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The purpose of this research project is to better understand how one global sport for development agency takes advantage of events to build partnerships. This study demonstrates how the current social context, as theorized in Guy Debord's Society of the Spectacle, facilitates the implementation of what we label as a "seeing-is-believing" strategy. This strategy allows Special Olympics to capitalize on society's fascination with events to activate partners. Accordingly, a conceptual model that synthesizes and contrasts the aims of commercial spectator sports and sport for development events is provided. This model demonstrates that events are effective partnership-building arenas because, on one hand, they offer opportunities to efficiently evaluate mission attainment. These opportunities exploit our familiarity with events and the unthreatening passivity of watching. On the other hand, events provide pretexts for getting over the initial awkwardness sometimes associated with interacting with athletes identifying with intellectual disabilities. Theoretical and practical implications of the concepts that make the seeing is believing strategy work will also be provided.

This article seeks to problematize the question of how, in contemporary capitalist society, the digital image and computational algorithms reveal themselves as technological forms of social domination, which operate under the determination of ideology in the digital age. This issue is approached from the perspective of an ontology of the subject, determined by the contradiction situated in the relationship established between content and form in the process of formation (Bildung) of ways of being, which are expressed in the experience (Erfahrung) of digitalized life in this society of sensation and the spectacle. For this, we carried out a synchronic study established between, on the one hand, the general conception about the critique of ideology found in the analyzes of Adorno and Horkheimer about the Cultural Industry, and on the other, the concepts of spectacle (spectacle) and sensation (Sensation) , extracted respectively from the works of the philosophers Guy Debord and Christoph Turcke, to which we associate the recent discussion of “surveillance capitalism” and the “superindustry of the imaginary”. The methodology used was bibliographic and documentary research.

The emergence of the Occupy movements along with other social movements in 2011 elevated the idea of radically decentralized “leaderless” social movement organizations. We argue that looking at such an alternative, horizontalist form of organizing presents an opportunity to reframe how we understand leadership. This paper illustrates how the coordination of the Occupy London movement was accomplished horizontally in the absence of formal organization, leadership, or authority structures. Using an ethnographic approach, we show how this movement generated a “multimodal” repertoire of protest that included (1) the politically effective occupation of urban space; (2) the ability to deploy symbols as compelling forms of aesthetic questioning; and (3) the creation of politically charged spectacles that allowed the movement to appropriate the news agendas of established broadcast media. The findings of this paper challenge the language of leadership and contribute to understandings of feminist forms of leadership and leaderless organizing by explaining one way that “leadership” occurs in horizontal organizational structures such as social movements. Namely we demonstrate how the modes of space, symbols, and spectacles effectively replace the role of “leader” in the absence of formal organizational structures.

Many texts of early modern London are fascinated with crowds. The city’s growth and resulting crowdedness were essential to the city’s theatrical spaces, as the presence of crowds ‘turn[ed] London ...

History is littered with tales of the absurd, odd, and unusual. From Gorgons and mermaids to bearded ladies and elephant men, people have, for centuries, been fascinated by those who deviate from physical and mental social norms. Such fascinations seemed to peak during the 19th century when showmen, like PT Barnum, bought and exhibited those deemed too different and macabre for “normal” society. However, as science and medicine progressed, and the protection of human rights became more important, freak shows and travelling sideshows dwindled (Nicholas & Chambers, 2016). Society’s fascination with the unusual though, did not. Despite increased political correctness and calls to end “fat shaming,” bullying and the like, reality television appears to encourage “a dehumanising process that actually lessens our regard for other people” (Sardar, 2000). While some writers have considered how reality television exploits stereotypes and links social norms to hegemonic whiteness (Cooke-Jackson & Hansen, 2008; Rennels, 2015), few have commented on the similarities between such programming and the stylings of the 19th century freak show. Utilising Thomson’s (1996) concept of freak discourse, and Bogdan’s (1996) assessment of freak narrative, this article examines how reality television programming as a genre, despite its varied plots, uses a narrative formula that can be likened to 19th century freak shows to enhance its storylines and “produce a human spectacle” (Thomson, 1996, p. 7).

