The American parade has been investigated in terms of how it transforms urban streets into a place where collective memory and identity are consolidated along lines of class, race, ethnicity, and ...gender (Ryan; Roach). However, the role of the rural parade has heretofore seen little critical analysis. Since any conception of the urban relies on the rural as a foil, we wonder how the American parade, existing in both urban and rural landscapes, promotes and challenges the unchecked expansion of cosmopolitan culture and dominant ideology. This article examines how the parade genre functions as a civic ritual that seeks to unite individuals through nationalism and consumerism, yet may paradoxically become a stage for political dissent. By juxtaposing performances from the Bread and Puppet Theater at the Fourth of July Celebration in the rural town of Cabot, Vermont, and Tony Sarg’s “upside-down marionettes” in Macy’s Thanksgiving Day Parade, I theorize how conventions of the parade work to inculcate spectators with a sense of group identity. I argue that these same conventions lay the foundation for political dissent, via a process that José Muñoz calls disidentification, to propose (and at times enact) alternatives to dominant ideology.
Harlequin companies Paula Gomes Magalhães
Revista Brasileira de Estudos da Presença,
10/2023, Letnik:
13, Številka:
4
Journal Article
Odprti dostop
In Lisbon, the fairs and their amusements were one of the most popular manifestations of popular culture during the second half of the 19th century and the beginning of the 20th century. Among the ...entertainment on offer, theater was one of the most appreciated, but history has only kept the memory of the shacks that, in the fairs, began to feature a recited repertoire (comedies, parodies, magic and revues). The tents of harlequins and saltimbancos, itinerant troupes that went from place-toplace performing acrobatics, pantomimes, and comic sketches, were forgotten. This article aims to highlight popular theater practices that were once ‘forgotten’, such as the troupes of harlequins and their shows, redefining their importance in the context of the time and the history of theater in Portugal.
Virtual Reality (VR) has sparked interest within the forensic community, where it is currently used for training purposes and in variety of forensic scenarios. In combination with efficient and user ...friendly full body 3-Dimensional (3D) documentation methods, VR visualisations present a viable tool for suspect witness identification. The well-known procedure of placing several persons in a room with a one-way-mirror, along with a witness on the other side of the mirror has practical disadvantages. The primary concern implicates the witness(s) and person(s) of interest coming face-to-face prior to the line-up, combined with finding sufficient persons to include within the line-up. Although image identification using printed paper partially resolved this problem, features such as body stature also marks an issue for the recognition and identification process.
To test whether VR provides the technical capabilities to perform an identification parade, a total of 15 subjects were 3D documented using the multi-camera device “Photobox”. From this group, one of the documented persons then interrupted a lecture, where consequently, the students were asked afterwards to identify the same person in VR and paper identification sets. It was found that the participating students were able to identify the “suspect” in both datasets. The results imply that VR technology allow users to identify persons. However, as this is a preliminary study the similarity problem was not analysed in this paper and requires further investigation to demonstrate the robustness of this approach.
•Virtual Reality presents a novel approach for identification parades.•Virtual Reality identification parades require 3D documentation of suspect and other people in the line-up.•A technical set-up for identification parades in virtual reality is feasible.
The evolution of Russian military music culture is marked by continuous modification, reflecting socioeconomic, social and political mainstreams of the country. Since the beginning of the 19th ...century, the growing level of national military music has made foreign colleagues pay special attention to it. This article describes the circumstances under which the parade-concert genre was formed at the end of the 1980s, the further development of which brought the military music art into a wide sociocultural context through inextricable bond with the mass performance genre. This is illustrated by the progressive development of the international military music festival movement. With the introduction and current development of technologies and additional artistic devices, parade-concert programmes are being transformed, while performances become standalone shows. The author of this article suggests that the spread of parade-concerts in Europe was due to the orchestral of the military conductor faculty students of the Moscow State Tchaikovsky Conservatory at the 1989 military band festival in Mons (Belgium). Needless to mention that at such events, European military music art was represented solely by demonstration defiles of marching military bands. Moreover, at the stage of emergence of parade-concerts, miscommunication of the terms “defile” and “parade-concert” appeared, which has not been solved yet. Nowadays researchers define these terms differently and use them without proper understanding of their initial meaning. Researchers of the parade-concert genre, who are few in number, have mixed opinions on its structure. The practice of structural modifications in the traditional programme of a parade-concert shows that its structure is inconsistent and depends on various technical, artistic and semantic factors as well as authors’ imagination and professionalism. In view of the above, the author deems it appropriate to move beyond the existing disintegration of the structure of a parade-concert and define its most common elements such as a march-parade and a concert section.
