Journal articles on the topic 'Ateliers 234'

L’atelier que nous avons proposé sur la trajectoire émotionnelle a remporté un franc succès lors de la conférence Procréa 2021 qui rassemble les accompagnateurs en entrepreneuriat. Pourtant, une recherche-action lancée dans la foulée avec des volontaires afin d’approfondir la prise en charge effective des émotions au cours du processus d’accompagnement entrepreneurial n’a pas rencontré l’engagement escompté. Nous cherchons dans cet article à comprendre ce paradoxe : pourquoi le sujet des émotions suscite-t-il à la fois tant de curiosité mais aussi tant de résistances quand il s’agit de les faire entrer dans les pratiques d’accompagnement entrepreneurial ?

New Caledonia is a species-rich region that has been the focus of biodiversity research for over 40 years. The expedition “Atelier Lifou 2000” collected benthic fauna at the island of Lifou, Loyalty Islands, New Caledonia, in November of 2000. This is a taxonomic account of the brittle stars found. 94 species were identified, 51 of them new for the region, and seven new to science, increasing the total number of species known from the New Caledonia region to 204. New species are described in the genera Squamophis, Astroceras, Astrogymnotes, Ophiochondrus, Ophiomoeris, Ophiozonella and Amphipholis. Three species and a subspecies are revised, one of them placed in a new genus. The taxonomic status of Euryale Lamarck, 1816, a junior homonym of Euryale Péron & Lesueur, 1810 (a medusa), is stabilized by formally establishing precedence over the senior name.

As cartografias mapeadas neste artigo tomam como centralidade as categorias gênero, práticas pedagógicas e formação docente, na tentativa de responder como gênero está presente na escola e de que maneira atravessa as práticas do(a)s professore(a)s/ A pesquisa, tecida colaborativamente com sete participantes, se ancora na abordagem qualitativa, utilizando como procedimento de construção e de análise o método cartográfico, tendo em vista a perspectiva pós-crítica de questionar os próprios modos de fazer pesquisa em educação. Como dispositivos de construção dos dados, utilizamos os Ateliês de Pesquisa e observação participante, buscando registrar através do diário de bordo algumas situações do cotidiano escolar para problematizar e refletir sobre as práticas e, consequentemente, formar professores/a em exercício para o trato com a temática. Como resultado foi possível perceber que muitos (a) professores (a) ainda se sentem reféns de práticas pedagógicas incoerentes com as demandas dos sujeitos da contemporaneidade, presentes na escola. Outro dado evidenciado aponta que a escola ainda é regida por uma estrutura hierárquica que insiste em olhar mais para a normatividade do que para a diversidade.

Using social media applications in pediatric education is not outdated, and its effectiveness has not been tested yet. For this reason, we shared the first results of the Pediatric Atelier experience that we realized through telegram application. We make an online survey to investigate the needs, requirements, pleasure, and suggestions of members through a web-based questionnaire. This cross-sectional survey study was delivered only to participants who were members of the workshop via their email addresses. Online questionnaires organized using Google Forms were sent to pediatric workshop members between March and June 2019. The questionnaire consisted of questions that measured the participants’ basic demographic data, the use of the workshop, and the overall impact of the workshop on their professional behavior. While the institutions and positions of the participants were recorded, no other personal data (such as address and telephone) were collected. Among the 997 members, 417 (42%) of them answered the questionnaire. Respondents included 300 (72%) pediatrician, 21 (5%) pediatric subspeciality fellows, and 75 (18%) pediatric subspecialists. Of the 417 respondents, 217 (52%) were working in Istanbul, and 200 (48%) were working in other cities of Turkey. Among the responders, 233 (56%) were working in private hospitals or doctor offices. A total of 520 cases were consulted in 241 days of study period. Most consultations (n=309, %59) were made from the Istanbul metropolitan area, and 203 (40%) consultations were from other cities of Turkey. The most frequently consulted departments were Pediatric infectious diseases: 166 (32%), Pediatric hematology and oncology: 56 (11%), and Neonatology: 43 (8%). Of the 520 consulted cases, 44 (8%) were related to life-threatening events, and 25 of them were hospitalized in the intensive care units, and 6 of them were required surgical operations. Of the 94% of responders thought this platform was useful and 82% of them stated that the case counseling part of the atelier was the most useful part. We think that the development of technology and artificial intelligence may lead to the usage of on-line platforms or systems in clinical medical practice. Clinical Trial Registration (if any). Registry name, registration number, web link to study on registry, and data sharing statement.

L’existence de deux aurei au nom de Probus frappés en 280. dans les ateliers impériaux de Serdica (Thrace) et de Cyzique (Mysie) et porteurs d’une très grande ressemblance avec les médaillons d’or à l’effigie d’Alexandre du trésor d’Aboukir Dressel M et N permet de rouvrir le dossier de la datation de ces médaillons d’or et de leur rapport avec les bronzes du koinon macédonien «à la légende d’Alexandre » émis entre 218 et 246. L’étude fournit des éléments nouveaux pour leur rapprochement avec la production monétaire de l’atelier provincial de Beroia de Macédoine d’une part, d’autre part avec la production monétaire romaine, en particulier les grands médaillons de bronze de l’époque de Sévère Alexandre, Gordien III et leurs successeurs. Le dossier épigraphique permet de saisir ce qu’était la teneur des Jeux d’Alexandre organisés à Beroia sous ces règnes et de montrer que les médaillons d’or trouvés à Aboukir ou à Tarse dans des assemblages où figurent en masse des aurei impériaux frappés à Rome, sont sans doute moins des nikèteria reçus en prix par les compétiteurs à ces concours qu’un élément des donativa distribués à une élite civile ou militaire par des empereurs alexandrophiles sur leur route pour une expédition persique : le passage de Sévère Alexandre en Macédoine en 231 pour sa campagne orientale reste, plutôt que celui de Gordien III en 242, la date la plus probable pour la frappes des médaillons d’or trouvés à Aboukir. En 280, en route vers l’Asie avec son armée sur le même trajet que ses deux prédécesseurs pour sa campagne contre les Perses sassanides, cet autre admirateur d’Alexandre que fut Probus fit réutiliser à son profit les modèles vus à Beroia. L’examen du monnayage de Probus montre l’influence que les modèles monétaires thraco-macédoniens ont exercé sur les frappes monétaires dès ses campagnes de 277 sur le Danube inférieur.

