking like a poststructuralist. The oddness of the most singularly odd album out in Bangs’ greatest misses of the seventies had nothing to do with how ridiculous it was, but the fact that it even existed at all. (Bangs 1978) The album was entitled The Best of Marcel Marceao. Produced by Michael Viner the album contained four tracks, with two identical on both sides: “Silence,” which is nineteen minutes long and “Applause,” one minute. To underline how extraordinary this gramophone record is, John Cage’s Lecture on Nothing (1959) is cacophonous by comparison. While Bangs agrees with popular opinion that The Best of Marcel Marceao the “ultimate concept album,” he concluded that this is “one of those rare records that never dates” (Bangs, 1978). This tacet album is a good way to start thinking about the Classical Gas project, and the ironic semiotics at work in it (Tofts & Gye 2011). It too is about records that are silent and that never date. First, the album’s cover art, featuring a theatrically posed Marceau, implies the invitation to speak in the absence of speech; or, in our terms, it is asking to be re-written. Secondly, the French mime’s surname is spelled incorrectly, with an “o” rather than “u” as the final letter. As well as the caprice of an actual album by Marcel Marceau, the implicit presence and absence of the letters o and u is appropriately in excess of expectations, weird and unexpected like an early title in the Classical Gas catalogue, Ernesto Laclau’s and Chantal Mouffe’s Hegemony and Socialist Strategy. (classical-gas.com) Like a zootrope animation, it is impossible not to see the o and u flickering at one at the same time on the cover. In this duplicity it performs the conventional and logical permutation of English grammar. Silence invites difference, variation within a finite lexical set and the opportunity to choose individual items from it. Here is album cover art that speaks of presence and absence, of that which is anticipated and unexpected: a gramophone recoding without sound. In this the Marceau cover is one of Roland Barthes’ mythologies, something larger than life, structured like a language and structured out of language (Barthes 1982). This ambiguity is the perfidious grammar that underwrites Classical Gas. Images, we learned from structuralism, are codified, or rather, are code. Visual remix is a rhetorical gesture of recoding that interferes with the semiotic DNA of an image. The juxtaposition of text and image is interchangeable and requires our imagination of what we are looking at and what it might sound like. This persistent interplay of metaphor and metonymy has enabled us to take more than forty easy listening albums and republish them as mild-mannered recordings from the maverick history of ideas, from Marxism and psychoanalysis, to reception theory, poststructuralism and the writings of critical auteurs. Foucault à gogo, for instance, takes a 1965 James Last dance album and recodes it as the second volume of The History of Sexuality. In saying this, we are mindful of the ambivalence of the very possibility of this connection, to how and when the eureka moment of remix recognition occurs, if at all. Mix and remix are, after Jean Baudrillard, both precession and procession of simulacra (Baudrillard, 1983). The nature of remix is that it is always already elusive and anachronistic. Not everyone can be guaranteed to see the shadow of one text in dialogue with another, like a hi-fi palimpsest. Or another way of saying this, such an epiphany of déjà vu, of having seen this before, may happen after the fact of encounter. This anachrony is central to remix practices, from the films of Quentin Tarrantino and the “séance fictions” of Soda_Jerk, to obscure Flintstones/Goodfellas mashups on YouTube. It is also implicit in critical understandings of an improbable familiarity with the superabundance of cultural archives, the dizzying excess of an infinite record library straight out of Jorge Luis Borges’ ever-expanding imagination. Drifting through the stacks of such a repository over an entire lifetime any title found, for librarian and reader alike, is either original and remix, sometime. Metalanguages that seek to counter this ambivalence are forms of bad faith, like film spoilers Brodie’s Notes. Accordingly, this essay sets out to explain some of the generic conventions of Classical Gas, as a remix project in which an image’s semiotic DNA is rewired and recontextualised. While a fake, it is also completely real (Faith in fakes, as it happens, may well be a forthcoming Umberto Eco title in the series). While these album covers are hyperreal, realistic in excess of being real, the project does take some inspiration from an actual, rather than imaginary archive of album covers. In 2005, Jewish artist Dani Gal happened upon a 1968 LP that documented the events surrounding the Six Day War in Israel in 1967. To