Occidental theater is born through intermediality. Starting from literary structures to develop itself as a language, for many centuries the theater has been understood as an enunciator of the dramatic text. Furthermore, in its evolution, theater will embrace, from an early age, other artistic languages. However, all these possibilities of entanglement will be intentionally articulated and will expand in the experiments of contemporary theater, reducing the limits and creating problematic and new concepts about art fields, unexplored until then. That being said, we will analyze the construction proposal of the spectacle 'When I die, I'll tell God everything' (2019), by the collective 'O Bonde', which links the work of the actors with music, storytelling, dance and proposes a unique visuality through several scenic elements. In addition, the dramaturgy of the spectacle is conceived from newspaper news and real stories, which tenses the relationship between the real and the fictional, bringing new dimensions to the spectator. Therefore, the spectacle proposes a hybrid narrative, which is updated through the interaction between these different media and supports in the dialogue with spectators in the ephemeral time of the theatrical scene. Our objective is, therefore, to investigate questions about the spectacle and respective subjectivities in the delimitation of an intermediate bias for the construction of the scene. To delimit the scope of analysis, the concepts of Patrice Pavis, Chiel Kattenbelt and Silvia Fernandes are used as a theoretical basis.

Partindo da fabulação especulativa Azul Profundo, procuramos explorar neste texto as potencialidades pedagógicas implicadas nesta experimentação conceitual e cinematográfica a partir do dispositivo da “imagem-ovo”, como gesto de desaceleração dos processos de criação em favor de outras vidas, sempre menores que operam como modos de existência transitivos e processuais contra o espetáculo. Isto é, modos de experiência cinematográficos que através da “imagem-ovo” dão lugar a uma embriologia cinematográfica como obliquação diagramática de uma pedagogia radical. Disposições que afirmam maneiras outras de entrarmos em relação com as imagens e de estarmos em estado de co-aprendizagem constante e impessoal com elas.

In modern art practice, in particular of children’s theater, a special place is occupied by synthetic genres, which combine different kinds of art. In the studies on children’s theater, we do not find coverage of methodologically important problems related to the classification of types of children’s musical spectacle considered as a result of interaction (aggregation) of its components: musical, theatrical, choreographic, etc. The goal and the innovative element of this work are identification and classification of the main types of children’s musical spectacles created by aggregation of arts and the methodological basis of such categorization. We considered it appropriate to change usual term “synthesis” on the term “aggregation”. It most accurately reflects the special kind of diffuse interaction of different kinds of art in children’s spectacle, resembling the aggregation of chemical elements or the eponymous method of computer programming. Introducing this term into the artistic world, we had to refer and to the concept of “system” with its attributes, such as functionality and hierarchy. The analysis from the standpoint of the system-functional approach allowed identifying the leading components in the artistic integrity of the children’s performance, the main factors of its stability and success. Such factors can be either theatrical or musical, and it is the principle of the predominance of one or another, we have taken as the basis of our classification. We distinguished the main varieties of children’s musical spectacle:1) musicaldramatic (with the dominance of the theatrical component); 2) dominantly-musical (opera and its varieties); 3) dominantly choreographic (ballet and its varieties); 4) mixed or synthetic (modern musical); 5) immersive or interactive (which provides feedback from the audience and actors). The classification is illustrated with both, the classical samples (children’s opera “Goat-Dereza” by M. Lysenko, children’s ballet “Small Stork” by D. Klebanov), and the modern works (the musical “Mowgli” on J.R. Kipling by V. Stashinsky, the play-promenade by O. Sozonov and I. Shagalov on O. Afanasyev’s fairy tales). Concluded, that a multilevel system of the children’s musical spectacle, with the dominance of the features of one or another art, in the modern artistic space-time, can have unique genre and stylistic qualities, especially in the light of modern directing experiments. Therefore, in the further, each of the samples requires a separate analysis, in particular, the Ukrainian children’s musical plays, in the context of the traditions of domestic opera, operetta and vaudeville, and modern progress of national culture.

The questions of what makes a people a people and how they are endowed with political power are central to political founding. Through the Universal Negro Improvement Association’s first annual convention, this essay reconstructs the central role of aesthetic practices to the constitution of a new people. The convention’s spectacular performances were a vehicle through which participants came to understand themselves as constituting the Universal Negro—a transnational and empowered political subject. Founding was tied to the development of “reverential self-regard,” which was a process rather than a singular moment. Central to this process was both the gaze of spectators whose affective responses confirmed the power of the people and the political leader who served as the people’s mirror. Focusing on a mass movement rather than canonical instances of constituting republics brings into sharp relief the reiterative labors of staging, enacting, and viewing necessary to the practice of founding.

Fashion was a contemporary phenomenon that increasingly developed to meet the needs of users in its digital industry era. The rapid development of fashion has made the industry compete to present the latest fashions faster and faster. The support and advances of the Internet in communication technology have helped to accelerate the spread of power through virtual networks. Digital media have brought people into a new experience, namely "post-reality", that had never existed. This study focuses on fashion consumption in the form of clothes with a fast production scale or fast-fashion along with low costs, as well as sneakers that were consumed by young people. One hundred and twenty-nine students at five universities in West Java Indonesia have interviewed. Using a qualitative method which was supported by the summary of the distribution of questionnaires, conducted throughout 2019 and early 2020, the results of this study were then analyzed using Guy Debord's theory of spectacle society. The study has found that the consumption of fast fashion and sneakers by students had an impact on their spending patterns, self-identity, self-confidence, and the role of the user as a commodity spectacle in today's fashion industry.