Este artigo tem por objetivo compreender como os docentes das escolas rurais lidam com as diferenças em sala de aula, a partir das narrativas de formação de professores que atuam em classes multisseriadas. A metodologia para o desenvolvimento deste estudo utilizou princípios da pesquisa qualitativa, fundamentada na abordagem (auto)biográfica, tendo as narrativas como um dispositivo de investigação e utilizando-se da experiência como produtora de sentidos e significados sobre/da formação. A pesquisa foi desenvolvida com sete professores que atuam em classes multisseriadas de escolas rurais, no município de Várzea do Poço, interior da Bahia-Brasil, a partir da utilização de Oficinas Formativas, inspiradas nos Ateliês Biográficos, e do Memorial de Formação. Pudemos perceber, neste trabalho, que a diferença é concebida pelos docentes como um elemento de fronteira entre a aprendizagem e a situação social dos alunos de classes multisseriadas. Os docentes caracterizam a diferença, sobretudo a partir do lugar da dificuldade de aprendizagem, como atrelada aos elementos que normalizam e normatizam os sujeitos na escola, tratando-a, na maioria das vezes, como algo negativo no contexto da sala de aula.

Empecemos por poner de manifiesto que la obra del profesor J. Castellanos Claramunt que reseñamos no es una obra jurídica al uso, sino un manifiesto contra la cancelación, una obra militante en contra de la llamada “cultura de la cancelación”, una “cultura” –utilizamos este término tan solo porque, significativamente, la expresión ha hecho fortuna, pero no nos resistimos al menos a las comillas– que se sitúa en el polo opuesto a la célebre expresión de la escritora británica Evelyn Beatrice Hall en su biografía sobre Voltaire “estoy en desacuerdo con lo que dices, pero defenderé a muerte tu derecho a decirlo”. Recibido: 01.02.2024Aceptado: 10.05.2024

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. Новая находка костяной накладки с изображением дракона на Маджарском городище // Поволжская археология. 2018. №2 (24). С. 125–133 doi:10.24852/pa2018.2.24.125.133Бочаров С.Г., Обухов Ю.Д., Ситдиков А.Г. Золотоордынский город Маджар в системе культурных связей Евразии. По материалам новых археологических исследований (2015-2017 гг.) // Кавказ в системе культурных связей Евразии в древности и средневековье. XXX "Крупновские чтения" по археологии Северного Кавказа. Материалы международной научной конференции. (Карачаевск, 22–29 апреля 2018 г.) / Отв. ред. У.Ю. Кочкаров. Карачаевск: КЧГУ им. У.Д. Алиева, 2018а. С. 404–406.Бочаров С.Г., Обухов Ю.Д., Ситдиков А.Г. Три года археологических исследований золотоордынского города Маджар (2015-2017). Итоги и перспективы // Археология Евразийских степей. 2018б. № 5. С. 31–38.Бочаров С.Г., Яворская Л.В. К вопросу о кожевенном производстве в Золотой Орде: Результаты археологического и археозоологического исследования на городище Маджары в 2017 году // Поволжская археология. 2019. №4(30). С. 184–199 doi: 10.24852/pa2019.4.30.184.199Бочаров С.Г., Яворская Л.В. Кожевенное производство золотоордынского города Маджар (Северный Кавказ) по результатам археологических и археозоологических исследований // Маргулановские чтения – 2020: материалы международной научно-практической конференции «Великая Степь в свете археологических и междисциплинарных исследований» (г. Алматы, 17–18 сентября 2020 г.). / Гл. ред. Б.А. Байтанаев. Алматы: Институт археологии им. А.Х. Маргулана, 2020. Т. 1. С. 242–252.Волков И.В. Поливная керамика комплекса Кабарди (1240-1260) // Поливная керамика Средиземноморья и Причерноморья X–XVIII вв. / Ред. С.Г. Бочаров, В.Л. Мыц. Киев: Издательский дом «Стилос», 2005. С. 122–159.Волков И.В. Поливная керамика Маджара // Поливная керамика Восточной Европы, Причерноморья и Средиземноморья в X – XVIII вв. Отв. ред. С.Г. Бочаров. Тезисы докладов II Международной научной конференции (Ялта, 19-23 ноября 2007 г.). / Отв. ред. С.Г. Бочаров, В.Ю. Коваль. Ялта: Изд. дом Вендеревских, 2007. С. 33–42.Волков И.В. Керамика Золотоордынского города Маджар // Материалы Первого Маджарского археологического форума. Археология Евразийских степей. Вып. 23 / Ред. Ю.Д. Обухов. Казань: Издательский дом «Казанская недвижимость, 2016. С. 139–222.Гончаров Е.Ю. Анализ монетного материала с двух золотоордынских городищ // Древности. Вып. 36. Москва, Казань: Gumanitaria, 2003. С. 239–242.Егоров В.Л. Историческая география Золотой Орды в XIII-XIV вв. М.: Наука, 1985. 246 с.Еманов А.Г. Север и Юг в истории коммерции: на материалах Кафы XIII-XV вв. Тюмень: Рутра, 1995. 225 с.Крамаровский М.Г. Три группы поливной керамики из Северного Причерноморья // Византия и византийские традиции. Сборник научных трудов, посвященный XIX Международному конгрессу византинистов. СПб.: ГЭ, 1996. С. 96–116.Кропоткин В.В. Клады византийских монет на территории СССР / САИ. Вып. Е4-4. М,: АН СССР, 1962. 64 с.Кропоткин В.В. Новые находки византийских монет. Поправки к работе В. В. Кропоткина «Клады византийских монет на территории СССР» // Византийский временник. 1966. Т XXVI. С. 166–189.Крупнов Е.И. Первые итоги изучения восточного Предкавказья // СА. 1957. № 2. С. 154–174.Масловский А.Н. О Времени возникновения Азака. // Историко-археологические исследования в Азове и на Нижнем Дону в 2005 г. Вып. 22. / Отв. ред. В.Я. Кияшко. Азов: Азовский музей заповедник, 2006. С. 257–295.Петров П.Н., Кубанкин Д.А. Раскопки на Увекском городище в 2013 г. Нумизматический аспект // НЗО. 2015. №5. С. 61−66.Тизенгаузен, В. Г. Сборник материалов, относящихся к истории Золотой Орды. Т. 1. Арабские источники. СПб.: Изд-во Имп. Акадении наук, 1884. 559 с.Яворская Л.В. Продукция скотоводства в золотоордынском Маджаре: мясные продукты и ремесленные производства // Археология Евразийских степей. 2018. №5. С. 68–73.Яворская Л.В., Бочаров С.Г. Кожевенное производство в средневековом городе: опыт атрибуции // Северные Архивы и Экспедиции. 2020. Том 4. № 3. С. 190–199. DOI:10.31806/2542-1158-2020-4-3-190-199Bocharov S., Maslovskiy A. The byzantine glazed pottery in northern Black See region (end XIII-XIV centuries). // Atti di IX Congresso Internazionale sulla ceramica Medievale nel Mediterraneo. А cura di S. Gelichi. Venezia: All’Insegna del Giglio, 2011. Р. 255–266.Bocharov S., Maslovskiy А. Pottery decorated with splashes of brown (manganese) color in Bizantinum, Northen Black Sea Region and Eastern Europe in 13th – 14th centuries // 12th Congress On Medieval and Modern Period Mediterranean Ceramics. Abstracts. Athens: National Center of Scientifics Research, 2018. P. 24.Bocharov S., Maslovskiy А., Iudin N. Changes in ornamentation on glazed vessels as a trend in style // Atti delle Secondo convegno tematico delle AIECM3 «In&Around. Pottery&Community» / А cura di M. Ferri, C. Moine, L. Sabbionesi. Faenza: All’Insegna del Giglio, 2016. P. 233 – 236.Bocharov S., Maslovskiy А., Iudin N. The Impact Ceramic Imports on Ceramic Manufacturing in the Cities of the North-Eastern Black See Region in the late of XIII – XIV centuries // XIth Congress AIECM3 on Medieval and Modern Period Mediterranean Ceramics Proceedings. Vol. 2. / Ed. F. Yenisehirlioglu. Ankara: Dumat Ofset, 2018. P. 117–125.François V. Elaborate incised ware: un témoin du rayonnement de la culture byzantine à l’Époque Paléologue // Поливная керамика Средиземноморья и Причерноморья X–XVIII вв. / Ред. С.Г. Бочаров, В.Л. Мыц. Киев: Издательский дом «Стилос», 2005. С. 195–208.François V. La vaisselle de terre à Byzance. Catalogue des collections du musée du Louvre. Paris: Louvre éditions, Somogy éditions d’art, 2017. 373 p.Waksman S.Y., Erhan N., Eskalen S. Les ateliers de céramiques de Sirkeсi (Istanbul). Résultats de la campagne 2008 // Anatolia Antiqua. 2010. XVII. Р.457-467.