his surprise, he found a considerable number of similar LPs to do with significant twentieth century historical events, speeches and political debates. In the artist’s own words, the LPs collected in his Historical Record Archive (2005-ongoing) are in fact silent, since it is only their covers that are exhibited in installations of this work, signifying a potential sound that visitors must try to audition. As Gal has observed, the interactive contract of the work is derived from the audience’s instinct to “try to imagine the sounds” even though they cannot listen to them (Gal 2011, 182). Classical Gas deliberately plays with this potential yearning that Gal astutely instils in his viewer and aspiring auditor. While they can never be listened to, they can entice, after Gilles Deleuze, a “virtual co-existence” of imaginary sound that manifests itself as a contract between viewer and LP (Deleuze 1991, 63). The writer Jeffrey Sconce condensed this embrace of the virtual as something plausibly real when he pithily observed of the Classical Gas project that it is “the thrift-bin in my fantasy world. I want to play S/Z at 78 rpm” (Sconce 2011). In terms of Sconce’s spectral media interests the LPs are haunted by the trace of potential “other” sounds that have taken possession of and appropriated the covers for another use (Sconce 2000).Mimetic While most albums are elusive and metaphoric (such as Freud’s Totem and Taboo, or Luce Irigaray’s Ethics of Sexual Difference), some titles do make a concession to a tantalizing, mimetic literalness (such as Das Institut fur Sozialforschung). They display a trace of the haunting subject in terms of a tantalizing echo of fact or suggestion of verifiable biography. The motivation here is the recognition of a potential similarity, since most Classical Gas titles work by contrast. As with Roland Barthes’ analysis of the erotics of the fashion system, so with Gilles Deleuze’s Coldness and Cruelty: it is “where the garment gapes” that the tease begins. (Barthes 1994, 9) Or, in this instance, where the cigarette smokes. (classical-gas.com) A casual Max Bygraves, paused in mid-thought, looks askance while lighting up. Despite the temptation to read even more into this, a smoking related illness did not contribute to Bygraves’ death in 2012. However, dying of Alzheimer’s disease, his dementia is suggestive of the album’s intrinsic capacity to be a palimpsest of the co-presence of different memories, of confused identities, obscure realities that are virtual and real. Beginning with the album cover itself, it has to become an LP (Deleuze 1991, 63). First, it is a cardboard, planar sleeve measuring 310mm squared, that can be imprinted with a myriad of different images. Secondly, it is conventionally identified in terms of a title, such as Organ Highlights or Classics Up to Date. Thirdly it is inscribed by genre, which may be song, drama, spoken word, or novelty albums of industrial or instrumental sounds, such as Memories of Steam and Accelerated Accordians. A case in point is John Woodhouse And His Magic Accordion from 1969. (classical-gas.com) All aspects of its generic attributes as benign and wholesome accordion tunes are warped and re-interpreted in Classical Gas. Springtime for Kittler appeared not long after the death of its eponymous philosopher in 2011. Directed by Richard D. James, also known as Aphex Twin, it is a homage album to Friedrich Kittler by the PostProducers, a fictitious remix collective inspired by Mel Brooks whose personnel include Mark Amerika and Darren Tofts. The single from this album, yet to be released, is a paean to Kittler’s last words, “Alle Apparate auschalten.” Foucault à gogo (vol. 2), the first album remixed for this series, is also typical of this archaeological approach to the found object. (classical-gas.com) The erasure and replacement of pre-existing text in a similar font re-writes an iconic image of wooing that is indicative of romantic album covers of this period. This album is reflective of the overall project in that the actual James Last album (1968) preceded the publication of the Foucault text (1976) that haunts it. This is suggestive of how coding and recoding are in the eye of the beholder and the specific time in which the remixed album is encountered. It doesn’t take James Last, Michel Foucault or Theodor Holm Nelson to tell you that there is no such thing as a collective memory with linear recall. As the record producer Milt Gabler observes in the liner notes to this album, “whatever the title with this artist, the tune remains the same, that distinct and unique Foucault à gogo.” “This artist” in this instance is Last or Foucault, as well as Last and Foucault. Similarly Milt Gabler is an actual author of liner notes (though not on the James Last album) whose words from another album, another context and another time, are appropriated and deftly re-written with