Zeitschriftenartikel zum Thema „Ateliers 115“

Resumo: Este texto é um estudo sobre a escrita de Maria Gabriela Llansol; uma reflexão fundamentada na teoria de Maurice Blanchot a respeito da experiência da escrita; um relato de uma oficina de criação literária com pacientes de um centro psiquiátrico, Casa Freud, e contém algumas reflexões sobre essa experiência. Essa oficina foi idealizada a partir da escrita de Maria Gabriela Llansol.Palavras-chave: oficina de letras; escrita; psicose; melancolia; Maria Gabriela Llansol; Maurice Blanchot.Résumé: ce texte est une étude de l’écriture de Maria Gabriela Llansol; une réflexion appuyée sur la théorie de Maurice Blanchot à propos de l’expérience de l’écriture elle-même; un rapport d’un atelier d’écriture littéraire avec des patients d’un centre psychiatrique, Casa Freud, et il y en a également quelques réflexions sur cet expérience. Cet atelier a été idéalisé à partir de l’écriture de Maria Gabriela Llansol.Mots-clés: atelier d’écriture; écriture; Maria Gabriela Llansol; Maurice Blanchot.

L’Épitomé des gestes des 58 roys de France, paru à Lyon en 1546, est une édition illustrée pionnière sur le plan technique. Dans le royaume de France, c’est la première à associer sur une feuille imprimée caractères typographiques en relief et gravures d’illustration en creux. Cette étude vise à examiner précisément les exemplaires subsistants pour éclairer les difficultés techniques rencontrées par l’imprimeur-libraire Balthazar Arnoullet et son atelier. Arnoullet est en effet intéressé par ce type d’expérimentation technique et graphique, ce que révèle l’examen de sa production éditoriale. De même, la cité de Lyon se singularise dans ce genre d’expérimentation, depuis plusieurs décennies. Elle est, rappelons-le, la première ville à imprimer un livre illustré dans le royaume de France (1478). Cette étude vise aussi à examiner la suite qui sera donnée à cette édition pionnière.

L’objectif de cette recherche est d’étudier les niveaux d’engagement des enfants envers l’enseignante et les pairs selon différents contextes de classe (activités et regroupements) à l’éducation préscolaire cinq ans. À l’aide de l’Individual Classroom Assessment Scoring System (Downer, Booren, et al., 2010), 113 enfants (66 filles et 47 garçons) ont été observés. Les résultats démontrent que l’engagement envers l’enseignante est plus élevé lors d’activités de routines et transitions et celui envers les pairs est plus élevé lors d’activités de jeux libres et ateliers et du regroupement petits groupes. Les contextes de classe modulent les niveaux d’engagement de l’enfant dans ses interactions avec les autres.

A descrição detalhada do ateliê do pintor personagem é um elemento recorrente nas novelas de inspiração artística de Honoré de Balzac. Ao analisar e comparar essas descrições de ateliês em três novelas que se enquadram nessa temática – A obra-prima ignorada, A Vendeta e Pierre Grassou –, inclusive no que se refere ao efeito pictural produzido, é possível tecer um paralelo entre o espaço de criação, a construção do personagem pintor e o desenvolvimento da narrativa. Como conclusão, foi feita uma aproximação entre o personagem artista e a figura do escritor, considerando-se a literatura que trata de pintura como uma forma de transposição, uma vez que pintor e escritor se dedicam ao trabalho da criação artística.

Le lundi matin du 26 avril 1971, Chris Burden grimpe dans un casier de 60 × 60 × 90 centimètres dans un atelier de l’Université de Californie à Irvine (UCI), où il a la semaine pour présenter son projet de maîtrise : la performance d’endurance Five Day Locker Piece, durant laquelle il s’enferme 105 heures. Même si la référence n’est nullement explicite, le geste de Burden est semblable aux occupations protestataires de la fin des années 1960 qui paralysèrent les campus universitaires à travers les États-Unis. Cet article a pour but de réexaminer Five Day Locker Piece comme une critique institutionnelle dans laquelle l’artiste occupe un espace de l’école d’art, afin de perturber le flux des activités habituelles. À l’aide d’interviews et de documents archivistiques disponibles depuis peu, il réévalue une des oeuvres fondatrices de la performance des années 1970, au regard de sa place dans le canon de la critique institutionnelle.

Introduction: Les ambiances physiques au travail exposent aux risques professionnels spécifiques et pathologies associées. Elles peuvent affecter durablement la santé des salariés et compromettre la productivité de l'entreprise. Notre objectif était de comparer les facteurs d'ambiances physiques de travail à la COMATEX aux normes internationales en vigueur Méthodologie : il s'agissait d'une évaluation normative réalisée en 2015 à la COMATEX. Les facteurs d'ambiance au travail mesurés étaient : le bruit, la chaleur et l'hygrométrie, la lumière, la poussière de coton dans 122 postes de travail. Résultats : Les employés avaient moins de 40 ans dans 69% avec plus de cinq ans d'expérience de travail dans 56,07%. Dans 67% des postes de travail, le bruit était excessif avec des extrêmes allant jusqu'à 105 décibels comparativement aux normes retenues par le Bureau international du travail qui sont inferieur à 85 décibels comme seuil d'alerte et 90 décibels comme seuil de danger. Le niveau de chaleur mesuré variait entre 26 et 52°C et l'humidité qui régnait dans les ateliers étaient inconfortables pour un travail lourd (seuil retenu pour un travail lourd est de 25°C et 26.7 pour un travail moyen et 30°C pour un travail léger, pour 29% d'humidité relative RH). La quantité de poussière de coton dans l'air ambiant au niveau des postes de travail était de 1,4 mg/cm3 à 2,2 mg/cm3 (seuil inferieur 0.2mg/cm3). La quantité de lumière fournie à chaque de poste de travail était entre 500 et 1000 lux. Aucun équipement de protection individuelle efficace n'était utilisé par les salariés de la COMATEX-SA. Conclusion : l'étude a révélé une énorme inconformité des ambiances physiques de travail mesurées à la COMATEX de Ségou. La nécessité d'appliquer la réglementation légale en santé et sécurité au travail est impérieuse dans cette entreprise, sinon au prix de la ruine des salariés. Mots clés : Textile, Médecine de travail, COMATEX-SA, Ségou

El objetivo fue validar cualitativamente la escala latinoamericana y caribeña sobre seguridad alimentaria (ELCSA) como precedente a su aplicación. La ELCSA ha sido sometida a múltiples procesos de validación cuantitativa y ha demostrado validez interna (comportamiento psicométrico) y validez externa (poder predictivo); pero no hay información sobre validaciones cualitativas. La ELCSA fue sometida a un proceso de validación cualitativa, se realizaron entrevistas a profundidad y cinco talleres; posteriormente, se aplicó a 105 familias que conforman la localidad. Los resultados obtenidos en la validación cualitativa demuestran que la ELCSA es una herramienta útil, ágil y de bajo costo para monitorear la inseguridad alimentaria en la zona centro-sur del estado de Puebla. Su aplicación muestra que el 0.95 % de los hogares tienen seguridad alimentaria; 60 % tienen inseguridad alimentaria leve; 35.24 % tienen inseguridad moderada y el 3.81 %, inseguridad severa, lo que muestra una localidad que no posee problemas serios de hambre.Abstract: The objective was to qualitatively validate the Latin American and Caribbean Scale on Food Security (ELCSA) as a precedent to its application. The ELCSA has under gone multiple quantitative validation processes and has demonstrated internal validity (psychometric behavior) and external validity (predictive power); but there is no information on qualitative validations. The ELCSA underwent a qualitative validation process, in-depth interviews and five workshops were carried out, subsequently it was applied to 105 families that make up the town. The results obtained in the qualitative validation show that the ELCSA is a useful, agile and low-cost tool to monitor food insecurity in the central-southern zone of the state of Puebla. Its application shows that 0.95 % of households have food security; 60 % are slightly food insecure; 35.24 % have moderate insecurity and 3.81 % severe insecurity, which shows a locality that does not have serious hunger problems.Keywords: qualitative validation; food security; Latin American and Caribbean Scale on Food Security; Scientific Committee; hunger.Résumé : L’objectif était de valider qualitativement l’échelle latino-américaine et caribéenne de sécurité alimentaire (ELCSA) en tant que précédent de son application. L’ELCSA a subi de multiples processus de validation quantitative et a démontré une validité interne (comportement psychométrique) et externe (pouvoir prédictif) ; mais il n’y a aucune information sur les validations qualitatives. L’ELCSA a subi un processus de validation qualitative, des entretiens approfondis et cinq ateliers ont été menés, puis appliqués à 105 familles qui composent la ville. Les résultats obtenus lors de la validation qualitative montrent que l’ELCSA est un outil utile, agile et peu coûteux pour surveiller l’insécurité alimentaire dans la zone centre-sud de l’État de Puebla. Son application montre que 0,95 % des ménages ont une sécurité alimentaire ; 60 % sont en situation d’insécurité alimentaire légère ; 35,24 % ont une insécurité modérée et 3,81 % une insécurité sévère, ce qui montre une localité qui n’a pas de graves problèmes de faim. Mots-clés : validation qualitative ; sécurité alimentaire ; échelle de l’Amérique latine et des Caraïbes sur la sécurité alimentaire ; comité scientifique de l’ELCSA ; faim.