This paper employs quantitative historical-sociological analysis to describe the social background, professional practices, and achievements of Russian artists who participated in exhibitions in 1871–1917, starting with the first private exhibition of the “Peredvizhniki” society whose success stimulated the appearance of numerous artistic groups and associations. The biographies of three generations of painters are studied to check the hypotheses on the transition of the artistic world to the “institutionalization of anomie” (Bourdieu) and “singularity regime” (Heinich). The paper analyses how initial family resources and personal career investments influenced the chances of artists to receive recognition during their lifetime, and museum consecration after their death. The controls for the following parameters were included in the analysis are the class and status of an artist’s father, minority status, the membership of an artist’s father in the artistic milieu, gender, and lifetime recognition. The study shows that contrary to Heinich’s theses on the transition to the “singularity regime”, artists whose paintings are represented in the main Russian fine-art museums do not fit the image of non-recognized asocial mavericks. Lifetime official recognition, studying in leading Russian schools for the fine arts, lessons in foreign ateliers, and involvement in the organizational building significantly increases the chances of an artist to be present at the expositions of the most renowned Russian art museums. The study helps to understand the distinctive features of the youngest generation which produced the most important artistic innovation associated with Russia, the so-called Russian Avant-garde.

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

La production porcine française en AB est très diversifiée de par ses élevages, notamment en termes de taille avec de nombreux ateliers à faibles effectifs ; de par la commercialisation des produits, avec une filière longue bien implantée dans le grand ouest de la France, et des filières courtes plus territorialisées ; et de par la multiplicité de ses acteurs spécifiques à l’AB ou mixtes. Bien que le nombre de truies certifiées en AB ait doublé entre 2016 et 2021, il ne représente que 1,9 % du cheptel français. Face à ce constat, une étude a été réalisée par le consortium ORIGAMI (INRAE-Métabio) pour comprendre les freins et leviers au développement de cette production. Des entretiens de 21 porteurs de projets ont permis d’identifier 164 freins et 231 leviers. Des analyses en composantes multiples suivies d’une classification ont mis en évidence sept types de freins et six types de leviers en fonction de leur niveau d’organisation (de l’animal au territoire) et du maillon de la filière qu’ils concernent (de l’agrofourniture à la consommation). L’interprétation de ces typologies permet d’identifier des thèmes de recherche pour relever les principaux défis identifiés. Ces thèmes concernent l’acquisition de références techniques spécifiques pour l’AB, la meilleure articulation entre filières et territoires, la promotion des débouchés des produits, mais aussi la formation des acteurs actuels et futurs et la communication auprès du grand public. Ces sujets sont des pistes de réflexion pour la construction de projets transdisciplinaires de recherche ou recherche-action avec les acteurs des filières.