Last’s Hammond à gogo volume 2 and The History of Sexuality in mind as a palimpsest (this approach to sampling liner notes and re-writing them as if they speak for the new album is a trope at work in all the titles in the series). And after all is said and done with the real or remixed title, both artists, after Umberto Eco, will have spoken once more of love (Eco 1985, 68). Ambivalence Foucault à gogo is suggestive of the semiotic rewiring that underwrites Classical Gas as a whole. What is at stake in this is something that poststructuralism learned from its predecessor. Taking the tenuous conventionality of Ferdinand de Saussure’s signifier and signified as a starting point, Lacan, Derrida and others embraced the freedom of this arbitrariness as the convention or social contract that brings together a thing and a word that denotes it. This insight of liberation, or what Hélène Cixous and others, after Jacques Lacan, called jouissance (Lacan 1992), meant that texts were bristling with ambiguity and ambivalence, free play, promiscuity and, with a nod to Mikhail Bakhtin, carnival (Bakhtin 1984). A picture of a pipe was, after Foucault after Magritte, not a pipe (Foucault 1983). This po-faced sophistry is expressed in René Magritte’s “Treachery of Images” of 1948, which screamed out that the word pipe could mean anything. Foucault’s reprise of Magritte in “This is Not a Pipe” also speaks of Classical Gas’ embrace of the elasticity of sign and signifier, his “plastic elements” an inadvertent suggestion of vinyl (Foucault 1983, 53). (classical-gas.com) This uncanny association of structuralism and remixed vinyl LPs is intimated in Ferdinand de Saussure’s Cours de linguistique générale. Its original cover art is straight out of a structuralist text-book, with its paired icons and words of love, rain, honey, rose, etc. But this text as performed by Guy Lombardo and his Royal Canadians in New York in 1956 is no less plausible than Saussure’s lectures in Geneva in 1906. Cultural memory and cultural amnesia are one and the same thing. Out of all of the Classical Gas catalogue, this album is arguably the most suggestive of what Jeffrey Sconce would call “haunting” (Sconce, 2000), an ambivalent mixing of the “memory and desire” that T.S. Eliot wrote of in the allusive pages of The Waste Land (Eliot 1975, 27). Here we encounter the memory of a bookish study of signs from the early twentieth century and the desire for its vinyl equivalent on World Record Club in the 1960s. Memory and desire, either or, or both. This ambivalence was deftly articulated by Roland Barthes in his last book, Camera Lucida, as a kind of spectral haunting, a vision or act of double seeing in the perception of the photographic image. This flickering of perception is never static, predictable or repeatable. It is a way of seeing contingent upon who is doing the looking and when. Barthes famously conceptualised this interplay in perception of an between the conventions that culture has mandated, its studium, and the unexpected, idiosyncratic double vision that is unique to the observer, its punctum (Barthes 1982, 26-27). Accordingly, the Cours de linguistique générale is a record by Saussure as well as the posthumous publication in Paris and Lausanne of notes from his lectures in 1916. (Barthes 1982, 51) With the caption “Idiot children in an institution, New Jersey, 1924,” American photographer Lewis Hine’s anthropological study declares that this is a clinical image of pathological notions of monstrosity and aberration at the time. Barthes though, writing in a post-1968 Paris, only sees an outrageous Danton collar and a banal finger bandage (Barthes 1982, 51). With the radical, protestant cries of the fallout of the Paris riots in mind, as well as a nod to music writer Greil Marcus (1989), it is tempting to see Hine’s image as the warped cover of a Dead Kennedys album, perhaps Plastic Surgery Disasters. In terms of the Classical Gas approach to recoding, though, this would be far too predictable; for a start there is neither a pipe, a tan cardigan nor a chenille scarf to be seen. A more heart-warming, suitable title might be Ray Conniff’s 1965 Christmas Album: Here We Come A-Caroling. Irony (secretprehistory.net) Like our Secret Gestural Prehistory of Mobile Devices project (Tofts & Gye), Classical Gas approaches the idea of recoding and remixing with a relentless irony. The kind of records we collect and the covers which we use for this project are what you would expect to find in the hutch of an old gramophone player, rather than “what’s hot” in iTunes. The process of recoding the album covers seeks to realign expectations of what is being looked at, such that it becomes difficult to see it in any other way. In this an album’s recoded signification implies the recognition of the already seen, of album covers like this, that signal something other than what we are