Based on the author’s experience report, this article seeks to investigate some methodological strategies designed to meet the technical and also professional training of students in the Musical Theater genre. In this sense, the concept of multiperceptual gesture, which seeks to integrate body preparation with vocal work in a conscious way, was considered an important tool for the development of the methodologies presented throughout this text. The research field challenged us to reflect on certain issues, for example, the development of sensory exploration work, through a somatic approach, which would allow the student-actor to experience the multiple arts that dialogue with the theatrical spectacle, stimulating the student-actor to perform various functions in a musical. Keywords Multiperception. Gesture. Body. Voice. Somatic Education.

This essay focuses on a thirteen-inch-high reclining chair with a carved walnut frame, brass base, and emerald green velvet upholstery in the Winterthur Museum collection [1 and 2]. Created by Ira Salmon of Boston circa 1866, the chair is a patent model and part of Salmon’s efforts to win a professional reputation as a dentist early in his career. This essay documents the transformation of dentistry in America from an itinerant practice in the early republic to a professionalized career in the mid-nineteenth century. It offers evidence of how the material world of dentists changed when tools of the profession became standardized and mass produced. Developing technologies facilitated reclining chairs suited for newfangled operative techniques. The essay also focuses on a period that anticipates the development of germ theory in the early twentieth century and the sterilization of the dentist’s office. In this mid-nineteenth century moment, the aesthetics of dentist offices, and their chairs’ designs, bridge a divide between the traditional values associated with dentists and those ascribed to dentists today. The patent model demonstrates Salmon’s desire to appeal to his clients’ interest by capturing the dramatic potential of a dentist’s visit while satisfying their desire for comfort and expectation of skilful technique.

Overproduction, consumerism and commodity fetishism — it seems like these tendencies are omnipotent and omnipresent in the modern world. The difference between the society criticized by Marx and the reality encompassing us is that in the postmodern societies, it is the information and images that serve as an object of consumption and consequently commodity fetishism. In other words, the service sector produces images that become the means of mediation. In the article, the author looks into the work of Stanislaw Lem Futurological Congress and contemporary French movie The Congress following the same plot. The analysis being founded on the theories of Guy Debord, Slavoj Žižek and Karl Marx, as well as the recent investigations of a journalist Naomi Klein, the author uncovers implicit consequences of the consumerist way of life, imposed on us by the capitalist system as well as media and transnational companies. Arguing, after Žižek, that the criticism of late-capitalism is directly linked to the understanding of the human psyche’s recesses, the article attempts to explain the consumer turning into a marionette of large businesses. This position is further strengthened by the natural necessity for an individual to embrace the system’s core impositions, in particular, to recognize the non-existing authenticity behind a brand. The tendency further leads to the alienation from real merit and overconfidence in the fairness inherent in the existing system. Overproduction and the ubiquitous loss of Walter Benjamin’s Aura result in actual poverty behind the mask of abundance, nature of the art and authenticity becoming extinct. This leads to the natural drive to substitute the lost identity for the (re-) invented one and manifest individualities, sometimes aggressively and vigorously. As Lem’s characters balance on the verge between reality and hallucinations, modern-day consumers lose the established coordinate system, distracted by the absolute and seemingly non-restricted liberty of choice, the virtual reality permitting to act out any repressed impulses and instincts fully and with impunity. Citing Debord, ‘the poverty unites everyone involved in the spectacle and its controversies’. The author is of the opinion that Lem’s Futurological Congress aims at forewarning the reader from the possibility of the imaginary system progressing irreversibly, the idea further reflected in the movie. There is no hope for a society abandoning the boundaries of reality and moral guidelines for good. The analysis could possibly describe the broadening sphere of influence of the multinational corporations and contribute to the lively discussions on the digital divide and the social networks’ actual/ impact on society.

This article offers autoethnographic insights into the consequences of making a spectacle of oneself in the audit culture of the academy. Spectacle 1 explores my experiences of using the h-index as part of an annual salary review and how this made me feel like an artificial person. Spectacle 2 shows how, at a conference, I used laughter to expose some absurdities of the h-index and felt better for doing so. Stories that tell different truths about ourselves in combination with the corporeality of laughter, I suggest, can assist us to re-attune ourselves and resist the process of becoming artificial persons.