Wild chimpanzee tool use is highly diverse and, in many cases, exhibits cultural variation: tool-use behaviours and techniques differ between communities and are passed down generations through social learning. Honey dipping – the use of sticks or leaves to extract honey from hives – has been identified across the whole species’ range. Nonetheless, there seems to be marked variation in honey dipping at a species level, with most descriptions originating from central Africa, and involving the use of complex tool sets, or even multifunctional tools. In West Africa, while honey consumption is common, in most cases tools are not used. We document, for the first time, the use of honey dipping tools in unhabituated chimpanzee (Pan troglodytes verus) communities at Cantanhez National Park (CNP), Guinea-Bissau. Over a 23-month period we employed a combination of direct (camera traps, n = 1944 camera trap days) and indirect (1000km of reconnaissance walks, collection of abandoned tools) methods to study four neighbouring communities in central CNP. Fluid dipping tools were found in three of the four communities; here we analyse 204 individual stick tools from the 70 tool-use ateliers found. In addition to documenting individual tool dimensions and raw materials, we adopt methods from primate archaeology to describe the typology of different tools based on use-wear patterns. We describe differences in tools used for different honey types, between communities, and tools and tool kits that show an unexpected degree of complexity. Our data also suggest the use of tool sets, i.e., tools with different functions used sequentially toward the same goal; as well as possible multifunction tools (pounding and dipping), never before described for western chimpanzees. Our study fills gaps in our knowledge of the wild chimpanzee cultural repertoire and highlights how chimpanzee tool manufacture and use can vary even at local scales.

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. New York: Routledge, 2017.Cardiff, Janet. The Missing Case Study B. Art Angel, 1999.Home-Cook, George. Theatre and Aural Attention. London: Palgrave Macmillan, 2015.Greenlaw, Lavinia. Audio Obscura. 2011.Bouckaert, Charlotte, and Steve Salembier. Bildraum. Brussels. 8 Oct. 2014. 18 Jan. 2017 <https://www.youtube.com/watch?v=eueeAaIuMo0>.Daemen, Merel. “Steve Salembier & Charlotte Bouckaert.” 1 Jul. 2015. 18 Jan. 2017 <http://thissurroundingusall.com/post/122886489993/steve-salembier-charlotte-bouckaert-an-architect>. Haydon, Andrew. “Bildraum – Summerhall, Edinburgh.” Postcards from the Gods 20 Aug. 2016. 18 Jan. 2017 <http://postcardsgods.blogspot.co.uk/2016/08/bildraum-summerhall-edinburgh.html>. Heidegger, Martin. “Building, Dwelling, Thinking.” Basic Writings. Ed. David Farrell Krell. Oxford: Routledge, 1978. 239-57.Hutchins, Roy. 27 Aug. 2016. 18 Jan. 2017 <http://fringereview.co.uk/review/edinburgh-fringe/2016/bildraum/>.Invisible Flock. 105+dB. Zebedee’s Yard, Made in Hull. Hull. 7 Jan. 2017. Labelle, Brandon. “Acoustic Spatiality.” SIC – Journal of Literature, Culture and Literary Translation (2012). 18 Jan. 2017 <http://hrcak.srce.hr/file/127338>.———. “Other Acoustics” OASE: Immersed - Sound & Architecture 78 (2009): 14-24.———. “Sharing Architecture: Space, Time and the Aesthetics of Pressure.” Journal of Visual Culture 10.2 (2011): 177-89.Miller, Graeme. Linked. 2003.Myers, Misha. “Situations for Living: Performing Emplacement.” Research in Drama Education 13.2 (2008): 171-80.Pallasmaa, Juhani. “Space, Place and Atmosphere. Emotion and Peripheral Perception in Architectural Experience.” Lebenswelt 4.1 (2014): 230-45.Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Vermont: Destiny Books, 1994.Schevers, Bas. Bildraum (trailer) by Charlotte Bouckaert and Steve Salembier. Dec. 2014. 18 Jan. 2017 <https://vimeo.com/126676951>.Taylor, N. “Made in Hull Artists: Invisible Flock.” 6 Jan. 2017. 9 Jan. 2017 <https://www.hull2017.co.uk/discover/article/made-hull-artists-invisible-flock/>. Thibaud, Jean-Paul. “The Three Dynamics of Urban Ambiances.” Sites of Sound: of Architecture and the Ear Vol. II. Eds. B. Labelle and C. Martinho. Berlin: Errant Bodies P, 2011. 45-53.———. “Urban Ambiances as Common Ground?” 4.1 (2014): 282-95.Voegelin, Salomé. Listening to Sound and Silence: Toward a Philosophy of Sound Art. New York: Continuum, 2010.———. Sonic Possible Worlds. London: Bloomsbury, 2014.Zumthor, Peter. Thinking Architecture. Basel: Birkhäuser, 1998.———. Atmosphere: Architectural Environments – Surrounding Objects. Basel: Birkhäuser, 2006.