e4710042At the end of the 20th century, the Council of Europe adopted a set of recommendations on needs and responsibilities related to Prison Education. These recommendations stipulated that individuals in reclusion must have access to education and training programs that serve an integral purpose of acquiring / developing life skills, leading to an effective reintegration into society and the labor market and that, simultaneously prevent recurrence. Based on these assumptions, a University Extension program was developed in the area of Environmental Citizenship, the main goal of which was to promote the acquisition of environmental citizenship skills and to develop social and emotional skills, such as critical thinking, communication and collaboration. The analysis of the program's results was developed based on the qualitative analysis of the participations of the eighteen trainees/prisoners in the virtual classrooms created in the virtual learning environment, having as reference the pedagogical model developed by Moreira (2017). The results reveal that the use of cinema in virtual environments, anchored in the pedagogical model for the deconstruction of moving images, can have very positive effects in the acquisition of knowledge in ecological science and in the development of environmental citizenship, social and emotional skills.ResumoNos finais do século XX o Conselho da Europa adotou um conjunto de recomendações sobre necessidades e responsabilidades em matéria de Educação em Prisões, sendo que essas recomendações estipulavam que os indivíduos em contexto de reclusão devem ter acesso a programas de educação e formação, que sirvam um propósito integral de aquisição/desenvolvimento de competências de vida, conduzindo a uma efetiva reintegração na sociedade e mercado de trabalho e que, em simultâneo, previnam fenómenos de recidiva. Baseados nesses pressupostos desenvolvemos um programa de Extensão Universitária, na área da Cidadania Ambiental, sendo que o seu principal objetivo foi promover a aquisição de competências de cidadania ambiental e desenvolver competências sociais e emocionais, como o pensamento crítico, a comunicação e a colaboração. A análise dos resultados do programa foi realizada a partir da análise qualitativa das participações e narrativas dos dezoito formandos/reclusos nas salas de aula virtuais criadas no ambiente virtual de aprendizagem, tendo como referencial o modelo pedagógico desenvolvido por Moreira (2017). 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В статье рассмотрены археологические свидетельства торговых связей главного золотоордынского центра на Северном Кавказе города Маджар с городами Византии. Эти связи проиллюстрированы на примере двух категорий находок византийского происхождения, зафиксированных на территории города Золотой Орды. Первая категория находок – поливная керамика. На Маджарском городище обнаружены образцы пяти групп керамики, изготовленные в различных производственных центрах Византийской империи. Наибольший интерес представляют находки поливных сосудов второй группы, являющейся хроноиндикатором для периода середины – третьей четверти XIII в. Дальнейшее картографирование находок сосудов этой группы на площади городища сделает возможным выявление наиболее раннего участка городской территории, на котором появляются первые строения и с которого начинается рост городских кварталов. Вторая категория – находка византийской монеты Андроника II и Михаила IX константинопольской чеканки. ЛитератураБабенко А.Н., Сергеев А.Ю. Археоботанические исследования городища Маджары // Поволжская археология. 2019. №4(30). С. 161–170 doi: 10.24852/pa2019.4.30.161.170Бочаров С.Г. Группа византийских поливных чаш второй половины XIV в. // Поливная керамика Средиземноморья и Причерноморья X–XVIII вв. / Ред. С.Г. Бочаров, В.Л. Мыц. Киев: Издательский дом «Стилос», 2005. С. 306–323.Бочаров С.Г. Первые результаты междисциплинарных археологических исследований золотоордынского города Маджар (Ставропольский край) // Междисциплинарные археологические исследования древних культур Енисейской Сибири и сопредельных территорий. Тезисы международной конференции (Красноярск, 20-22 октября 2020 г.). / Отв. ред. П.В. Мандрыка. Красноярск: СФУ, 2020. С. 28.Бочаров С.Г. Селение Посидима в Юго-Восточном Крыму и его керамический комплекс (рубеж XIII – XIV вв.) // Поливная керамика Средиземноморья и Причерноморья в X–XVIII вв. / Ред. С.Г. Бочаров, В. Франсуа, А.Г. Ситдиков. Казань, Кишинев: Stratum plus, 2017. Т. 2. С. 409–447.Бочаров С.Г., Масловский А.Н. Византийская Поливная керамика в городах Северного Причерноморья золотоордынского периода (вторая половина XIII – конец XIV вв.). // Поволжская археология. 2012. №1. С. 20–36.Бочаров С.Г., Масловский А.Н. Поливная керамика с росписью марганцем (Византия и Золотая Орда). // Материалы Первого маджарского археологического форума. Пятигорск – Буденовск – 2012 / Отв. ред. Ю.Д. Обухов / Археология Евразийских степей. Вып. 23. / Казань: Издательский дом «Казанская недвижимость». 2016. С. 20–38.Бочаров С.Г., Ситдиков А.Г. Керамический комплекс города Маджар, по материалам исследований 2015 г. (Нижняя Волга и Северный Кавказ) // Материалы V Международной Нижневолжской археологической конференции / Отв. ред. П.М. Кольцов. Элиста: Изд. Калмыцкого университета, 2016. С. 192–197.Бочаров С.Г., Обухов Ю.Д. 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e4175116Abstract The article aims at bringing to the debate the polysemy of the concept of training needs and the relation between the conceptions of teacher education and the instruments used to map or diagnose these needs. Prompted by the following inquiries: what has been provided as theoretical references on training needs to researchers of the theme? What concepts of training needs, and based on what conceptions of teacher education, are presented in 10 years of production on the theme in the national scenario? What are the comprehensions of these researchers about the training needs of beginning teachers in basic education? For this, as methodological procedures, first it were conducted studies of theorists who could contribute for the comprehension of the object, followed by the analysis of articles, theses and dissertations available in data bases, selected through the criterions listed in a protocol of systematic review. The results show that the productions of theorists adopted for the comprehension of concepts about training needs contributed for deepening knowledge on the object. The systematic literature review pointed out the absence of the conception of the term training needs in most of the analyzed productions, as well as the prevalence of an understanding of need as lack of knowledge resulting from the initial teacher education and linked to the challenges and personal tensions of the daily routine of the profession and of the period of initiation. The results also show the pertinence of the constitution of collaborative training environments, as well as of the elaboration, by the school networks, of induction programs.ResumoO artigo apresenta como objetivo trazer ao debate a polissemia do conceito de necessidades formativas e a relação entre as concepções de formação e os instrumentos utilizados para fazer o levantamento ou diagnóstico dessas necessidades. Partiu-se dos seguintes questionamentos: o que se tem disponibilizado enquanto referenciais teóricos sobre necessidades formativas a pesquisadores do tema? Quais conceitos de necessidades formativas, e baseados em quais concepções de formação, são apresentados em dez anos de produção sobre o tema no cenário nacional? Quais as compreensões desses pesquisadores sobre as necessidades formativas de professores iniciantes na educação básica? Para tanto, como procedimentos metodológicos, realizou-se primeiramente estudos de teóricos que pudessem contribuir para a compreensão do objeto, seguido da análise de artigos, dissertações e teses disponibilizados em bases de dados, selecionados a partir de critérios elencados em um protocolo de revisão sistemática. Como resultados, aponta-se que as produções de teóricos adotadas para a compreensão de conceitos sobre necessidades formativas contribuíram para aprofundar conhecimentos sobre o objeto. A revisão sistemática de literatura apontou a ausência da conceituação do termo necessidades formativas na maioria das produções analisadas, bem como a prevalência de um entendimento de necessidade como falta de conhecimentos advindos da formação inicial e ligados aos desafios e tensões próprias do cotidiano da profissão e do período de iniciação. Os resultados mostram também, a pertinência da constituição de espaços formativos colaborativos, bem como da elaboração, pelas redes de ensino, de programas de indução.Palavras-chave: Iniciação de professores, Levantamento de necessidades, Pesquisa educacional, Revisão de literatura.Keywords: Beginners, Training needs, Educacional research, Literature reviews.ReferencesAFANASIEV, Viktor Griegorievich. Fundamentos da Filosofia. Rio de Janeiro: Civilização Brasileira, 1968.BANDEIRA, Hilda Maria Martins. Necessidades formativas de professores iniciantes na produção da práxis: realidade e possibilidades. 2014. 248 f. 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Contexte : L’apprentissage à l’université est une activité complexe qui implique la mise en œuvre de stratégies d’apprentissage efficaces. Pour de meilleures performances académiques (PA), l’étudiant doit construire un savoir ancré dans une compréhension approfondie. La carte conceptuelle (CC) est un outil cognitif qui favorise l’apprentissage signifiant et la compréhension approfondie. But : Examiner les effets de la participation à des ateliers visant à développer des CC, proposés à des étudiants de première année en médecine dentaire, sur la qualité d’une CC produite à l’examen ainsi que les liens avec les performances des étudiants à court et à moyen terme. Méthodes : Deux cohortes successives d’étudiants de première année en formation dentaire (N = 110) ont été suivies pour deux unités d’apprentissage (UE), UE1 en année 1 (A1) et UE2 en année 2 (A2). En A1, des ateliers CC facultatifs furent proposés. Des PA ont été mesurées au travers des questions lors de l’évaluation finale (examen). Des régressions linéaires multiples en relation avec la participation aux ateliers et la qualité des CC ont été réalisées incluant d’autres variables explicatives. Résultats : Il y a effectivement un lien statistiquement significatif et positif entre la participation aux ateliers, la qualité des CC et les PA, mais d’autres variables interviennent également comme l’historique académique, la thématique et les performances antérieures en A1. Conclusion : Les PA, à court et à moyen terme, sont globalement associées à la qualité de la CC. L’effet des ateliers sur les PA se manifeste à moyen terme.