Film production in China, like that in Hollywood, increasingly attempts to achieve blockbuster status, through reliance on large budgets which enable the cultivation of star systems and world-class production values. More and more we see a reliance on computer-generated special effects to drive audience appeal and, thus, ticket sales. This article compares two recent films from Chinese auteurs, Zhang Yimou’s The Great Wall and Jia Zhangke’s Mountains May Depart, to examine the degree to which integration of computer-generated effects is achieved and how that translates into film art.

Drawing from Jean-Luc Marion’s discussion of the ‘crossing of gazes’ in religious art, this article explores the complex relationship between the spectacle of the religious experience and its spectators, as well as that spectacle’s highly gendered nature. In contrast to earlier representations of religious women on stage and screen, the performances of feminine spirituality in Javier Ambrossi and Javier Calvo’s 2013 musical La llamada and Chema Tena’s 2017 production of Argentine playwright Maria Marull’s La Pilarcita centre female spiritual experience and further the self-actualization of the characters, confounding the scopic regimes that governed earlier productions.

This paper details the manner in which Trump’s brand image and use of political spectacle attempt to displace political authority reliant on rationality in decision making, which has long legitimat...

A arte como refúgio e sentido de nossa existência, se equilibra nas demandas da sociedade contemporânea e encontra frestas de luz e oxigênio para sua sobrevivência. Apreciar obras de arte de dentro do carro, nomeada drive-thru, foi uma maneira que se anunciou na pandemia provocada pelo vírus COVID 19, como possível fruição, escape, respiro e contato com a arte. Em meio ao caótico e trágico cenário da pandemia, pergunta-se quais as reais finalidades destes eventos? Objetiva-se contato com a arte para regeneração humana ou agenciamento imediato às demandas do espetáculo e do dinheiro? O texto a seguir aproxima-se da modalidade exposição de arte drive-thru a procura de suas distintas finalidades, muitas vezes alocadas nas entrelinhas dos enunciados, a fim de ensejar reflexão acerca das exposições de arte enquanto dispositivos ou sintomas de uma dinâmica social, econômica, espacial e cultural desenhadas pela apresentação e a representação das imagens artísticas.

The paper problematizes roles and positions of women artists and women consumers through the complex processes of spectacle. The question of women’s body is related to the questioning of the gender roles on the performative level, with the aim to emphasize existing paradigms (as sexuality, dimorphism, dominations and subordinations, phalogocentric spaces), but also to make complex constructive options in the sphere of popular music and subculture (ambivalence, equivalence, variable qualities, subject representationalism, subject intentionality). The most noticeable examples stem from rock and roll culture and rock scenes where feminist resistances to male hegemonies are created, especially in the zones of power of management and fabrication of women’s body. Key words: women, body, spectacle, popular culture, market

Este artigo tematiza o espetáculo presente no filme “O Abutre” (The NightCrawler), de 2014, considerando sua atualidade quanto aos mecanismos utilizados pela mídia para construir e veicular a notícia. Nesse sentido, objetiva identificar os elementos que caracterizam o discurso espetacularizado e examinar a construção da relação eu-outro no protgonista Louis Bloom. Os conceitos de espetáculo, de Guy Debord e de arquitetônica, de Mikhail Bakhtin, são os principais referenciais desse trabalho. Como resultados de investigação, apontamos para a necessidade de uma leitura mais criteriosa sobre a notícia e esperamos contribuir para a conscientização acerca da semiformação decorrente da mídia espetacularizada.

This essay examines representations of violence in I Tamburlaine. In the play, Marlowe weds Tamburlaine’s desire for recognition to brutal spectacular violence and attunes audiences to the normative violence that recognition entails for the vulgar or common classes to which Tamburlaine, a poor Scythian shepherd, belongs. In a world that marks certain bodies, social classes and even names as unworthy of certain kinds of recognition, the creation of bloody spectacles, such as the slaughtering of the virgins of Damascus, becomes Tamburlaine’s only means to gain political visibility. By yoking Tamburlaine’s ascendance and eventual triumph to his increasingly effective use of spectacle, Marlowe’s I Tamburlaine makes a case for the narrative possibilities of spectacle to make a life like Tamburlaine’s both visible and compelling.

Hung over the streets and in large quantity, Hong Kong’s neon signs make a highly identifiable urban spectacle. The colonial history and geographical advantages have transformed Hong Kong into a cu...