Agudo González, J. (dir.), Relaciones jurídicas transnacionales y reconocimiento mutuo, Cizur Menor, Thomson Reuters Aranzadi, 2019, 310 pp., por J. I. Paredes Pérez Barreñada, I. (coord.), Abu-Tarbush, J., Álvarez-Ossorio, I. y Sanahuja, J. A., Entre España y Palestina. Revisión crítica de unas relaciones, Biblioteca del Islam Contemporáneo, Barcelona, Edicions Bellaterra, 2018, núm. 52, 327 pp., por Miguel Hernando de Larramendi Bedjaoui, M., La Guerra de Argelia, una revolución a la altura del ser humano, Valencia, Tirant Humanidades, 2019, 402 pp., por J. A. González Vega Carrascosa González, J., El Reglamento sucesorio europeo 650/2012 de 4 julio 2012: análisis crítico, 2.ª ed., Murcia, Rapid Centro, 2019, 734 pp., por E. Castellanos Ruiz Cebrián Salvat, A. y Lorente Martínez, I. (dirs.), Protección de menores y Derecho internacional privado, Granada, Comares, 2019, 341 pp., por S. Adroher Biosca Cebrián Salvat, A. y Lorente Martínez, I. (dirs.), Innovación docente y Derecho Internacional Privado, Granada, Comares, 2019, 168 pp., por D. Carrizo Aguado Fernández De Casadevante, C. (coord.), Los efectos jurídicos en España de las decisiones de los órganos internacionales de control en materia de derechos humanos de naturaleza no jurisdiccional, Madrid, Dykinson, 2020, 297 pp., por R. A. Alija Fernández Fernández Masiá, E., La transparencia al rescate del arbitraje inversor-Estado, Valencia, Tirant lo Blanch, 2019, 168 pp., por M. V. Cuartero Rubio Fotinopoulou Basurko, O., Habitualidad vs. temporalidad en los contratos de trabajo ligados al transporte internacional, Atelier, 2019, 216 pp., por N. Fernández Avello Gutiérrez Castillo, V. (coord.), Amnistías y justicia transicional. Límites a la luz del Derecho internacional, Sevilla, Aula Magna. Proyecto Clave-McGraw Hill, 2019, 503 pp., por C. Gil Gandía Lorente Martínez, I., Sustracción internacional de menores. Estudio jurisprudencial, práctico y crítico, Madrid, Dykinson, 2019, 283 pp., por C. M. Caamiña Domínguez Márquez Carrasco, C., La Unión Europea y los actores no estatales, Pamplona, Thomson Reuters-Aranzadi, 2019, 234 pp., por A. Manero Salvador Pascual-Vives, F., La legitimación activa del individuo en el arbitraje de inversión, Navarra, Thomson Reuters-Aranzadi, 2019, 312 pp., por Ch. G. Sommer Ruiz Risueño, F. y Fernández Rozas, J. C. (coords.), El arbitraje y la buena administración de la justicia. Libro conmemorativo del 30 Aniversario de la Corte Civil y Mercantil de Arbitraje (CIMA), Valencia, Tirant lo Blanch, 2019, 737 pp., por P. A. de Miguel Asensio Sánchez Legido, A., Controles migratorios y derechos humanos, Valencia, Tirant lo Blanch, 2020, 232 pp., por N. Arenas Hidalgo Soler García, C., Los límites a la expulsión de extranjeros ante el Tribunal Europeo de Derechos Humanos y el Tribunal de Justicia de la Unión Europea, Pamplona, Thomson Reuters-Aranzadi, 2019, 539 pp., por A. Sánchez Legido Torres Cazorla, M.ª I. (coord.), Bioderecho internacional y universalización: el papel de las Organizaciones y los Tribunales internacionales, Valencia, Tirant lo Blanch, 2020, 154 pp., por M. Campins Eritja