This study created and field tested a density count method to analytically estimate the number of spectators attending parades. Literature review revealed an earlier suggested method to estimate ...attendance at parades, but no indication of it ever being assessed in the field was uncovered.
Additional literature, more focused on other types of large open festivals, provided further empirical insight into estimating attendance at events in general. The study began with trials and fieldwork to establish basic physical space requirements of spectators, as well as the total available
square footage of viewing area along a parade route, in order to ascertain the maximum possible attendance as a control on final attendance approximations. During two major parades in Phoenix, Arizona, researchers hand counted exact attendance in predetermined route sections which, when compared
to density counts of identical sections by another researcher, were deemed comparably significant. Combining the density counted estimates for all sections, spectator attendance was extrapolated for both parades, which was found to be considerably less than attendance estimates assumed by
event organizers and reported in the press. The density count technique was verified as a valid method to estimate parade attendance, ultimately controlled by calculations of maximum possible attendance.
The measurement of PM2.5 was conducted from 20th October to 25th November 2014, and 15th August to 15th September 2015 at Beijing, Shijiazhuang, and Tangshan, China, covering two important events of ...Asia-Pacific Economic Cooperation (APEC) and Grand Military Parade (Parade). A series of stringent emission-reduction measures were implemented in Beijing and neighbouring regions to ensure good air quality in Beijing. PM2.5 concentrations and major components (water-soluble ions and carbonaceous aerosol) were analyzed and compared between the two events. PM2.5 concentration during control demonstrated a decreasing trend with 51.6%–65.1% and 34.2%–64.7% compared to no control during APEC and Parade, respectively. The water-soluble ions and carbonaceous aerosol concentrations also decreased obviously. The lower secondary inorganic ions (SIA, including SO42−, NO3−, and NH4+) percentage (31.7%–38.3%) during control indicated the relative weak contribution of atmospheric chemical processes. Due to the unfavorable weather conditions and increased emissions during coal-fired heating, the relative higher organic carbon (OC), secondary organic carbon (SOC), secondary organic aerosol (SOA) concentrations during APEC was found. The WRF-CMAQ modeling system was also used to quantify the effect of emission-reduction and different sources controls on PM2.5. The results indicated PM2.5 decrease by 30.4% and 34.2% under control during APEC and Parade, respectively. We found that the local emission-reduction in Beijing contributes more to “APEC blue” (20.8%) and “Parade blue” (25.8%) in Beijing than those from neighbouring regions of Beijing, and meteorological condition was more beneficial for the improvement of the air quality during Parade than APEC. The emission source apportionment to PM2.5 in Beijing indicated that PM2.5 concentration increased by 13.5% and 14.7% during APEC and Parade, respectively if no vehicles emission-reduction measures were taken in Beijing.
Concentrations of PM2.5 and components in Beijing, Shijiazhuang, and Tangshan during APEC and Parade (the numbers in the top of column refer to the percentage declines of PM2.5 concentrations before and after control compared to control period). Display omitted
•PM2.5 and component concentrations significantly reduce during the two events.•Reduction in Beijing contribute more to air quality improvement than other regions.•Meteorological was more beneficial for improvement of air quality during Parade.•Vehicles control in Beijing make PM2.5 reduce by 13.5%–14.7% during the two events.