Shakespeare’s Twelfth Night (1602) is well-known for its homoeroticism, whereas the critical consensus concerning She’s the Man (dir. Andy Fickman), a 2006 film based on Twelfth Night, seems to be that it dampens the play’s homoerotic strategies and meanings in the translation to film. This paper argues that while specific elements are indeed dampened, homoeroticism is still firmly present in the movie, and the perceived curtailing of much of the play’s subversive energy does not explain the film’s queer legacy. Because of the different codes surrounding homoeroticism for Elizabethan drama and Hollywood cinema, the different contours of homosocial space within the two societies, and the Western invention of the homosexual as a distinct category in the time between the two eras, the queer potential of She’s the Man resides in different moments of the story, and is filtered through capitalist strategies of queerbaiting. Therefore, I aim to show the diffraction patterns of queer and trans desire between the two works. Specifically, the different approaches to mimesis shape this intra-action, including the place of women in mimetics; the specters of realism and psychoanalysis; shifting notions of gender and sexuality; and changes in audience tastes regarding bodily spectacle in cross-dressing stories.

Shaped by the forces of globalisation, commericalisation and mediatisation, contemporary cricket has been repackaged as a media-centric “product” notable for innovative and experimental technologie...

Neo-biopolitics, post-synopticon, the future is now from facial recognition to artificial intelligence: masked selfies under visualization (@maskvide), intermittent surveillance and control of Big Data, gazes, echolocation (echo ranging) and voice frequencies are captured through the non-mobilities to Batcaves (#datamask)… In this “new normal”, without an “artist’s house”, the Big Brother Brasil styles triumph: COVID-19 ‘will be solved’ only after each inhabitant, of the nations in the world, is properly “registered, stamped, evaluated, labeled” to be able to fly - “dead or alive”. Even though the survivors here in the Brazilian land are -during the current period of ‘magic balloon’s gang’- experiencing the everyday narcissistic live mirrors via multiple screens in real time as well as the LGPD (the law recently approved, generating innovations to the app terms to “I Agree”) -and here I come to the heart of the matter-, we are inserted into the living social contexts stood vis-a-vis the conditions of production of its time (GAFAM). Through YouTube we are vulnerable to the viral danger also in digital. Thus, the 21st century demonstrates how webTV is a (un)material trend of our days - the tip of the revolutionary iceberg put forwarded by Guattari in the 1970s or -there are always two sides to every story- the thin membrane of the society of the spectacle that walks in full swing crowning the representation f a supposed freedom of expression in home confinement... How to play with such concepts - (non)visible and ‘painless’ - when applied, nowadays, beyond the urban space? Therefore, the ongoing essay is designed in harmony to the mission of the intellectual (and / or educator) whose, in the face of the current (audio) visual paradigms, is not to report but to struggle; and again, like the learner, not anymore to play the spectator but as a participant to intervene actively in the artistic and technological operativities which ones appropriate of us; i.e. we must be truly the interactants in this game of imperfection full of glitches and transmission’s noise (of memory)! Discovery and use of the gestures [gestus] - methods of montage / editing / composition - in order to transform that procedure (often merely fashion to a human pseudo-virtualization) to a necessary discord between those remote environments on ubique dataveillance. As Benjamin had written against fascism in a letter addressed to Adorno : “[the] tendency alone is not enough”. Neobiopolítica, postsynopticon, el futuro es ahora, del reconocimiento facial a la inteligencia artificial: selfies enmascaradas bajo visualización (@maskvide), vigilancia intermitente y control de datos masivos (Big Data), miradas y frecuencias captadas a través de las no-movilidades hacia las Baticuevas (#datamask)... En esta “nueva normalidad”, sin la “casa de los artistas”, los