Magic and art are products of human connection with the universe, offering answers to questions of meaning and working in interstices between fiction and reality. Magic can and does permeate all forms of media and is depicted as both entertaining and dangerous, as shaping world views, and as practised by a vast array of individuals and groups across cultures. Creative practices in cinema, radio, and installation art suggest that deceptive illusions created through magic techniques can be an effective means of creating compelling and engaging media experiences. It is not surprising, then, that in contemporary art forms involving mixed media and mixed (or augmented) reality the study of magic can offer valuable insights into how technologies mediate audience experiences and how artists can manipulate audience perceptions. Despite art often being described as ‘magical’ (Jones; Charlesworth), there is limited scholarly research applying the philosophical and socio-cultural construct of magic to contemporary art, leaving much to explore with regard to the intersections between magic and art. Scholars and artists have instead preferred to draw from more established bodies of theory in theatre and performance studies (Laurel), cinema (Marsh), and narrative (Murray). This article hones in on that intersection by applying the understudied principles and techniques of magicians to the interpretation and analysis of artworks by Canadian artists Janet Cardiff and George Bures Miller. Making ‘magic’ here is not about the supernatural but refers to the refined practice of ‘doing tricks’, developed over thousands of years across many cultures. The aim of this article therefore is to introduce the reader to two interactive artworks through the lens of magic. Through these examples, we demonstrate the direct correlations between the principles of illusion in magic and media-based illusions in art, inviting the recognition of common ground between the equally niche spheres of magicians and contemporary artists. Cardiff and Miller are a well-known contemporary artist duo whose work exemplifies trends in audio-based performance work (Collins) and site specificity (Ross). However, their work is not generally analysed through the lens of magic. Here, we focus on it as ‘mixed reality’ art, specifically ‘augmented reality’ (in contrast to augmented virtuality), a concept that was defined by Milgram and Kishino as any case in which an otherwise real environment is ‘augmented’ by means of virtual (computer graphic) objects. Since the introduction of these terms—‘mixed reality’ and ‘augmented reality’—technologies have made many leaps across innumerable modes of media. Yet their distinction remains useful to categorise artworks and describe any mixed reality approaches that work towards “the existence of a combined pair of a real and virtual space”. In augmented reality, while “the visual as the dominant mode of perception and integration of real and virtual space” (Strauss, Fleischmann et al.), sound can be used for sensory immersion, and to play tricks on the minds of audiences. These distinctions are often critical in discussions of art, especially when “illusion plays a crucial role as it makes permeable the perceptual limit between the represented objects and the material spaces we inhabit” (Avram). Mixed reality artworks often make unique combinations of audio-visual elements, and sometimes activate other senses such as tactile and olfactory. In these works, artists use illusion to connect the embodied experience of the audience members to the electronically mediated experience of their design, which brings us back to magic. Introduction to Conjuring and Deception It is worthwhile to briefly visit the key principles of magic that most clearly tie together conjuring and mixed reality artworks: framing context, consistency, continuity, conviction, justification, surprise, and disguise. These principles are routinely used in combination by magicians to deceive audiences and are commonly referred to under the umbrella term of ‘misdirection’, defined as “that which directs the audience towards the effect and away from the method” (Lamont and Wiseman 3). Conjuring consists of “creating illusions of the impossible” (Nelms), which are comprised of a method (how the trick is achieved) and an effect (what the audience perceives). The principles that form the foundation of conjuring are centred on the creation of illusions in a theatrical context, either on stage or via close-up magic. Think of the famous genius pair of stage magicians Penn & Teller and their blockbuster magic competition television series Fool Us. Now research has revealed how these techniques can also be examined in a broader context than entertainment and across many scholarly disciplines. This research has occurred within the fields of cognitive science (Macknik et al.; Macknik & Martinez-Conde; Macknik, Martinez-Conde, et al.), psychology (Polidoro; Tatler and Kuhn) and interaction design (de Jongh Hepworth; Marchak; Tognazzini). These investigations demonstrate the significance and value of techniques drawn from conjuring across various fields. Indeed, as Macknik states, “there are specific cases in which the magician’s intuitive knowledge is superior to that of the neuroscientist” (Macknik, Mac King, et al.). A successful magic trick requires the audience to experience the effect while unaware of the method (Lamont and Wiseman). Examining the creation of illusions in terms of method and effect is not only applicable to conjuring but also resonates with other forms of media that rely on suspension of disbelief. For example, in the context of cinema, the audience should be engaged with the content on the screen rather than the presentation apparatus. In virtual environments, the aim of the developer is also generally to ensure that the user experiences the effect (immersion in the virtual world) while suppressing awareness of the medium (method). In conjuring, many approaches to deception rely on indirect reinforcement in which a situation is implied rather than stated. When magician and theorist Dariel Fitzkee describes conjuring, he suggests that implication is effective because it “seems to the spectator to be a voluntary decision on his part, uninfluenced by the magician. It is also stronger because such conclusions, reached in this manner, do not seem to be of particular importance to the performer” (97). Both these elements significantly increase conviction, reduce suspicion and are very relevant to the technique of ‘suspending disbelief’ often applied to cinema. Through suggestion, the filmmakers ensured that viewers who themselves had previously constructed a false frame would readily interpret the film document as authentic, so long as the experience did not drastically deviate from expectations. This form of deception is evident in two works by Cardiff and Miller that rely primarily on sound in careful combination with visual and spatial elements to create ambiguous elements that can make the audience question what is real and virtual. The Paradise Institute (Cardiff and Miller) and Walks (Cardiff 1991–2006) utilise the process of binaural recording whereby two microphones are placed inside the ears of a dummy head to convey realistic spatial sound simulations via headphone playback. Next, we look at these artworks as a mode of conjuring taking up methods and desired effects of the art of magic. The Paradise Institute The Paradise Institute was originally produced for the 2001 Canadian Pavilion at the Venice Biennale. The work draws on the language and experience of cinema, creating a film-like experience using the illusory principles of magic. To experience the work, viewers approach a simple plywood pavilion, mount a set of stairs, and enter. We first experienced The Paradise Institute at PS1 Gallery, New York in 2001. The first illusion in a series is that this tiny dimly lit interior, complete with red carpet and two rows of velvet-covered seats, is an actual theatre. Once seated, we peer over the balcony onto a miniature replica of a