Background: There is a paucity of literature describing the incidence of burnout among Canadian pharmacy residents, despite evidence that pharmacy professionals are at high risk of burnout. Objectives: To characterize Canadian pharmacy residents experiencing high levels of burnout, as defined by the Maslach Burnout Inventory (MBI), to describe existing interventions that Canadian pharmacy residents perceive to be effective in managing burnout, and to describe opportunities for Canadian pharmacy residency programs in managing resident burnout. Methods: An online survey, consisting of 22 validated questions from the MBI and 19 nonvalidated questions developed by the investigators, was distributed by email to 558 Canadian pharmacy residents from the 2020/21, 2019/20, and 2018/19 residency years. Results: A total of 115 partial or complete survey responses were included in the analysis, and 107 respondents completed the MBI section of the survey. Of these, 62% (66/107) were at high risk of burnout according to at least 1 MBI subscale, with a slight majority of the entire sample being at high risk of burnout on the emotional exhaustion subscale (55/107 [51%]). The most common interventions offered to pharmacy residents to reduce or prevent burnout were mentorship programs, schedule changes, and promotion of self-organization. Current interventions reported to be the most useful were self-care workshops, discussion groups, and workload adjustment. Potential future interventions perceived to be most useful for reducing and preventing burnout were schedule changes and workload adjustment. Conclusions: More than half of Canadian pharmacy residents who responded to the survey were at high risk of burnout. Canadian pharmacy residency programs should consider implementing additional interventions to help reduce and prevent resident burnout. RÉSUMÉ Contexte : Il y a peu de documentation qui décrit l’incidence de l’épuisement professionnel chez les résidents en pharmacie canadiens, malgré les preuves de risques élevés auxquels les professionnels en pharmacie sont exposés. Objectifs : Décrire les résidents canadiens en pharmacie qui connaissent des niveaux élevés d’épuisement professionnel, tels que définis par l’inventaire d’épuisement mis au point par Maslach et Jackson [en anglais Maslach Burnout Inventory (MBI)]; décrire les interventions existantes que ces personnes perçoivent comme efficaces pour le gérer; et décrire les possibilités de gestion de l’épuisement professionnel dans les programmes canadiens de résidence en pharmacie. Méthodes : Une enquête en ligne comprenant 22 questions validées du MBI et 19 questions non validées, préparées par les enquêteurs, a été envoyée par courriel à 558 résidents canadiens en pharmacie des années de résidence 2020-2021, 2019-2020 et 2018-2019. Résultats : Au total, 115 réponses partielles ou complètes ont été incluses dans l’analyse, et 107 répondants ont rempli la section MBI de l’enquête. Parmi ces derniers, 62 % (66/107) présentaient un risque élevé d’épuisement professionnel selon au moins 1 sous-échelle du MBI, une légère majorité de l’ensemble de l’échantillon présentant un risque élevé d’épuisement professionnel sur la sous-échelle d’épuisement émotionnel (55/107 [51 %]). Les interventions les plus courantes offertes aux résidents en pharmacie pour réduire ou prévenir l’épuisement professionnel étaient les programmes de mentorat, les changements d’horaire et la promotion de l’auto-organisation. Les interventions actuelles signalées comme étant les plus utiles étaient les ateliers d’autosoins, les groupes de discussion et l’adaptation de la charge de travail. Les interventions futures potentielles perçues comme les plus utiles pour réduire et prévenir l’épuisement professionnel étaient les changements d’horaire et l’adaptation de la charge de travail. Conclusions : Plus de la moitié des résidents canadiens en pharmacie qui ont répondu à l’enquête présentaient un risque élevé d’épuisement professionnel. Les programmes canadiens de résidence en pharmacie devraient envisager de mettre en oeuvre des interventions supplémentaires pour aider à le réduire et à le prévenir.

IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questioning the role of site within sound installation works. The potential for sound to create shared space and foster relationships between bodies, objects, and the surrounding environment is evident in recent contemporary art exhibitions. For MOMA’s Soundings: A Contemporary Score, curator Barbara London, sought to create a series of “tuned environments” rather than use headphones, emphasising the potential of sound works to envelop the gallery goer. Similarly, Sam Belinafante’s Listening, aimed to capture a sense of how sound can influence attention by choreographing the visitors’ experience towards the artworks. By using motorised technology to stagger each installation, gallery goers were led by their ears. Both London’s and Belinafante’s curatorial approaches highlight the current awareness and interest in aural space and its influence on bodies, an area I aim to contribute to with this article.Audio-based performance works consisting of narration or instructions received through headphones feature as a dominant trend within the field of theatre and performance studies. Well-known examples from the past decade include: Janet Cardiff’s The Missing Case Study B; Graeme Miller’s Linked; and Lavinia Greenlaw’s Audio Obscura. The use of sound in these works offers several possibilities: the layering of fiction onto site, the intensification, or contradiction of existing atmospheres and, in most cases, the direction of audience attention. Misha Myers uses the term ‘percipient’ to articulate this mode of engagement that relies on the active attendance of the participant to their surroundings. She states that it is the participant “whose active, embodied and sensorial engagement alters and determines [an artistic] process and its outcomes” (172-23). Indeed, audio-based works provide invaluable ways of considering how the body of the audience member might be engaged, raising important issues in relation to sound, embodiment and presence. Yet the question remains, outside of individual acoustic environments, how does sound build physical relations between bodies and across space? Within sound studies the World Soundscape Project, founded in the 1970s by R. Murray Schafer, documents the acoustic properties of cities, nature, technology and work. Collaborations between sound engineers and musicians indicated the musicality inherent in the world encouraging attunement to the acoustic characteristics of our environment. Gernot Böhme indicates the importance of personal and emotional impressions of space, experienced as atmosphere. Atmosphere, rather than being an accumulation of individual acoustic characteristics, is a total experience. In relation to sound, sensitivity to this mode of engagement is understood as a need to shift from hearing in “an instrumental sense—hearing something—into a way of taking part in the world” (221). Böhme highlights the importance of the less tangible, emotional consistency of our surrounding environment. Brandon Labelle further indicates the social potential of sound by foregrounding the emotional and psychological charges which support “event-architecture, participatory productions, and related performative aspects of space” (Acoustic Spatiality 2) these, Labelle claims enable sound to catalyse both the material world and our imaginations. Sound as felt experience and the emotional construction of space form the key focus here. Within architectural discourse, both Juhani Pallasmaa and Peter Zumthor point to atmospheric nuances and flows of energy which can cause events to furnish the more rigid physical constructs we exist between, influencing spatial quality. However, it is sensorial experience Jean-Paul Thibaud claims, including attention to light, sound, smell and texture that informs much of how we situate ourselves, contributing to the way we imaginatively construct the world we inhabit, even if only of temporary duration. To expand on this, Thibaud locates the sensorial appreciation of site between “the lived experience of people as well as the built environment of the place” (Three Dynamics 37) hinting at the presence of energetic flows. Such insights into how relations are built between bodies and objects inform the approach taken in this article, as I focus on sensorial modes of engagement to write through my own experience as listener-spectator. George Home-Cook uses the term listener-spectator to describe “an ongoing, intersensorial bodily engagement with the affordances of the theatrical environment” (147) and a mode of attending that privileges phenomenal engagement. Here, I occupy the position of the listener-spectator to attend to two installations, Invisible Flock’s 105+dB and Atelier Bildraum’s Bildraum. The first is a large-scale sound installation produced for Hull UK city of culture, 2017. The piece uses audio recordings from 16 shotgun microphones positioned at the periphery of Hull City’s soccer pitch during a match on 28 November 2016. The piece relocates the recordings in public space, replaying a twenty-minute edited version through 36 speakers. The second, Bildraum, is an installation performance consisting of photographer Charlotte Bouckaert, architect Steve Salembier with sound by Duncan Speakman. The piece, with a running time of 40-minutes uses architectural models, live photography, sound and lighting to explore narrative, memory, and space. In writing through these two case studies, I aim to emphasise sensorial engagement. To do so I recognise, as Salomé Voegelin does, the limits of critical discourse to account for relations built through sound. Voegelin indicates the rift critical discourse creates between what is described and its description. In her own writing, Voegelin attempts to counteract this by using the subjective “I” to foreground the experience of a sound work as a writer-listener. Similarly, here I foreground my position as a listener-spectator and aim to evidence the criticality within