seeing; colours, fonts etc., belonging to a historical period, to its genres and its demographic. One of the more bucolic and duplicitous forms of rhetoric, irony wants it both ways, to be totally lounge and theoretically too-cool-for school, as in Rencontre Terrestre by Hélène Cixous and Frédéric-Yves Jeannet. (classical-gas.com) This image persuades through the subtle alteration of typography that it belongs to a style, a period and a vibe that would seem to be at odds with the title and content of the album, but as a totality of image and text is entirely plausible. The same is true of Roland Barthes’ S/Z. The radical semiologist invites us into his comfortable sitting room for a cup of coffee. A traditional Times font reinforces the image of Barthes as an avuncular, Sunday afternoon story-teller or crooner, more Alistair Cooke/Perry Como than French Marxist. (classical-gas.com) In some instances, like Histoire de Tel Quel, there is no text at all on the cover and the image has to do its signifying work iconographically. (classical-gas.com) Here a sixties collage of French-ness on the original Victor Sylvester album from 1963 precedes and anticipates the re-written album it has been waiting for. That said, the original title In France is rather bland compared to Histoire de Tel Quel. A chic blond, the Eiffel Tower and intellectual obscurity vamp synaesthetically, conjuring the smell of Gauloises, espresso and agitated discussions of Communism on the Boulevard St. Germain. With Marcel Marceao with an “o” in mind, this example of a cover without text ironically demonstrates how Classical Gas, like The Secret Gestural Prehistory of Mobile Devices, is ostensibly a writing project. Just as the images are taken hostage from other contexts, text from the liner notes is sampled from other records and re-written in an act of ghost-writing to complete the remixed album. Without the liner notes, Classical Gas would make a capable Photoshop project, but lacks any force as critical remix. The redesigned and re-titled covers certainly re-code the album, transform it into something else; something else that obviously or obliquely reflects the theme, ideas or content of the title, whether it’s Louis Althusser’s Philosophy as a Revolutionary Weapon or Luce Irigaray’s An Ethics of Sexual Difference. If you don’t hear the ruggedness of Leslie Fiedler’s essays in No! In Thunder then the writing hasn’t worked. The liner notes are the albums’ conscience, the rubric that speaks the tunes, the words and elusive ideas that are implied but can never be heard. The Histoire de Tel Quel notes illustrate this suggestiveness: You may well think as is. Philippe Forest doesn’t, not in this Éditions du Seuil classic. The titles included on this recording have been chosen with a dual purpose: for those who wish to think and those who wish to listen. What Forest captures in this album is distinctive, fresh and daring. For what country has said it like it is, has produced more robustesse than France? Here is some of that country’s most famous talent swinging from silk stockings, the can-can, to amour, presented with the full spectrum of stereo sound. (classical-gas.com) The writing accurately imitates the inflection and rhythm of liner notes of the period, so on the one hand it sounds plausibly like a toe-tapping dance album. On the other, and at the same time, it gestures knowingly to the written texts upon which it is based, invoking its rigours as a philosophical text. The dithering suggestiveness of both – is it music or text – is like a scrambled moving image always coming into focus, never quite resolving into one or the other. But either is plausible. The Tel Quel theorists were interested in popular culture like the can-can, they were fascinated with the topic of love and if instead of books they produced albums, their thinking would be auditioned in full stereo sound. With irony in mind, then, it’s hardly surprising to know that the implicit title of the project, that is neither seen nor heard but always imminent, is Classical Gasbags. (classical-gas.com) Liner notes elaborate and complete an implicit narrative in the title and image, making something compellingly realistic that is a composite of reality and fabulation. Consider Adrian Martin’s Surrealism (A Quite Special Frivolity): France is the undeniable capital of today’s contemporary sound. For Adrian Martin, this is home ground. His French soul glows and expands in the lovely Mediterranean warmth of this old favourite, released for the first time on Project 3 Total Sound Stereo. But don’t be deceived by the tonal and melodic caprices that carry you along in flutter-free sound. As Martin hits his groove, there will be revolution by night. Watch out for new Adrian Martin releases soon, including La nuit expérimentale and, his first title in English in many years, One more Bullet in the Head (produced by Bucky