grand old movie theatre created with techniques of hyper-perspective (accentuated depth and extreme angles as in a theatre set). Then we put on the headphones provided, and the projection begins. Beyond the perceptual illusion of the theatre space itself, the primary illusionary device is sound design that combines audio from the fragmented narrative depicted on screen with simulated sounds from the theatre audience. This technique is analogous to offscreen sound in cinema (Davies). Several stories run simultaneously. There is the ‘visual film’ and its accompanying soundtrack; layered over this is the ‘aural action’ of a supposed audience. The film is a mix of genres: part noir, part thriller, part sci-fi, and part experimental. What is more particular about the installation is the personal binaural surround sound that every individual in the audience experiences through the headphones. The sense of isolation each person might feel is disrupted by intrusions seemingly coming from inside the theatre. A mobile phone belonging to a member of the audience rings. A close ‘female friend’ whispers intimately in your ear: “Did you check the stove before we left?” Fiction and reality become intermingled as absorption in the film is suspended, and other realities flow in. Not knowing what to believe, you hear a collage of sounds from the soundtrack of the film you are watching, as well as from people sitting beside you. Was that really a cell phone? At one point the characters you have watched on the screen are talking behind you. (Christov-Bakargiev and Cardiff 151) The multi-layered acoustic space combines chattering and rustling from the virtual audience members seated around you, characters from the film that are sporadically transported to the objective position of the audience, all co-existing with the soundtrack of the film itself. This complex layering of sound, combined with the live ambience, creates a mixed reality environment in which the various virtual elements constantly intrude upon the audience’s perception of reality. The artists conjure an audience and theatre which are not in fact there, but the illusion is so seamless, that your perception combines reality and mediated experience. One of the principles of effective illusions within magic is the capacity to reduce suspicion during the presentation. The work effectively achieves this through a variety of methods. The most compelling aspects of the deception are the intimate conversations and incidental sounds created by the virtual audience members, particularly those seated behind you (as the source cannot be immediately verified). You cannot see, feel, smell, or touch other audience members, but you can hear them. The content is perceived as familiar (therefore suspicion regarding its veracity is reduced), and even within the hyper-real context of the microcinema, irresistibly compelling. The mechanics of the work effectively support the illusion. The installation provides a controlled acoustic space, and volume levels can be precisely adjusted. The layered sound design further assists in masking deficiencies in the technical process in much the same manner as the use of atmospheres and music in a film soundtrack. These characteristics assist in establishing a palpable simulation of acoustic reality. In The Paradise Institute, rather than place the audience in a passive position in relation to their work, Cardiff and Miller use spatial sound as a means of active engagement: “I want people to be inside the filmic experience… I want the pieces to be disconcerting in several ways so that the audience can’t just forget about their bodies for the duration of their involvement, like we do in film” (Beil and Mari 78). Walks Janet Cardiff and George Bures Miller designed 24 audio and video walks between 1996 and 2019. Like magicians executing conjuring tricks, the artists use the affordances of electronic media to reveal an alternate reality. The walks, like conjuring tricks, manipulate your perceptions of reality through illusion. The walks are between five minutes and one hour long. As the artists write on their Website, the audio playback is layered with various background sounds all recorded in binaural audio which gives the feeling that those recorded sounds are present in the actual environment. In a video walk, viewers are provided with a video screen which they use to follow a film recorded in the past along the same route they are traversing in the present. Also using binaural microphones and edited to create a sense of continuous motion, the fictional world of the film blends seamlessly with the reality of the architecture and body in motion. The perceptive confusion is deepened by the dream-like narrative elements that occur in the pre-recorded film. Audience members are given a listening device and headphones at the beginning of the walk, similar to the experience of using an audio guide in a museum. At a predefined location, the audience member presses play and is guided by Cardiff’s voice narrating events that occur along a route through the physical environment. Instructions are integrated within a narrative soundscape that shapes the audiences’ perceptions of their immediate environment. The importance of this hybrid reality is highlighted by Cardiff’s own description of the work: “the sound of my footsteps, traffic, birds, and miscellaneous sound effects that have been pre-recorded on the same site as they are being heard … . The virtual recorded soundscape has to mimic the real physical one in order to create a new world as a seamless combination of the two” (Cardiff and Miller). All the walks are recorded as a spatially encoded binaural soundscape, created using microphones fitted to both ears of a mannequin. The intent is that the recording perfectly replicates the sensation of listening with two human ears. Listening back through headphones, the recording feels as ‘live’ as possible. During playback, the audience experiences the illusion of being in the same room as Cardiff’s voice and other sounds in the recording. They perceive a realistic multi-layered sonic environment comprised of the actual acoustic space they inhabit (via aural transparency of the headphones), artefacts from the same environment at a prior time, and narration provided by Cardiff’s voice, all interwoven with creative sound design. Unlike The Paradise Institute, audience members can adjust the playback level, and hence, the mix between the real and virtual elements. In other words, they may be able to hear the sound of their own footsteps or breathing in combination with the designed soundscape. Due to the intimate nature of the binaural recordings (and the timbre of Cardiff’s voice), the audience has the impression that Cardiff is present, an invisible co-traveller on the journey. The walks are successful magic tricks not only because of the perceptual realism of the sonic environments they represent but also because they are narrative-driven, propelling the audience through unknown spaces and stories. The audience, on the one hand, exists in a fictional world, while on the other hand they are placed in a paradoxical position of being at times uncertain if the sound they heard was present in physical reality or was a simulation. Discussion: Reframing Fiction as Fact in an Act of Magic These works indicate how the mechanics of the illusion (in this instance, spatial sound and visual trickery) combined with plausible virtual elements can effectively reframe an experience from a fictional simulation to fact. Even if the experience is clearly framed as fiction, the appropriate use of mechanics can present stimuli that are so compellingly real that they disrupt, even if momentarily, the way the audience interprets a mediated experience, whether it is constructed as a set (in the case of The Paradise Institute) or a streetscape (in the Walks). The conjuring trick at work here, as with The Paradise Institute, is multisensory reinforcement, “the way in which a spectator’s belief about specific matters central to the effect are reinforced” (Lamont and