the work by writing through my experience of attending thereby bringing out mood, texture, atmosphere to foreground how relations are built across space and between bodies.105+dB Invisible Flock January 2017, I arrive in Hull for Invisible Flock’s 105+dB programmed as part of Made in Hull, a series of cultural activities happening across the city. The piece takes place in Zebedee’s Yard, a pedestrianised area located between Princes Dock Street and Whitefriargate in the grounds of the former Trinity House School. From several streets, I can already hear a crowd. Sound, porous in its very nature, flows through the city expanding beyond its immediate geography bringing the notion of a fictional event into being. I look in pub windows to see which teams are playing, yet the visual clues defy what my ears tell me. Listening, as Labelle suggests is relational, it brings us into proximity with nearby occurrences, bodies and objects. Sound and in turn listening, by both an intended and unsuspecting public, lures bodies into proximity aurally bound by the promise of an event. The use of sound, combined with the physical sensation implied by the surrounding architecture serves to construct us as a group of attendees to a soccer match. This is evident as I continue my approach, passing through an archway with cobbled stones underfoot. The narrow entrance rapidly fills up with bodies and objects; push chairs, wheelchairs, umbrellas, and thick winter coats bringing us into close physical contact with one another. Individuals are reduced to a sea of heads bobbing towards the bright stadium lights now visible in the distance. The title 105+dB, refers to the volume at which the sound of an individual voice is lost amongst a crowd, accordingly my experience of being at the site of the piece further echoes this theme. The physical structure of the archway combined with the volume of bodies contributes to what Pallasmaa describes as “atmospheric perception” (231), a mode of attending to experience that engages all the senses as well as time, memory and imagination. Sound here contributes to the atmosphere provoking a shift in my listening. The importance of the listener-spectator experience is underscored by the absence of architectural structures habitually found in stadiums. The piece is staged using the bare minimum: four metal scaffolding structures on each side of the Yard support stadium lights and a high-visibility clad figure patrols the periphery. These trappings serve to evoke an essence of the original site of the recordings, the rest is furnished by the audio track played through 36 speakers situated at intervals around the space as well as the movement of other bodies. As Böhme notes: “Space is genuinely experienced by being in it, through physical presence” (179) similarly, here, it is necessary to be in the space, aurally immersed in sound and in physical proximity to other bodies moving across the Yard. Image 1: The piece is staged using the bare minimum, the rest is furnished by the audio track and movement of bodies. Image courtesy of the artists.The absence of visual clues draws attention to the importance of presence and mood, as Böhme claims: “By feeling our own presence, we feel the space in which we are present” (179). Listening-spectators actively contribute to the event-architecture as physical sensations build and are tangibly felt amongst those present, influenced by the dramaturgical structure of the audio recording. Sounds of jeering, applause and the referees’ whistle combine with occasional chants such as “come on city, come on city” marking a shared rhythm. Specific moments, such as the sound of a leather ball hitting a foot creates a sense of expectation amongst the crowd, and disappointed “ohhs” make a near-miss audibly palpable. Yet, more important than a singular sound event is the sustained sensation of being in a situation, a distinction Pallasmaa makes, foregrounding the “ephemeral and dynamic experiential fields” (235) offered by music, an argument I wish to consider in relation to this sound installation.The detail of the recording makes it possible to imagine, and almost accurately chart, the movement of the ball around the pitch. A “yeah” erupts, making it acoustically evident that a goal is scored as the sound of elation erupts through the speakers. In turn, this sensation much like Thibaud’s concept of intercorporeality, spreads amongst the bodies of the listening-spectators who fist bump, smile, clap, jeer and jump about sharing and occupying Zebedee’s Yard with physical manifestations of triumph. Through sound comes an invitation to be both physically and emotionally in the space, indicating the potential to understand, as Pallasmaa suggests, how “spaces and true architectural experiences are verbs” (231). By physically engaging with the peaks and troughs of the game, a temporary community of sorts forms. After twenty minutes, the main lights dim creating an amber glow in the space, sound is reduced to shuffling noises as the stadium fills up, or empties out (it is impossible to tell). Accordingly, Zebedee’s Yard also begins to empty. It is unclear if I am listening to the sounds in the space around me, or those on the recording as they overlap. People turn to leave, or stand and shuffle evidencing an attitude of receptiveness towards their surrounding environment and underscoring what Thibaud describes as “tuned ambiance” where a resemblance emerges “between what is felt and what is produced” (Three Dynamics 44). The piece, by replaying the crowd sounds of a soccer match across the space of Zebedee’s Yard, stages atmospheric perception. In the absence of further architectural structures, it is the sound of the crowd in the stadium and in turn an attention to our hearing and physical presence that constitutes the event. Bildraum Atelier BildraumAugust 2016, I am in Edinburgh to see Bildraum. The German word “bildraum” roughly translates as image room, and specifically relates to the part of the camera where the image is constructed. Bouckaert takes high definition images live onstage that project immediately onto the screen at the back of the space. The audience see the architectural model, the taking of the photograph, the projected image and hear both pre-recorded ambient sounds by Speakman, and live music played by Salembier generating the sensation that they are inhabiting a bildraum. Here I explore how both sound and image projection can encourage the listener-spectator to construct multiple narratives of possible events and engage their spatial imagination. Image 2: The audience see the architectural model, the taking of the photograph, the projected image and hear both live and pre-recorded sounds. Image courtesy of the artists.In Bildraum, the combination of elements (photographic, acoustic, architectural) serve to create provocative scenes which (quite literally) build multiple spaces for potential narratives. As Bouckaert asserts, “when we speak with people after the performance, they all have a different story”. The piece always begins with a scale model of the actual space. It then evolves to show other spaces such as a ‘social’ scene located in a restaurant, a ‘relaxation’ scene featuring sun loungers, an oversize palm tree and a pool as well as a ‘domestic’ scene with a staircase to another room. The use of architectural models makes the spaces presented appear as homogenous, neutral containers yet layers of sound including footsteps, people chatting, doors opening and closing, objects dropping, and an eerie soundscape serve to expand and incite the construction of imaginative possibilities. In relation to spatial imagination, Pallasmaa discusses the novel and our ability, when reading, to build all the settings of the story, as though they already existed in pre-formed realities. These imagined scenes are not experienced in two dimensions, as pictures, but in three dimensions and include both atmosphere and a sense of spatiality (239). Here, the clean, slick lines of the rooms, devoid of colour and personal clutter become personalised, yet also troubled through the sounds and shadows which appear in the photographs, adding ambiance and serving to highlight the pluralisation of space. As the piece progresses, these neat lines suffer disruption giving insight into the relations between bodies and across space. As Martin Heidegger notes, space and our occupation of space are not mutually exclusive but intertwined. Pallasmaa further reminds us that when we enter a space, space enters us and the experience is a reciprocal exchange and fusion of both subject and object (232).One image shows a table with several chairs neatly arranged around the outside. The distance between the chairs and the table is sufficient to imagine the presence of several bodies. The first image, though visually devoid of any living presence is layered with chattering sounds suggesting the presence of bodies. In the following image, the chairs have shifted position and there is a light haze, I envisage familiar social scenes where conversations with friends last long into the night. In the next image, one chair appears on top of the table, another lies tilted on the floor with raucous noise to accompany the image. Despite the absence of bodies, the minimal audio-visual provocations activate my spatial imagination and serve to suggest a correlation between physical behaviour and ambiance in everyday settings. As discussed in the previous paragraph, this highlights how space is far from a disinterested, or separate container for physical relations, rather, it underscores how social energy, sound and mood can build a dynamic presence within the built environment, one that is not in isolation but indeed in dialogue with surrounding structures. In a further scene, the seemingly fixed, stable nature of the models undergoes a sudden influx of materials as a barrage of tiny polystyrene balls appears. The image, combined with the sound suggests a large-scale disaster, or freak weather incident. The ambiguity created by the combination of sound and image indicates a hidden mobility beneath what is seen. Sound