Pizzarelli). (classical-gas.com) Referring to Martin’s famous essay of the same name, these notes allusively skirt around his actual biography (he regularly spends time in France), his professional writing on surrealism (“revolution by night” was the sub-title of a catalogue for the Surrealism exhibition at the National Gallery of Australia in Canberra and the Art Gallery of New South Wales in 1993 to which he contributed an essay) (Martin 1993), as well as “One more bullet in the head,” the rejected title of an essay that was published in World Art magazine in New York in the mid-1990s. While the cover evokes the cool vibe of nouvelle vague Paris, it is actually from a 1968 album, Roma Oggi by the American guitarist Tony Mottola (a real person who actually sounds like a fictional character from Sergio Leone’s Once Upon A Time in America, a film on which Martin has written a book for the British Film Institute). Plausibility, in terms of Martin’s Surrealism album, has to be as compellingly real as the sincerity of Sandy Scott’s Here’s Sandy. And it should be no surprise to see the cover art of Scott’s album return as Georges Bataille’s Erotism. Gramophone The history of the gramophone represents the technological desire to write sound. In this the gramophone record is a ligature of sound and text, a form of phonographic writing. With this history in mind it’s hardly surprising that theorists such as Derrida and Kittler included the gramophone under the conceptual framework of a general grammatology (Derrida 1992, 253 & Kittler 1997, 28). (classical-gas.com) Jacques Derrida’s Of Grammatology is the avatar of Classical Gas in its re-writing of a previous writing. Re-inscribing the picaresque Pal Joey soundtrack as a foundation text of post-structuralism is appropriate in terms of the gramme or literate principle of Western metaphysics as well as the echolalia of remix. As Derrida observes in Of Grammatology, history and knowledge “have always been determined (and not only etymologically or philosophically) as detours for the purpose of the reappropriation of presence” (Derrida 1976, 10). A gas way to finish, you might say. But in retrospect the ur-text that drives the poetics of Classical Gas is not Of Grammatology but the errant Marcel Marceau album described previously. Far from being an oddity, an aberration or a “novelty” album, it is a classic gramophone recording, the quintessential writing of an absent speech, offbeat and untimely. References Bahktin, Mikhail. Rabelais and His World. Trans. Hélène Iswolsky. Bloomington: Indiana University Press, 1985. Bangs, Lester. “The Ten Most Ridiculous Albums of the Seventies”. Phonograph Record Magazine, March, 1978. Reproduced at http://rateyourmusic.com/list/dacapo/the_ten_most_ridiculous_records_of_the_seventies__by_lester_bangs. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. London: Flamingo, 1982. ---. Mythologies. Trans. Annette Lavers. London: Granada, 1982. ---. The Pleasure of the Text. Trans. Richard Miller. Oxford: Blackwell, 1994. Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman. New York: Semiotext[e], 1983. Deleuze, Gilles. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Zone Books, 2000. Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: Johns Hopkins University Press, 1976. ---. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago: Chicago University Press, 1987. ---. “Ulysses Gramophone: Hear Say Yes in Joyce,” in Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1992. Eco, Umberto. Reflections on The Name of the Rose. Trans. William Weaver. London: Secker & Warburg, 1985. Eliot, T.S. The Waste Land and Other Poems. London: Faber & Faber, 1975. Foucault, Michel. This Is Not a Pipe. Trans. James Harkness. Berkeley: University of California Press, 1983. ---. The Use of Pleasure: The History of Sexuality Volume 2. Trans. Robert Hurley. New York: Random House, 1985. Gal, Dani. Interview with Jens Hoffmann, Istanbul Biennale Companion. Istanbul Foundation for Culture and the Arts, 2011. Kittler, Friedrich. “Gramophone, Film, Typewriter,” in Literature, Media, Information Systems. Ed. John Johnston. Amsterdam: Overseas Publishers Association, 1997. Lacan, Jacques. The Ethics of Psychoanalysis (1959–1960): The Seminar of Jacques Lacan. Trans. Dennis Porter. London: Routledge, 1992. Marcus, Greil. Lipstick Traces: A Secret History of the Twentieth Century. London: Secker & Warburg, 1989. Martin, Adrian. “The Artificial Night: Surrealism and Cinema,” in Surrealism: Revolution by Night. Canberra: National Gallery of Australia, 1993. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television. Durham: Duke University Press, 2000. ---. Online communication with authors, June 2011. Tofts, Darren and Lisa Gye. The Secret Gestural Prehistory of Mobile Devices. 2010-ongoing. http://www.secretprehistory.net/. ---. Classical Gas. 2011-ongoing. http://www.classical-gas.com/.