Unfamiliar voice identification is error-prone. Whilst the investigation of system variables may indicate ways of boosting earwitness performance, this is an under-researched area. Two experiments ...were conducted to investigate how methods of presenting voices during a parade affect accuracy and self-rated confidence. In each experiment participants listened to a target voice, and were later asked to identify that voice from a nine-person target present or target absent parade. In Experiment 1, accuracy did not vary across parades comprising 15 or 30 s sample durations. Overall, when the target was present, participants correctly identified the target voice with 39% accuracy. However, when the target was absent, participants correctly rejected the parade 6% of the time. There was no relationship between accuracy and confidence. In Experiment 2, performance with a serial procedure, in which participants responded after hearing all nine voices, was compared with a sequential procedure, in which participants made a decision after listening to each voice. Overall accuracy was higher with the sequential procedure. These results highlight the importance of system variable research in voice identification. Different methods of presenting voices have the potential to support higher levels of accuracy than the procedure currently recommended in England and Wales.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Following the method of interdisciplinary studies, this paper analyzes Pablo Picasso's relation to theater through his paintings, theater work, and the influence of theater not only on the themes of ...his paintings but also on the affirmation of the Avant-garde, the Cubist experiments and practices, the breakthrough of Cubist ideas across the medium of theater. The entire Picasso's art is presented in the light of several major artistic Avantgardes of which he was the founder and ideologist (the "father" of Cubism, inventor of Collage, the first Ready-mades and Constructivist sculptures, initiator of so-called Primitive Art, early Surrealism, etc.). However, it seems that the most significant field of his work, the "Cubist Revolution", has entered a new dimension through the presentation-performance-on the theater stage and in high culture circles. The influence of the stage and the early "Total Design" concept on his art and the perception of space/ object within Cubism and beyond are exceptional, as is the performative act and the presentation of his ideas through the language of the stage. In this case, one medium, by its nature the more communicative one (theater), takes the role of presenting the other, more hermetic one (fine art). That influenced, in multiple ways, the affirmation and acceptance of Pablo Picasso's art. Starting with the early fascination with characters such as Harlequin, Pierrot, circus horse riders, dancers, and jugglers, present in his paintings ("Blue Phase" 1901-1904, "Pink Phase" 1905-1907, and beyond), this paper focuses on his collaboration with Serge Diaghilev and the "Russian Ballet" ("Ballets Russes", 1917-1924), the elite troupe of Russian dancers who settled in Paris as the epicenter of modern art and started their productions there. Picasso was chosen to design the stage, the Cubist costumes, and the monumental theater curtains. Among other ballets, an outstanding piece, "Parade" by Erik Satie (1917), is seen today as a borderline performance, a turning point in ballet art, the start of its revolutionizing process towards contemporary ballet. By creating costumes resembling totems and the stage design based on Cubist division and perception of space, made from geometric shapes and particles ("facettes"), Picasso has taken the theater back to its primordial origins, its shamanic character. The paper elaborates on the relation of the ballet "Parade" with the ideas and theater theories of the theatrologist and sociologist Richard Schechner. Additionally, it addresses the question of a slow, postponed social reception and the (un)acceptance of Picasso's work and his comrades, a theme elaborated by the philosopher Jean-Francois Lyotard in the field of aesthetics and post-aesthetics.
Pride parades, serving as platforms for celebrating diverse sexual orientations and gender identities, often operate within a society that upholds and reinforces heteronormative norms. This ...commentary intends to argue how these activities are shaped by the presence of restrictions and censorship and the prevalence of ignorance surrounding queer experiences. By conducting ethnographic observations at Pride parades in Turkey and Spain, I delve into participants’ lived experiences within these contexts. This approach sheds light on Pride parades’ positive and negative aspects. Through an analysis of the interplay between heteronormative influences, restrictions, censorship, and ignorance within the context of Pride parades, I aim to provide insight into the complexities and nuances that shape the experiences of queer individuals. This commentary contributes to a deeper understanding of the challenges faced and the progress made in the ongoing struggle for queer liberation and acceptance.
Cet article à valeur épistémologique vise à examiner le « faire récit » de la lanterne dans une approche matérialiste et performative. Il s’agit de dégager les « terrains » où s’exprime la ...narrativité de la lanterne et de porter attention à la marge d’indétermination (Simondon) du dispositif renvoyant à un vaste éventail de gestes techniques et expressifs que l’on pourrait associer à des technèmes. Parmi ces différents gestes expressifs, une attention particulière sera portée au geste qui consiste à faire défiler les images. Celui-ci nous semble disposer d’un potentiel narratif plus marqué que d’autres dans le sens où il s’articule directement à certaines capacités techniques de base de la lanterne pour tirer profit de sa narrativité latente.
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