de Big Brother Brasil triunfan: el COVID-19 ‘se solucionará’ solo después de que cada habitante, de todas las naciones del globo terrestre, esté debidamente “registrado, sellado, evaluado, etiquetado” para poder volar -“dead or alive”. Aunque los sobrevivientes estemos, en el presente periodo ‘la pandilla del globo mágico’, experimentando en suelo tupiniquim tanto la LGDP (ley recién aprobada, generando innovaciones en los términos “I Agree”) así como cotidianos reflejos narcisistas a través de múltiples pantallas en tiempo real (live), nos situamos en contextos sociales vivos de relaciones sociales condicionadas a los medios de producción (GAFAM). A través de YouTube nos volvemos vulnerables a la acción viral también desde lo digital. El siglo XXI demuestra, entonces, cómo la webTV es una tendencia (IN)material de nuestros días - la punta del iceberg revolucionario defendido por Guattari en la década de 1970 o, el otro lado de la moneda, la delgada membrana de la sociedad del espectáculo que camina ligero, coronando la representación de una supuesta libertad de expresión en el confinamiento doméstico… ¿Cómo jugar con tales conceptos -(no-)visibles e ‘indoloros’- cuando se aplican, hoy, más allá del espacio urbano? El presente ensayo es proyectado (to designed), por lo tanto, en armonía con la misión del intelectual (y/o educador) que, frente a los paradigmas (audio)visuales actuales, trata no de informar sino de debatir y, nuevamente como aprendiz, no más de ser un espectador y sí partícipe activo de las operaciones artísticas y tecnológicas que se apropian de nosotros; que seamos verdaderamente participadores de este juego de imperfecciones lleno de ruidos y fallos en la transmisión (de la memoria)! Selección y utilización de gestos -métodos de montaje/composición- para transformar un artificio (muchas veces condicionado por la moda como una pseudo-virtualidad humana) en el necesario enfrentamiento entre ambientes remotos de esta ubicuidad dataveillance; como escribió Benjamin contra el fascismo en letra a Adorno: “La tendencia, en sí misma, no es suficiente”. Neo-biopolítica, pós-synopticon, o futuro é agora do reconhecimento facial à inteligência artificial: selfies mascaradas sob visualização (@maskvide), intermitente vigilância e controle dos dados em massa (Big Data), gazes e frequências capturadas através das não-mobilidades às Batcavernas (#datamask)… Neste “novo normal”, sem “casa dos artistas”, os BBB triunfam: a COVID-19 irá ‘solucionar-se’ somente após cada habitante, das nações no globo terrestre, estar devidamente “registrado, carimbado, avaliado, rotulado” pra poder voar - “dead or alive”. Ainda que os sobreviventes estejamos, no presente período ‘balão mágico’, experimentando em solo tupiniquim tanto a LGPD (recém aprovada, gerando inovações aos termos “I Agree”) quanto cotidianos espelhamentos narcísicos via múltiplas telinhas no tempo real (live), situamo-nos em contextos sociais vivos das relações sociais condicionadas aos meios de produção (GAFAM). Via YouTube vulnerabilizamo-nos na ação virótica também no digital. O século 21 demonstra, assim, como a webTV é uma tendência (i)material de nossos dias - a ponta do iceberg revolucionário preconizado por Guattari na década de 1970 ou, o outro lado da moeda, a fina membrana da sociedade do espetáculo que caminha à todo vapor coroando a representação de uma suposta liberdade de expressão em confinamento doméstico… Como brincar com tais conceitos - (in) visíveis e ‘indolores’ - quando aplicados, hoje, para além do espaço urbano? O presente ensaio projeta-se (design), portanto, em consonância à missão do intelectual (e/ou educador) que, frente aos paradigmas (áudio) visuais atuais, trata não em relatar mas em combater e, novamente como aprendiz, não mais em ser espectador e sim participante ativo às operacionalidades artísticas e tecnológicas que de nós se apropriam; que sejamos participadores deveras neste jogo da imperfeição repleta de ruídos e falhas na transmissão (da memória)! Seleção e tratamento dos gestos - métodos de montagem/ composição -, a fim de transformarmos tal um artifício (frequentemente condicionado pela moda numa pseudo--virtualização humana) em necessário confronto entre ambientes remotos desta ubiquidade dataveillance; como escrevera Benjamin contra o fascismo em carta a Adorno: “A tendência, em si, não basta”.