here does not announce the presence of an object, or indicate the taking place of a specific event, instead it acts as an invitation, as Voegelin notes, “not to confirm and preserve actuality but to explore possibilities” (Sonic 13). The use of sound which accompanies the image helps to underscore an exchange between the material and immaterial elements occurring within everyday life, leaving a gap for the listener-spectator to build their own narrative whilst also indicating further on goings in the depth of the visual. Image 3: The minimal audio-visual provocations serve to activate my spatial imagination. Image courtesy of the artists.The piece advances at a slow pace as each model is adjusted while lighting and objects are arranged. The previous image lingers on the projector screen, animated by the sound track which uses simple but evocative chords. This lulls me into an attentive, almost meditative state as I tune into and construct my own memories prompted by the spaces shown. The pace and rhythm that this establishes in Summerhall’s Old Lab creates a productive imaginative space. Böhme argues that atmosphere is a combination of both subjective and objective perceptions of space (16). Here, stimulated by the shifting arrangements Bouckaert and Salembier propose, I create short-lived geographies charting my lived experience and memories across a plurality of possible environments. As listener-spectator I am individually implicated as the producer of a series of invisible maps. The invitation to engage with the process of the work over 40-minutes as the building and dismantling of models and objects takes place draws attention to the sensorial flows and what Voegelin denotes as a “semantic materiality” (Sonic 53), one that might penetrate our sensibility and accompany us beyond the immediate timeframe of the work itself. The timeframe and rhythm of the piece encourages me, as listener-spectator to focus on the ambient sound track, not just as sound, but to consider the material realities of the here and now, to attend to vibrational milieus which operate beyond the surface of the visible. In doing so, I become aware of constructed actualities and of sound as a medium to get me beyond what is merely presented. ConclusionThe dynamic experiential potential of sound installations discussed from the perspective of a listener-spectator indicate how emotion is a key composite of spatial construction. Beyond the closed acoustic environments of audio-based performance works, aural space, physical proximity, and the importance of ambiance are foregrounded. Such intangible, ephemeral experiences can benefit from a writing practice that attends to these aesthetic concerns. By writing through both case studies from the position of listener-spectator, my lived experience of each work, manifested through attention to sensorial experience, have indicated how relations are built between bodies and across space. In Invisible Flock´s 105+dB sound featured as a social material binding listener-spectators to each other and catalysing a fictional relation to space. Here, sound formed temporal communities bringing bodies into contact to share in constructing and further shaping the parameters of a fictional event.In Atelier Bildraum’s Bildraum the construction of architectural models combined with ambient and live sound indicated a depth of engagement to the visual, one not confined to how things might appear on the surface. The seemingly given, stable nature of familiar environments can be questioned hinting at the presence of further layers within the vibrational or atmospheric properties operating across space that might bring new or alternative realities to the forefront.In both, the correlation between the environment and emotional impressions of bodies that occupy it emerged as key in underscoring and engaging in a dialogue between ambiance and lived experience.ReferencesBildraum, Atelier. Bildraum. Old Lab, Summer Hall, Edinburgh. 18 Aug. 2016.Böhme, Gernot, and Jean-Paul Thibaud (eds.). The Aesthetics of Atmospheres. 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able des matières Résumés. 140 Agenda Formation en Radioprotection JRANF 2021 Ouagadougou. 140 RPF 1 Rappel des unités de doses. 140 RPF 2 Risques déterministes et stochastiques. 140 RPF 3 Mesure pratique des niveaux d’exposition en RX et. 140 RPF 4 Niveaux comparés de doses observés en radiologie diagnostique et interventionnelle, échelle de risques comparés. 140 RPF 5 Rappel des principes de la radioprotection: justification des actes et optimisation. 140 RPF 6 Méthodes d’optimisation en radiologie conventionnelle. 140 RPF 7 Méthodes d’optimisation en tomodensitométrie. 140 RPF 8 Cas particuliers de la femme enceinte, de l’enfant et de la radiologie interventionnelle. 141 RPF 9 Guidelines et Justification des actes en pratique courante. 141 RPF 10 Mission et rôle des PCR dans les services d’imagerie. 141 RPF 11 Notion des NRD et mise en œuvre des NRD en Afrique. 141 FORMATION DES : EPU, CONFERENCES ET ATELIERS. 142 IMAGERIE DE L’HYDROCEPHALIE CHRONIQUE DE L’ADULTE AFRICAIN.. 142 IRM CARDIAQUE. 142 FAISABILITE EN AFRIQUE, INDICATIONS, TECHNIQUE ET RESULTATS. 142 COROSCANNER. 142 FAISABILITE EN AFRIQUE, INDICATIONS, TECHNIQUE ET RESULTATS. 142 SCANNER DE PERFUSION : ENJEUX ET PERSPECTIVES. 143 L'IMAGERIE POSTMORTEM COMME ALTERNATIVE FACE AUX DE RESISTANCES SOCIALES A L'AUTOPSIE 144 INTELLIGENCE ARTIFICIELLE ET IMAGERIE MEDICALE. 144 RADIOLOGIE INTERVENTIONNELLE DU RACHIS : INFILTRATION, BIOPSIE DISCO VERTEBRALE, CIMENTOPLASTIE 144 ECHOGRAPHIE TRANSFRONTANELLAIRE / COMMENT JE LA REALISE ET QUOI RECHERCHER. 145 ATELIER SUR L’IMAGERIE DU ROCHER. 145 CLASSIFICATION O-RADS DES MASSES ANNEXIELLES A L’ECHOGRAPHIE ET A L’IRM... 146 MALFORMATIONS CEREBRALES EN ECHOGRAPHIE ANTENATALE. 146 OCCLUSIONS INTESTINALES DU GRELE DE L’ADULTE. 147 IMAGERIE DES URGENCES TRAUMATIQUES ABDOMINALES. 147 IMAGERIE DES APPENDICITES AIGUES. 148 IMAGERIE DU FOIE ET DES VOIES BILIAIRES. 148 IMAGERIE DES INFECTIONS URINAIRES DE L’ENFANT. 149 IMAGERIE DE LA PATHOLOGIE DES VOIES BILIAIRES. 149 IMAGERIE DE LA PANCREATITE AIGUE. 150 HYPERDENSITE EN VERRE DEPOLI : LESION ELEMENTAIRE TDM DOMINANTE DANS LA PNEUMOPATHIE A COVID 19 MAIS AUSSI DANS D’AUTRES AFFECTIONS. 150 PRESENTATION 2IMEDS SARL. 150 COMMUNICATIONS ORALES. 152 CO.01 : Aspects radiologiques des séquelles de tuberculose pulmonaire de l’adulte à Conakry. 152 CO.02 : Séroprévalence du virus de l’hépatite virale B dans la cohorte des PVVIH suivis dans le service des maladies infectieuses du CHU YO.. 152 CO.03 : Evaluation de la qualité des traitements endodontiques réalisés au Centre Municipal de Santé Bucco-Dentaire de Ouagadougou. 153 CO.04 : Facteurs limitant la prévention de la carie dentaire au niveau des prestataires de soins du premier échelon : enquête au district sanitaire de Dô, Burkina Faso. 153 CO.05 : Profils clinique, diagnostique des patients hospitalisés dans le service de rhumatologie du Centre Hospitalier Universitaire de Bogodogo. 154 CO.06 : Morbidité et mortalité des nouveau-nés réanimés en salle de naissance au Centre Hospitalier Universitaire Régional de Ouahigouya (Burkina Faso). 154 CO.07 : Apport de l’imagerie dans le diagnostic et les facteurs étiologiques de la lithiase urinaire chez l’adulte 155 CO.08 : Les profils de la déficience visuelle au Centre Hospitalier Universitaire Yalgado Ouédraogo : à propos de 501 cas 156 CO.09 : Pression intra-oculaire chez les enfants mélanodermes examinés sous anesthésie générale au Centre Hospitalier Universitaire Yalgado Ouédraogo. 156 CO.10 : Anomalie de la jonction pyélo-uretérale : Aspects diagnostique et thérapeutique au Centre Hospitalier Universitaire SOURO SANOU.. 156 CO.11 : Prise en charge de l’uretère rétro-cave au Centre Hospitalier Universitaire SOURO SANOU : à propos de deux observations. 157 CO.12 : Carcinome occulte de la thyroïde révèle par une métastase fronto-pariétale : à propos d’un cas. 157 CO.13 : Les suppurations rénales et péri rénales au Centre Hospitalier Universitaire SOURO SANOU de Bobo-Dioulasso : aspects diagnostiques et thérapeutiques. 158 CO.14 : Tumeur mixte épithéliale et stromale du rein chez un patient hémodialysé chronique. 158 CO.15 : Facteurs limitant la réalisation de la charge virale chez les PVVIH à l’hôpital de jour du CHU Yalgado OUEDRAOGO 159 CO.16 : Facteurs prédictifs de la mortalité au cours de la fibrillation atriale : suivi de 256 cas. 159 CO.17 : Le port du sac est-il un facteur associé à la lombalgie chez l’enfant ?. 160 CO.18 : Etude des facteurs de récidive au cours des ténosynovites de De Quervain ?. 160 CO.19 : L’arthropathie tabétique : une affection à ne pas oublier. 161 CO.20 : Fracture du rocher au CHU Yalgado Ouédraogo : à propos de 25 cas. 161 CO.21 : Aspect tomodensimètre des spondylolisthésis ; à propos de 48 cas colligés au CHU de Cocody 162 CO.22 : Amputation de membres dans le service d’Orthopédie - Traumatologie du Centre Hospitalier Universitaire Yalgado Ouédraogo : à propos de 113 cas. 162 CO.23 : Profil scanographique et épidémiologique des fractures maxillo-faciales à l’hôpital Sominé Dolo de Mopti (Mali) 163 CO.24 : Fractures du poignet : aspects épidémiologiques, anatomocliniques et thérapeutiques dans le service d’Orthopédie-Traumatologie du CHU-YO de janvier 2015 à décembre 2018 à propos de 357 cas. 164 CO.25 : Tumeurs autour du genou de l’adulte, aspects épidémiologiques, diagnostiques, thérapeutiques et évolutifs au CHU Yalgado Ouédraogo et à l’hôpital protestant Schiphra. 164 CO.26 : Post traitement en tomodensitométrie thoracique diagnostique et thérapeutique : connaissance et pratique dans les hôpitaux de référence en Côte-d’Ivoire. 165 CO.27 : La sclérose mésiotemporale. 165 CO.28 : Syndrome d’interruption de la tige pituitaire, une cause rare d’hypopituitarisme : à propos d’un cas au CNHU-HKM de Cotonou au Bénin. 165 CO.29 : Indications du scanner cérébral chez les patients présentant un traumatisme crânien léger. 166 CO.30 : Evènements nucléaires en pratique hospitalière à Abidjan : état des lieux et prise en soins. 