Wiseman 69). The audience’s suspicion may be reduced if each modality works in unison to advance the illusion. For instance, the visual representation of a virtual character is reinforced by corresponding sound, and their actions are further indicated via mechanical devices in physical space. Scholars argue that the more sensory inputs in the mediated experience, the higher the degree of perceptual realism, so long as “the information from various sources is globally consistent” (Christou and Parker 53). This is because “senses do not just provide information but also serve to confirm the ‘perceptions’ of other senses” (England 168). Multisensory integration occurs innately within the individual, and, as Macknik suggests, it “is an ongoing and dynamic property of your brain that occurs outside conscious awareness” (Macknik, Martinez-Conde, et al. 104). The multimodal nature of mixed reality experiences like Cardiff and Miller’s walks provide an example of magic applied in art. Audience members’ eyes and ears are activated, convincing their brains that fiction is reality. To be clear, the artworks discussed here are technically elegant but not overly complex or dependent on technology. This is consistent with magic acts whereby sometimes a deck of cards and a small table are the only props. In conjuring, for the most part, magicians rely on “little technology more complex than a rubber band, a square of black fabric or length of thread” (Steinmeyer 7). Identifying how the adaptability of magic can also be applied to media arts is integral to understanding its power. Effects of illusion can be achieved with relatively simple methods, such as binaural recording or hyper-perspective (not to undermine the skill in such acts of magic). As with a magician’s sleight-of-hand techniques (think of a playing card being perfectly hidden up a sleeve), an accomplished media artist also needs to use techniques of illusion flawlessly. In other words, rather than being device-centric, the principles of misdirection can be applied to suit a specific purpose but must be done skilfully. This is the very reason that Cardiff and Miller’s conjuring strategies are highly adaptive and highly successful. Conclusion: When Art Is Magic, We Are All Deceived What do these examples of magic in mixed reality artworks indicate? The works discussed draw from vast lineages of creative practice, including radio, cinema, installation, and locative media. They demonstrate that applying principles of magic to the design of artworks can create convincing mediated deceptions. They also demonstrate direct correlations between the principles of illusion in magic and media-based illusions in art. Even when an event is framed as fiction, the mechanics of the illusion could make the audience believe in an alternate reality, the very foundation of magic. Just as in conjuring, Cardiff and Miller’s tricks transform an experience into an illusion via elements of showmanship such as drama and atmosphere. In art, however, unlike a conventional magic trick, there is no climactic flurry in which the alternate reality is revealed, such as pulling a rabbit out of a seemingly empty hat. Instead, if the works succeed, the illusion is sustained and virtual characters and spaces are no longer perceived as a simulation, thus bridging reality and virtuality. Janet Cardiff is walking with you, or you are sitting in a cinema. References Avram, Horea. “The Convergence Effect: Real and Virtual Encounters in Augmented Reality Art.” M/C Journal 16.6 (2013). <https://doi.org/10.5204/mcj.735>. Beil, Ralf, and Bartomeu Marí. The Killing Machine and Other Stories 1995-2007: Janet Cardiff & George Bures Miller. Hatje Cantz, Darmstadt, 2007. Cardiff, Janet, and George Bures Miller. 2023. <https://cardiffmiller.com/>. ———. “The Affective Experience of Space.” The Oxford Handbook of Sound and Image in Western Art. 2016. 214. Cardiff, Janet, George Bures Miller, and Carolyn Christov-Bakargiev. Janet Cardiff: A Survey of Works Including Collaborations with George Bures Miller. New York: PS1, 2001. Charlesworth, J.J. “The Return of Magic in Art.” Art Review 30 May 2022. <https://artreview.com/the-return-of-magic-in-art>. Collins, Rebecca Louise. “Sound, Space and Bodies: Building Relations in the Work of Invisible Flock and Atelier Bildraum.” M/C Journal 20.2 (2017). <https://doi.org/10.5204/mcj.1222>. Davies, Alexander. Magic, Mixed Realities & Misdirection. PhD Dissertation. Sydney: UNSW, 2013. Davies, Alex, and Jeffrey Koh. “Häusliches Glück: A Case Study on Deception in a Mixed Reality Environment.” Handbook of Digital Games and Entertainment Technologies. Eds. Ryohei Nakatsu, Matthias Rauterberg, and Paolo Ciancarini. Singapore: Springer Singapore, 2017. <https://doi.org/10.1007/978-981-4560-52-8_18-1>. De Jongh Hepworth, Sam. “Magical Experiences in Interaction Design.” Proceedings of the 2007 Conference on Designing Pleasurable Products and Interfaces. 2007. Fitzkee, Dariel. Magic by Misdirection. London: Ravenio, 1975. Hyman, Ray. “The Psychology of Deception.” Annual Review of Psychology 40.1 (1989): 133-154. Ishii, Hiroshi, and Brygg Ullmer. “Tangible Bits: Towards Seamless Interfaces between People, Bits and Atoms.” Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems. 1997. Jacobson, Marjory. “Janet Cardiff and George Bures Miller.” Sensorium: Embodied Experience, Technology, and Contemporary Art (2006): 56-61. Jones, Jonathon. “The Top 10 Magical Artworks” The Guardian 5 June 2014. <https://www.theguardian.com/artanddesign/2014/jun/05/top-10-magical-artworks>. Lamont, Peter, and Richard Wiseman. Magic in Theory: An Introduction to the Theoretical and Psychological Elements of Conjuring. U of Hertfordshire P, 2005. Laurel, Brenda. Computers as Theatre. Addison-Wesley, 2013. Macknik, Stephen L., et al. “Attention and Awareness in Stage Magic: Turning Tricks into Research.” Nature Reviews Neuroscience 9.11 (2008): 871-879. Macknik, Stephen L., and Susana Martinez-Conde. “A Perspective on 3-D Visual Illusions.” Scientific American Mind 19.5 (2008): 20-23. ———. “Real Magic: Future Studies of Magic Should Be Grounded in Neuroscience.” Nature Reviews Neuroscience 10.3 (2009): 241-241. Macknik, Stephen, Susana Martinez-Conde, and Sandra Blakeslee. Sleights of Mind: What the Neuroscience of Magic Reveals about Our Everyday Deceptions. New York: Henry Holt, 2010. Marchak, Frank M. “The Magic of Visual Interaction Design.” ACM SIGCHI Bulletin 32.2 (2000): 13-14. Marsh, Tim. “Presence as Experience: Film Informing Ways of Staying There.” Presence: Teleoperators & Virtual Environments 12.5 (2003): 11. ———. “Presence as Experience: Framework to Assess Virtual Corpsing.” Presence 2001: 4th International Workshop on Presence. Philadelphia, 2001. ———. “Staying There: An Activity-Based Approach to Narrative Design and Evaluation as an Antidote to Virtual Corpsing.” Being There: Concepts, Effects and Measurements of User Presence in Synthetic Environments. Amsterdam: Ios, 2003. 85-96. Milgram, Paul, and Fumio Kishino. “A Taxonomy of Mixed Reality Visual Displays.” IEICE TRANSACTIONS on Information and Systems 77.12 (1994): 1321-1329. Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Updated ed. Boston: MIT P, 2017. Polidoro, Massimo. “The Magic in the Brain: How Conjuring Works to Deceive Our Minds.” Tall Tales about the Mind & Brain: Separating Fact from Fiction. Ed. Sergio Della Sala. Oxford: Oxford UP, 2007. 36-44. Ross, Christine. “Movement That Matters Historically: Janet Cardiff and George Bures Miller’s 2012 Alter Bahnhof Video Walk.” Discourse 35.2 (2013): 212-227. Strauss, Wolfgang, et al. Linking between Real and Virtual Spaces. GMD Report 75, GMD – Forschungszentrum Informationstechnik GmbH, Sienna. CID, 1999. Tatler, Benjamin W., and Gustav Kuhn. “Don’t Look Now: The Magic of Misdirection.” Eye Movements. Amsterdam: Elsevier, 2007. 697-714. Tognazzini, Bruce. “Principles, Techniques, and Ethics of Stage Magic and Their Application to Human Interface Design.” Proceedings of the INTERACT'93 and CHI'93 Conference on Human Factors in Computing Systems. 1993. 355-62.