Critical policy analysis examining how powerful actors use educational policies to reproduce unequal social structures presents many challenges. These challenges are amplified by the politics of sp...

This essay analyses the changing politics of beauty labour and female body image in Indian cinema. It begins by discussing how beauty, a social capital for women, is a measuring rod with which their bodies are both assessed and objectified. It claims that cinema being a visual medium demands some aesthetic capital from actors, and the beauty of leading ladies portrayed on screen often adds to the spectacle. Focusing on mainstream Bollywood films produced especially over the last two decades, this essay examines narratives upholding the beauty ideal both as a cinematic necessity and also as a plot point. Tracing developments in cinematic representations of female beauty, it then examines select postmillennial films (both mainstream Bollywood as well as regional productions) to suggest that a maturing trend in representing female bodies is emerging in Indian cinema where instead of the prettified heroine one increasingly encounters protagonists who refuse to agonize under beauty labour. Finally, it argues that owing to global debates and critical feminist interventions on female body image, a radical shift is palpable in postmillennial Indian films which showcase women who either reject or redefine the politics of beauty labour.

This article is an attempt to show the dialectical nature of Guy Debord’s (1967/1994, The Society of the Spectacle, Aldgate Press) concept of the spectacle, showing how its employment as a resistance technique by electronic dance music (EDM) subculturalists would also help shape it into a corporately organized culture industry (Horkheimer & Adorno, 1944/1969). In doing so, we show the overlap between the French Internationalist approach and that of the Frankfurt School, and how the combination of these two concepts provides for a more nuanced conceptualization in which the agency of social actors ultimately resulted in the shaping of the subculture into a culture industry. In other words, we attempt to address the critique that the approaches endorsed by both schools are overly deterministic in their approach. We attempt to overcome this limitation by showing how promoters’ decisions to compromise with law enforcement agencies resulted in changes drastically altering the music subculture.

The article raises the paradoxical situation of an exhibition, into a national museum, whose failure may consist of not seeing what is intended, because of the interposition of a standardized way of looking, that makes the proposed reading invisible. The problem may not be unique to a sector such as design, but pandemic. We try to explain its dependence on the aestheticization of society, typical of the so-called postmodern situation, in which the omission of the historical sense perverts ideologically language, even, or above all, that of vision. The original perception has been transformed into an aesthetic vision, according to the ideology of a society of leisure and emotion, which has imposed its hegemony. The aesthetic vision of the world turns into simulation and spectacle (aesthetics) any reasoned reading proposal.

For some time the condition and status of digitally interferes, changes, resets the status of the literary text and its reception largely because of what I call paratexts self-referential. The objective of this paper is to discuss some of the nuances of the process of self-disclosure of writers present in the literature of the present. Thus, this accentuates the idea that we are experiencing an exacerbation of several selves, or of several personas. So, this is more and more intrinsic to literary practices and daily practices of our interpersonal relationships, inside and outside the digital world. For this, it is based on the premise that it acts in this process of spectacularization and construction of a personal and authorial image, the self-referential paratexts. The spectacle of today, in literature and criticism, puts on the scene the persona that one wants to show to the public. In fact, this process is diluting the boundaries between real and fictional, the reader and the writer. Today's show, literature and criticism, puts into play the persona who wants to show the public, diluting the boundaries between real and fictional, between the reader and the writer.

The purpose of this article is to analyze the reasons behind the popularity of Kim Nae-sung’s mystery novel, Main(1939)'. This is Kim's first full-length novel and a mystery novel. In the 1930s, there were only a few mystery novels in Korea, mostly translations of Western novels. So, the success of Kim Nae-sung’s pioneering mystery novel Main was very unusual. However, many ‘popular literatures’ created by Kim since the 1940s have been highly popular. Kim’s popular novels were made into radio dramas, television dramas, and movies, and were much loved by the public. He has had a significant influence on Korean pop culture, and Main, which is not a ‘well-written’ literary work, requires analysis from the perspective of popular novels. Because it is difficult to rate Main as a good mystery novel. In fact, many researchers evaluate the lack of reasoning elements in Main. However, Main’s these features are related to the writer's attitude toward mystery novels. It is an ‘anomaly’ mystery novel. This ‘anomaly’ was also emphasized by Japanese mystery novel writers Edogawa Ranpo, Kim's teacher. Kim Nae-sung also has a novel's point of view that values popularity. Therefore, it is natural that this work is not a typical mystery novel. And Main's popular popularity lies in the fact that this work is an ‘anomaly’ novel. The article analyzed three main factors why Main was successful. The first is the character of detective YuBulan, the main character. YuBulan is rather logical intuition dependent and the events resolved when a too late or incorrect predictions ‘problematic’ detective. YuBulan is never good detective does. These weaknesses of Yubulan make Main a humorous novel. The humorous situations that often occur naturally because of his personality. The second is the element of melodrama and an exciting spectacle. Most of the characters in the novel are in a love triangle. And their relationship goes on in ‘the virutal city’ of Gyeongseong. Gyeongseong in the novel is very different from what it looks like in real life. Unlike reality, the city in the novel is too splendid and dynamic. However, the public is familiar with Gyeongseong in the novel through foreign movie. To the public, Gyeongseong in the novel is an unfamiliar and familiar city. And these factors give the public an interesting experience, like watching a foreign movie. The third is the hidden voice in the work. This voice acts like a silent-film narrator. This voice conveys the emotions and background of the character to the reader vividly. And this voice goes further here, communicating with the reader and giving a three-dimensional account of the narrative and the proceedings. Kim has an unerring talent as a writer of popular literature, and Main has all the ingredients of the popular novel. The main character, the detective YuBulan, is comically inept, and his ordinariness appeals to the ordinary reader. The setting has all the elements of melodrama and excitement in the splendid and dynamic city of Gyeongseong, where most of the characters are in a love triangle. The narrative voice gets across the emotions of the characters vividly in a three-dimensional account, which is almost cinematic. Kim mixes elements of the humorous novel, the romance novel, and of the cinema in Main. These factors define the novel as a transformative mystery novel of the 1930s in Korea.