166 CO.31 : Utérus didelphe imperméable chez une jeune femme hypofertile, à Ouagadougou, Burkina Faso 167 CO.32 : Pseudo kystes du pancréas : aspects épidémiologiques, cliniques, thérapeutiques et évolutifs 167 CO.33 : Point de vue des médecins du Burkina Faso sur la télé expertise mobile en cancérologie. 168 CO.34 : Comparaison des niveaux de référence diagnostiques basés sur l’indication à ceux par région anatomique des scanners des adultes à Yaoundé. 168 CO.35 : Optimisation des doses délivrées au scanner multi barets dans les services de radiologie au Burkina Faso. 169 CO.36 : Développement de la dosimétrie biologique et application à des travailleurs médicaux et aux enfants exposes au scanner. 169 CO.37 : Effets secondaires immédiats des produits de contraste iodés au scanner : une étude effectuée à Abidjan (Côte d'ivoire). 170 CO.38 : Connaissances en radioprotection des travailleurs exposés aux rayonnements ionisants en milieu médical en Afrique Francophone Subsaharienne. 170 CO.39 : Problématique du coût et d’accès au scanner multi-détecteur au Cameroun : une étude mixte séquentielle et explicative. 171 CO.40 : Evaluation des doses administrées aux patients adultes en médecine nucléaire en 2020 au Centre Hospitalier Universitaire Yalgado Ouédraogo. 172 CO.41 : Enquête sur l’application de la prescription raisonnée des examens radiographiques standards : cas des CHU de Lomé (Togo). 172 CO.42 : Evaluation de la satisfaction des médecins de la pratique de la radiologie au Togo. 173 CO.43 : Aspects tomodensitométriques et clinico-épidémiologiques de la pneumopathie COVID-19 au CHME le Luxembourg à Bamako (Mali). 173 CO.44 : Sensibilité du scanner dans le diagnostic de la pneumonie à SARS – COV 2 à propos de 229 cas 174 CO.45 : Aspects TDM thoracique initial des patients suspects de Covid-19. 174 CO.46 : Connaissance et pratique des mesures de protection contre la COVID-19 dans le service d’imagerie médicale du Centre Hospitalier Universitaire Départemental Borgou-Alibori (CHUD/B-A). 175 CO.47 : Contribution diagnostique du scanner multi barrette lors de la première vague de Covid 19 ; expérience de la Polyclinique Internationale de Ouagadougou. 175 CO.48 : Imagerie thoracique et PCR positive au cours de la pneumopathie à Covid 19 du Centre d’Isolement du CHU Bogodogo. 176 CO.49 : Titre : Association entre stade clinique et signes scanographiques de la COVID-19 à Hôpital Gynéco-Obstétrique et Pédiatrique de Douala, Cameroun. 176 CO.50 : Titre : Comparaison des caractéristiques de la tomodensitométrie thoracique chez les femmes enceintes, et non enceintes atteintes de COVID-19 à l’Hôpital Gynéco-Obstétrique et Pédiatrique de Douala, Cameroun 177 CO.51 : Aspects épidémiologiques et orientations étiologiques des hypersignaux T2 de la substance blanche cérébrale à Lomé. 178 CO.52 : Aspects du polygone de Willis à l’IRM 3D TOF dans les AVC ischémiques au CHU d’Angré. 178 CO.53 : Aspects épidémiocliniques et IRM des pathologies sellaires et para sellaires à propos de 38 cas colligés au CHU d’Angré. 179 CO.54: Morphologie du processus styloïde de l’os temporal au scanner à Parakou. 179 CO.55: Apport de l’angioscanner des troncs supraoptiques dans le bilan étiologique des accidents vasculaires cérébraux 180 CO.56 : Evaluation de l’interprétation des scanners encéphaliques en urgence neurologique au CHU d’Angré 180 CO.57 : Infiltrations lombaires sous guidage tomodensitométrique dans la prise en charge de la lombosciatalgie à DAKAR (SENEGAL). 181 CO.58: Apport de l’angioscanner dans le diagnostic des pathologies des troncs supra aortiques : à propos de 96 cas colligés à Abidjan. 182 CO.59: Aspects IRM des compressions médullaires dans la région du GBEKE à propos de 20 cas. 182 CO.60 : Profil remnologique des lésions cérébrales au Togo. 183 CO.61 : Etude radioclinique des AVC au Niger. 183 CO.62 : Evaluation de la gestion des rendez-vous et l’expérience patient au service d’imagerie médicale du CHU d’Angré 184 CO.63 : Intérêt de la scintigraphie rénale à l’acide Diéthylènetriamine-penta-acétique marqué au technétium 99 métastable dans l’exploration des reins muets à l’uroscanner. 184 CO.64: Echographie Doppler des vaisseaux de la tête du nerf optique dans le glaucome primitif à angle ouvert du sujet jeune Togolais à propos de 30 cas. 185 CO.65: Activité tomodensitométrique de garde au Centre Hospitalier Universitaire (CHU) de Cocody- Abidjan (RCI) : à propos de 723 cas colliges. 185 CO.66 : Tuberculose orbitaire : une localisation inhabituelle. 186 CO.67: Embolie pulmonaire : analyse des critères de prescriptions et d’interprétations scanographiques à Abidjan 186 CO.68 : Apport de l’échographie doppler dans le diagnostic et la prise en charge des varicocèles ; à propos de 32 cas 187 CO.69 : Chemodectome de la bifurcation carotidienne : à propos de deux cas. 187 CO.70 : Apport de l’écho doppler pénien dans la stratégie diagnostique des dysfonctions érectiles. 188 CO.71 : Aspects IRM de la non compaction du ventricule gauche (NCVG) : à propos de 3 cas et revue de la littérature 188 CO.72: Audit clinique cible de la prise en charge de l’embolie pulmonaire au Centre Hospitalier Universitaire de Tengandogo (CHUT). 189 CO.73 : Évaluation tomodensitométrique de la maladie thrombo-embolique thoracique au centre d’imagerie médicale du CHU de Treichville : à propos de 93 cas. 189 CO.74 : Titre : Aspects scanographiques de l’origine des troncs supra-aortiques à Ouagadougou. 190 CO.75 : Évaluation de la pertinence des demandes et des protocoles de réalisation d’angioscanner pour embolie pulmonaire à Yaoundé. 190 CO.76 : Echo doppler transcrânien chez les drépanocytaires SS à Niamey : Profil vélocimétrique. 191 CO.77 : Aspects échographiques des manifestations abdominales de la drépanocytose chez l’enfant homozygote SS à Niamey. 192 CO.78 : Thème : Carcinome mammaire papillaire intra-kystique du prolongement axillaire observé à l’hôpital moulins/Yzeure. 193 CO.79 : Aspects radiographiques de la tuberculose pulmonaire chez les enfants infectés par le VIH au CHU Souro Sanou de Bobo-Dioulasso, Burkina Faso. 193 CO.80 : Place de l’échographie dans la prise en charge des pathologies pédiatriques en milieu chirurgical 194 CO.81 : La tomosynthèse combinée à la mammographie standard dans le diagnostic des tumeurs mammaires au Centre Hospitalier SUD FRANCILIEN en 2018. 194 CO.82 : Titre : aspects cliniques radiologiques et histologiques d’un kyste épidermique chez une femme 195 CO.83: Titre : plaie crânio-cérébrale pénétrante par une barre de fer chez un enfant. 196 CO.84: La pratique de l’IRM mammaire à Ouagadougou. 196 CO.85 : L’apport de l’IRM du sein dans les écoulements mamelonnaires. 197 CO.86 : Approche diagnostique en imagerie des cancers rénaux pédiatriques au CHU de Treichville. 197 CO.87 : Imagerie du sein de la femme jeune de moins de 35 ans au CHU de Treichville. 198 CO.88 : Aspects épidémio-clinique et IRM de l’endométriose pelvienne à Abidjan. 198 CO.89 : Cancer du sein au Burkina Faso. Et si la bataille se gagnait avant le bloc opératoire et les salles de chimiothérapie ? 199 CO.90 : Corrélation radio-histologique des lésions mammaires à propos de 140 cas à l’unité de sénologie du service de radiodiagnostic et d’imagerie médicale du CHU de Treichville (Abidjan). 199 CO.91 : Apport de l’échographie transfontanellaire dans le diagnostic des pathologies neurologiques néonatale au CHU de BOGODOGO.. 200 CO.92 : L’hystérosalpingographie (HSG) pathologique en pratique quotidienne. 200 CO.93 : Titre : Apport de l’Échographie dans le diagnostic de circulaire du cordon ombilical 201 CO.94 : Corrélation du score TIRADS et l’histologie des nodules thyroïdiens : étude descriptive et revue de la littérature 201 CO.95 : Profil radiologique, épidémiologique et clinique des traumatismes fermés du thorax au CHU Gabriel Touré 202 CO.96 : Aspects radiographiques des lésions ostéo-articulaires de l’ulcère de Buruli dans les régions du centre de la Côte d’Ivoire. 202 Issa KONATE. 203 Adresse email : ikttata6@gmail.com.. 203 CO.97 : Pathologies ostéoarticulaires au service de radiologie CHU Pédiatrique CH. DE GAULLE de Ouagadougou, à propos de singularités étiologiques. 203 CO.98: Biopsie sous tomodensitométrie des lésions disco vertébrales : à propos de 15 cas au CIMR à Abidjan (Côte-d’Ivoire). 203 CO.99 : Apport de l’imagerie par résonance magnétique dans le diagnostic des pathologies du genou à l’Hôpital Saint Camille de Ouagadougou (HOSCO) à propos de 319 cas. 204 CO.100 : Apport de l’Imagerie par Résonance Magnétique dans l’exploration des pathologies du genou à Ouagadougou 204 CO.101: Apport de l’imagerie par résonance magnétique dans les douleurs du compartiment antérieur du genou : à propos de 84 genoux. 205 CO.102 : Profil IRM de la pathologie traumatique de la colonne cervicale au Togo. 206 CO.103 : Ergonomie de poste et troubles musculo-squelettiques chez les radiologues dans la pratique de l’échographie en Côte -d’Ivoire. 206 CO.104 : Aspects TDM des traumatismes du rachis : à propos de 52 cas. 207 Introduction : 207 Les traumatismes du rachis sont graves, mettant en jeu le pronostic vital et fonctionnel. L’objectif de notre étude était de décrire les aspects TDM des traumatismes du rachis. 207 Patients et méthode : 207 Il s’agit d’une étude prospective, transversale, descriptive sur 18 mois incluant 52 patients avec un âge moyen de 38,54 ans. Les AVP représentaient 51,9% des circonstances de survenue. Nous avons comparé les résultats de la radiographie à ceux de la TDM et confronter le degré de recul du mur postérieur à la TDM à l’existence de signes neurologiques. 207 CO.105 : Caractéristiques céphalométriques d’une population burkinabè. 207 CO.106: Les déviations fronto-axiales du genou : Aspects épidémiologiques, cliniques et radiologiques à propos de 350 cas. 208 CO.107 : Aspects échographiques et tomodensitométriques des cancers du pancréas : à propos de 42 cas au CHU Campus de Lomé. 208 CO.108 : Imagerie des urgences abdominales non traumatiques chez l’adulte : 209 Enquête qualitative auprès des médecins du service des urgences à Limbe. 209 CO 109 : Ponction-aspiration de l’abcès hépatique sous guidage échographique au CHU du point G.. 209 Auteurs: A. KONE, Y. KONE, M. CAMARA, M. KONATE, Y. COULIBALY, A. B. COULIBALY, S. SIDIBE. 