This article discusses a 2018 theatrical production of Hamlet with Romanian teenage arts students, directed by one of the article’s authors, actress and academic Dana Trifan Enache. As an artist, she believes that the art of theatre spectacle depends pre-eminently on the actors’ enactment, and hones her students’ acting skills and technique accordingly. The other voice in the article comes from an academic in a cognate discipline within the broad field of arts and humanities. As a feminist and medievalist, the latter has investigated the political underside of representations of the body in religious drama, amongst others. The analytic duo reflects as much the authors’ different professional formation and academic interests as their asymmetrical positioning vis-à-vis the show as respectively the play’s director and one of its spectators. Their shared occupational investment, teaching to form and hone highly specialized professional skills, and shared object of professional interest (broadly conceived), text interpretation, account nevertheless for the possibility of fruitful interdisciplinary reflection on the 2018 Hamlet. This in-depth analysis of the circumstances of the performance and technical solutions it sought challenges stereotyped dismissals of a students’ Hamlet as superannuated, flimsy or gratuitously provocative. Furthermore, a gender-aware examination of the adaptation’s original handling of characters and scenes indicates unexpected cross-cultural and diachronic commonalities between the dramatic world of the 2018 Romanian production of Hamlet and socio-cultural developments emergent in pre-Shakespearean England.

Este artigo pretende debater o processo de definição de práticas pedagógicas e curriculares do campo da Arte/Educação para possibilitar que os estudantes exponham, examinem e critiquem os códigos imutáveis e essenciais de sistemas de mídias de massa e, para isso conceitua a cul­tura visual como pedagogia do espetáculo. Entende a imagem como um produto de relações sociais, que nos ensinam o que e como ver e pensar. A pedagogia do espetáculo da cultura visual é dividida no artigo primeiro como uma forma onipresente de representação e segundo como uma for­ma democrática de prática.

From 8 February until at least 19 April 1686, the Dublin Philosophical Society was occupied with a prodigiously talented young girl whose name was never recorded. She was less than eleven years of age, but still much older than the society itself, which had begun meeting less than three years previously. Although one of many wonders engaging the curiosity of the nascent society, this girl served a surprising range of purposes, so that accompanying her anonymity was a curious malleability. Pressed into several different roles and identities, her exploitation affords a glimpse into the various qualities that could make a spectacle useful in a philosophical climate that was unique among the British Isles. The use of this girl therefore not only sheds light on the needs of a less familiar learned society, but also shows how these could differ from those of its better-understood counterparts. For a period of time, it was the versatility not of the gentlemen in Dublin, but of the prodigy they used, that best served this group on the periphery.

Beginning with the first series of flights by the French Montgolfier brothers in 1783, hot air ballooning quickly metamorphosed from a dangerous scientific experiment with potential military uses into a widespread cultural craze with deep social implications. Using the lens of the idea of “wonder,” I examine the word-image interactions in a selection of engraved representations of the first Montgolfier demonstration for Louis XVI at Versailles. Such a collective close reading first exposes techniques that aim at encouraging admiration in readers for both the new technology and the French state that produced it. However, visual cues in the images indicate a persistent suggestion of doubt and uncertainty—and even fear—as they take readers “up and away” from the confines and comforts of everyday life. The word-image nexus surrounding this spectacle generates an altered textual world in which traditional social and sexual hierarchies lose stability and the future is full of possibility.

How Muslim youth encountering local festival is fascinating discourse in the age where the spirit of Islamic revivalism is going on. By this, Dieng Culture Festival is known as one of the popular annual ritual which performs the traditional cultural attraction in Central Java, especially in Banjarnegara and Wonosobo which is heavily rooted on Javanese Hindu tradition. The different perspective of the awareness in considering the Importance of the ritual comes from the diverse community and society to acknowledge this kind of the ritual. So, this paper tries to examine the participation of the youth in enduring the annual festival as one of the events which not only give the advantage for the sustainability of the ritual itself, but also influence to the society around the place economically, socially and spiritually. Through youth participation, this research would try to reveal how youth is significant resource to build multi-cultural community. Using the theory of the “spectacle attraction”, the writer tries to trace how useful the ritual effecting Dieng as one of the wellknown place of the tourism and spiritually affecting to the way of religious life to see the ritual through the direct observation to the place, interview the practitioner of the ritual and the documentation review as the supporting data of the research. Here, I argue that encountering Islam and local tradition has shaped Muslim youth identity in understanding local community and multi-cultural society.