209 CO.110 : Apport de l’imagerie dans le diagnostic du pseudokyste post traumatique du pancréas chez l’enfant 210 CO.111 : Diagnostic à l’imagerie des occlusions par volvulus du colon pelvien chez l’adulte. 210 CO.112 : Corps étranger intra et extra luminale digestif révélé par une occlusion intestinale aigüe : à propos d’un cas au CHU-YO.. 211 CO 113 : Apport de l’imagerie dans le diagnostic des tumeurs retro péritonéales de l’enfant. 211 CO.114 : Place de la TDM dans le diagnostic étiologique des Cholestases Extra Hépatiques (CEH) à Bouaké 212 CO.115 : Profil IRM du cancer du rectum au Centre Hospitalier d’Angré, Abidjan/Côte-d’Ivoire. 212 CO.116 : Tumeurs bénignes de la vésicule biliaire : un petit rappel sur des pathologies rares et souvent méconnues. 213 CO.117 : Performance diagnostique du Fibroscale pour l’évaluation la fibrose du foie au cours des hépatopathies chroniques. 214 CO.118 : Aspects BILI IRM dans les pathologies des voies biliaires ; à propos de 76 cas colligés à Abidjan 214 CO.119 : GIST rétropéritonéal, une localisation exceptionnelle d’une tumeur rare. A propos d’un cas à Ouagadougou et revue de la littérature. 215 CO.120 : Bilan scanographique de resécabilité des cancers du pancréas : à propos de 30 cas. 215 CO.121 : Apport de l’échographie dans le suivi des personnes vivants avec le virus de l’hépatite B. 216 CO.122 : Anatomie modale et variantes anatomiques du tronc cœliaque à l’angioscanner abdominale 216 CO.123 : Cavernome portal et thrombophilie constitutionnelle : à propos d’un cas de déficit congénital en protéine S et C et une double mutation génétique au Burkina Faso et revue de la littérature. 217 CO.124 : Drainage biliaire externe (DBE) guidé par imagerie : technique et résultats. 217 CO.125 : Aspects tomodensitométriques des cancers coliques à Bouaké à propos de 32 cas. 218 CO.126 : La radiologie interventionnelle en pratique libérale à Dakar. 218 CO.127 : Embolisation d’hémostase par du fil de suture. 219 COMMMUNICATIONS AFFICHEES. 220 POSTERS. 220 01 : Péritonite secondaire à la perforation colique par une arête de poisson. 220 03 : L’utilisation de l’Imagerie par Résonance Magnétique pour vérifier l’âge des footballeurs adolescents lors du tournoi U17 UFOA B 2021. 221 04 : Hernie hiatale du nourrisson : à propos d’un cas. 221 05 : Encéphalite limbique auto-immune : à propos d’un cas. 222 06 : Anévrysme de l’aorte découverte par dysphagie chronique : à propos de un cas. 222 07 : Hémarthrose surinfectée révélatrice d’une hémophilie A modérée. 223 CA.8 : Une pandiaphysite au cours d’une ostéarthromyosite chronique. 223 9 : Apport de l’imagerie en coupes dans le diagnostic du diverticule urétral de la femme : à propos d’un cas révélé par une rétention aiguë d’urine. 224 10 : Balle fongique de la cavité nasale mimant une rhinolithiase. 224 11 : Agénésie de la rotule : à propos de deux cas. 225 12 : L’imagerie médicale dans le bilan diagnostique du syndrome de Klippel Trenaunay : à propos d’un cas 225 13 : Apport de l’imagerie devant une monoarthrite du genou droit révélant une maladie de gaucher type I 226 14 : Le lupus érythémateux systémique de l’enfant : à propos de 3 cas. 226 15 : Neurotoxicité du gadolinium : Que dit la littérature ?. 227 16 : Forme rare du dysraphisme spinal fermé : la diastématomyélie. 228 17 : Tronc aortico-pulmonaire commun chez un enfant de 4 ans. 229 18 : Aspects épidémiologiques, cliniques, thérapeutiques et évolutifs du néphroblastome dans le service d’oncologie pédiatrique du Centre Hospitalier Universitaire Charles de Gaulle : De novembre 2009 au 31 décembre 2020 229 19 : Une récidive d‘AVC sous forme d’un Locked-In Syndrome. 230 20 : Coudure congénitale de verge traitée par la procédure de Nesbitt au CHU Souro Sanou de Bobo-Dioulasso. A propos d’une observation. 230 21 : Spondylodiscite infectieuse : tuberculose et/ou brucellose chez un jeune patient immunocompétent 231 22 : Etude de l’évolution de la consommation des antibiotiques au Centre Hospitalier Universitaire Yalgado Ouédraogo (CHU-YO) de 2015 à 2019. 232 23 : Evaluation des performances de l’Indiko Plus® à l’unité de biochimie du CHU Pédiatrique Charles De Gaulle de Ouagadougou. 232 24 : Apport de l’imagerie médicale dans le diagnostic des lésions osseuses de la drépanocytose chez l’enfant 233 25 : Myxome intra musculaire du grand adducteur de la cuisse : à propos d’un cas. 234 26 : Pseudo-anévrisme post-traumatique d’une branche de la carotide externe gauche. 234 27 : Tumeur bénigne (angiomyolipome) du psoas : à propos d'un cas découvert au Centre Hospitalier et Universitaire de Bouaké et une revue de la littérature. 235 Correspondant : 235 Issa KONATE. 235 Email : ikttata6@gmail.com.. 235 28 : Grossesse abdominale de datation tardive à propos d’un cas. 235 29 : Fracture hépatique et pancréas associée post-traumatique : à propos d’un cas au CHU Tengandogo (Burkina Faso). 235 30 : La maladie de FARH : à propos d’un cas (POSTER). 236 31 :: Aspect échographique du fibromatosis colli : à propos d’une observation à l’hôpital Sominé Dolo de Mopti au Mali 236 32 : Le tératome retro péritonéal d’un nourrisson au CHU Point G.. 237 33 : Incidentalome surrénalien révélant une tuberculose surrénalienne au scanner. 237 34 : Association hydranencéphalie et syndrome de DANDY WALKER une malformation cérébrale rare et mortelle 238 35 : Topographie et morphométrie de l’appendice vermiforme normal chez l’adulte à Ouagadougou : étude scanographique. 238 36 : Un épisode de mal convulsif révélant la maladie de FAHR. 239 37: Fistule carotidocaverneuse directe : Diagnostic et prise en charge endovasculaire à propos d’un cas et revue de la littérature. 239 38 : Chondrosarcome laryngé : à propos de 2 cas. 240 39: Abcès retro pharyngé de l’adulte par ingestion de corps étrangers : à propos de 2 cas au centre hospitalier universitaire régional de Ouahigouya. 240 40 : Tumeur papillaire du sac endolymphatique au niveau du rocher : à propos d’un cas. 241 41 :: Le fibromatosis colli : à propos de deux cas cliniques. 241 42 : Aspects clinique et IRM de l’ischémie médullaire à Lomé : une série de trois cas. 242 43 : Première expérience en radiothérapie sur un accélérateur linéaire Halcyon 2.0 au centre de radiothérapie Muk et Maseb à Kinshasa en pleine pandémie de Covid-19. 242 44 : Syndrome de Casse-Noisette ou Nutcraker syndrome : à propos d’un cas au CNHU-HKM de Cotonou au Bénin 243 45 : Évaluation des TDM thoraciques et de la PCR au cours de la COVID19 à Yaoundé. 243 46 : Bilan analytique des mémoires pour l’obtention du Diplôme d’études spécialisées en radiodiagnostic et imagerie médicale au Burkina Faso. 244 Mot de bienvenue du comité d’organisation JRANF 2021. 245 Comité d’organisation. 246 Résumé du programme. 247 Liste des EPU, des Conférences et des Ateliers. 253

IntroductionThree broad stages of Australia’s arts and culture sectors may be discerned with reference to the Northern Hemisphere. The first is in Australia’s early years where artists travelled to the metropoles of Europe to learn from acknowledged masters, to view the great works and to become part of a broader cultural scene. The second is where Australian art was promoted internationally, which to some extent began in the 1960s with exhibitions such as the 1961 ‘Survey of recent Australian painting’ at the Whitechapel gallery. The third relates to the strong promotion and push to display and sell Indigenous art, which has been a key area of focus since the 1970s.The Allure of the NorthFor a long time Australasian artists have mostly travelled to Britain (Britain) or Europe (Cooper; Frost; Inkson and Carr), be they writers, painters or musicians for example. Hecq (36) provides a useful overview of the various periods of expatriation from Australia, referring to the first significant phase at the end of the twentieth century when many painters left “to complete their atelier instruction in Paris and London”. Many writers also left for the north during this time, with a number of women travelling overseas on account of “intellectual pressures as well as intellectual isolation”(Hecq 36). Among these, Miles Franklin left Australia in “an open act of rebellion against the repressive environment of her family and colonial culture” (37). There also existed “a belief that ‘there’ is better than ‘here’” (de Groen vii) as well as a “search for the ideal” (viii). World War I led to stronger Anglo-Australian relations hence an increase in expatriation to Europe and Britain as well as longer-term sojourns. These increased further in the wake of World War II. Hecq describes how for many artists, there was significant discontent with Australian provincialism and narrow-mindedness, as well as a desire for wider audiences and international recognition. Further, Hecq describes how Europe became something of a “dreamland”, with numerous artists influenced by their childhood readings about this part of the world and a sense of the imaginary or the “other”. This sense of a dream is described beautifully by McAuliffe (56), who refers to the 1898 painting by A.J. Daplyn as a “melancholic diagram of the nineteenth-century Australian artist’s world, tempering the shimmering allure of those northern lights with the shadowy, somnolent isolation of the south”.Figure 1: The Australian Artist’s Dream of Europe; A.J. Daplyn, 1898 (oil on canvas; courtesy artnet.com)In ‘Some Other Dream’, de Groen presents a series of interviews with expatriate Australian artists and writers as an insight into what drove each to look north and to leave Australia, either temporarily or permanently. Here are a few examples:Janet Alderson: “I desperately wanted to see what was going on” (2)Robert Jacks: “the dream of something else. New York is a dream for lots of people” (21)Bruce Latimer: “I’d always been interested in America, New York in particular” (34)Jeffrey Smart: “Australia seemed to be very dull and isolated, and Italy seemed to be thrilling and modern” (50)Clement Meadmore: “I never had much to do with what was happening in Melbourne: I was never accepted there” (66)Stelarc: “I was interested in traditional Japanese art and the philosophy of Zen” (80)Robert Hughes: “I’d written everything that I’d wanted to write about Australian art and this really dread prospect was looming up of staying in Australia for the rest of one’s life” (128)Max Hutchison: “I quickly realised that Melbourne was a non-art consuming city” (158)John Stringer: “I was not getting the latitude that I wanted at the National Gallery [in Australia] … the prospects of doing other good shows seemed rather slim” (178)As the testimony here suggests, the allure of the north ranges from dissatisfaction with the south to the attraction of various parts of the world in the north.More recently, McAuliffe describes a shift in the impact of the overseas experience for many artists. Describing them as business travellers, he refers to the fact that artists today travel to meet international art dealers and to participate in exhibitions, art fairs and the like. Further, he argues that the risk today lies in “disorientation and distraction rather than provincial timidity” (McAuliffe 56). That is, given the ease and relatively cheap costs of international travel, McAuliffe argues that the challenge is in adapting to constantly changing circumstances, rather than what are now arguably dated concepts of cultural cringe or tyranny of distance. Further, given the combination of “cultural nationalism, social cosmopolitanism and information technology”, McAuliffe (58) argues that the need to expatriate is no longer a requirement for success.Australian Art Struggles InternationallyThe struggles for Australian art as a sector to succeed internationally, particularly in Britain, Europe and the US, are well documented (Frost; Robertson). This is largely due to Australia’s limited history of white settlement and established canon of great art works, the fact that power and position remain strong hence the dominance of Europe and North America in the creative arts field (Bourdieu), as well as Australia’s geographical isolation from the major art centres of the world, with Heartney (63) describing the “persistent sense of isolation of the Australian art world”. While Australia has had considerable success internationally in terms of its popular music (e.g. INXS, Kylie Minogue, The Seekers) and high-profile Hollywood actors (e.g. Geoffrey Rush, Hugh Jackman, Nicole Kidman), the visual arts in particular have struggled (O’Sullivan), including the Indigenous visual arts subsector (Stone). One of the constant criticisms in the visual art world is that Australian art is too focussed on place (e.g. the Australian outback) and not global art movements and trends (Robertson). While on the one hand he argues that Australian visual artists have made some inroads and successes in the international market, McAuliffe (63) tempers this with the following observation:Australian artists don’t operate at the white-hot heart of the international art market: there are no astronomical prices and hotly contested bidding wars. International museums acquire Australian art only rarely, and many an international survey exhibition goes by with no Australian representation.The Push to Sell Australian Cultural Product in the NorthWriting in the mid-nineties at the time of the release of the national cultural policy Creative Nation, the then prime minister Paul Keating identified a need for Australia as a nation to become more competitive internationally in terms of cultural exports. This is a theme that continues today. Recent decades have seen several attempts to promote Australian visual art overseas and in particular Indigenous art; this has come with mixed success. However, there have been misconceptions in the past and hence numerous challenges associated with promoting and selling Aboriginal art in international markets (Wright). One of the problems is that a lot of Europeans “have often seen bad examples of Aboriginal Art” (Anonymous 69) and it is typically the art work which travels north, less so the Indigenous artists who create them and who can talk to them and engage with audiences. At the same time, the Indigenous art sector remains a major contributor to the Australian art economy (Australia Council). While there are some examples of successful Australian art managers operating galleries overseas in such places as London and in the US (Anonymous-b), these are limited and many have had to struggle to gain recognition for their artists’ works.Throsby refers to the well-established fact that the international art market predominantly resides in the US and in Europe (including Britain). Further, Throsby (64) argues that breaking into this market “is a daunting task requiring resources, perseverance, a quality product, and a good deal of luck”. Referring specifically to Indigenous Australian art, Throsby (65) reveals how leading European fairs such as those at Basel and Cologne, displaying breath-taking ignorance if not outright stupidity, have vetoed Aboriginal works on the grounds that they are folk art. This saga continues to the present day, and it still remains to be seen whether these fairs will eventually wake up to themselves.It is also presented in an issue of Artlink that the “challenge is to convince European buyers of the value of Australian art, even though the work is comparatively inexpensive” (Anonymous 69). Is the Rite of Passage Relevant in the 21st Century?Some authors challenge the notion that the rite of passage to the northern hemisphere is a requirement for success for an Australian artist (Frost). This challenge is worthy of unpacking in the second decade of the twenty-first century, and particularly so in what is being termed the Asian century (Bice and Sullivan; Wesley). Firstly, Australia is far closer to Asia than it is to Europe and North America. Secondly, the Asian population is expected to continue to experience rapid economic and population growth, for example the rise of the middle class in China, potentially representing new markets for the consumption of creative product. Lee and Lim refer to the rapid economic modernisation and growth in East Asia (Japan to Singapore). Hence, given the struggles that are often experienced by Australian artists and dealers in attempting to break into the art markets of Europe and North America, it may be more constructive to look towards Asia as an alternative north and place for Australian creative product. Fourthly, many Asian countries are investing heavily in their creative industries and creative economy (Kim and Kim; Kong), hence representing an opportune time for Australian creative practitioners to explore new connections and partnerships.In the first half of the twentieth century, Australians felt compelled to travel north to Europe, especially, if they wanted to engage with the great art teachers, galleries and art works. Today, with the impact of technology, engaging with the art world can be achieved much more readily and quickly, through “increasingly transnational forms of cultural production, distribution and consumption” (Rowe et al. 8). This recent wave of technological development has been significant (Guerra and Kagan), in relation to online communication (e.g. skype, email), social media (e.g. Facebook, Twitter) as well as content available on the Web for both informal and formal learning purposes. Artists anywhere in the world can now connect online while also engaging with what is an increasing field of virtual museums and galleries. For example, the Tate Gallery in London has over 70,000 artworks in its online art database which includes significant commentary on each work. While online engagement does not necessarily enable an individual to have the lived experience of a gallery walk-through or to be an audience member at a live performance in an outstanding international venue, online technologies have made it much easier for developing artists to engage from anywhere in the world. This certainly makes the ‘tyranny of distance’ factor relevant to Australia somewhat more manageable.There is also a developing field of research citing the importance of emerging artists displaying enterprising and/or entrepreneurial skills (Bridgstock), in the context of a rapidly changing global arts sector. This broadly refers to the need for artists to have business skills, to be able to seek out and identify opportunities, as well as manage multiple projects and/or various streams of income in what is a very different career type and pathway (Beckman; Bridgstock and Cunningham; Hennekam and Bennett). These opportunity seeking skills and agentic qualities have also been cited as critical in relation to the fact that there is not only a major oversupply of artistic labour globally (Menger), but there is a growing stream of entrants to the global higher education tertiary arts sector that shows no signs of subsiding (Daniel). Concluding RemarksAustralia’s history features a strong relationship with and influences from the north, and in particular from Britain, Europe and North America. This remains the case today, with much of Australian society based on inherited models from Britain, be this in the art world or in such areas as the law and education. As well as a range of cultural and sentimental links with this north, Australia is sometimes considered to be a satellite of European civilisation in the Asia-Pacific region. It is therefore explicable why artists might continue this longstanding relationship with this particular north.In our interesting and complex present of the early twenty-first century, Australia is hampered by the lack of any national cultural policy as well as recent significant cuts to arts funding at the national and state levels (Caust). Nevertheless, there are opportunities to be further explored in relation to the changing patterns of production and consumption of creative content, the impact of new and next technologies, as well as the rise of Asia in the Asian Century. The broad field of the arts and artists is a rich area for ongoing research and inquiry and ultimately, Australia’s links to the north including the concept of the rite of passage deserves ongoing consideration.ReferencesAnonymous a. 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