Journal articles on the topic 'Ateliers (Institute)'

AbstractThe Matenadaran, Mashtots Institute of Ancient Manuscripts, is a unique repository of Armenian and Oriental manuscripts. The Oriental Collection of the Matenadaran (known usually as Arabo-Persian Collection), including manuscripts in Persian, Arabic, Turkish, Hebrew, Indian and other languages (total ca. 2,500), is formed over a long time and is regularly augmented by purchases and gifts. This collection covers nearly all subjects of human and natural sciences and culture, including theology, jurisprudence, Qur'ānic sciences, Tafsīrs, Hadīthes, lexicography, literature, poetry, history, politics, philosophy, logic, astronomy, magic, mathematics, medicine, veterinary, and agriculture. Among them there are some Sufi codices from the period of the 15th to the 19th century, illustrated and illuminated in the various ateliers in Iran and the region. The article presents the analysis of some Oriental medieval miniatures from the Matenadaran Collection connected with the Sufi motifs in their compositions. The most important are illustrative cycles of a copy dating back to 1848-1849 of the Commentaries of the Seven Qasidas by Husayn Ibn Ahmad al-Zuzani (Ms. no. 1610); of the Afghan manuscript of the 18th century Gulshan-i Afghan by 'Ali Akbar Oraqzay (Ms. no. 538); of a manuscript (no. 599) dated from 1841-1842 and containing the poem Yusuf va Zuleykha by 'Abd ul-Rahman Djami; and of a manuscript of 1629 (no.1036), the travel diary of the Iranian diplomat Muhammad 'Ali Bek Isfahani; as well a number of single miniature compositions from the collection of Louise Aslanian (Paris) (no.1999).

During the past thirty years the production of two-dimensional images designed to be used in religion has flourished in the Coptic Orthodox Church of Egypt. After generations with little or negligible activity, enterprising ateliers can today be found all over the country.' Many of them are strategically placed in influential convents and monasteries and at important educational institutions. In this production of art, the Section of Coptic Art at the Higher Institute of Coptic Studies in Abbasiya in Cairo occupies a leading position. Under the direction of Professor Isaac Fanous Youssef the section is attempting to develop a Coptic iconography and style — which the Coptic Orthodox Church does not have. Images of Christ, Mary, and the saints are central in Coptic cultic life, but there is a traditional openness to all kinds of styles and the dominant ones are European and Byzantinesque, well-known in both Western and Eastern Christianity. Also other artists are engaged in developing an especially Coptic iconography and style, but Isaac Fanous and his pupils have received the greater attention and also have the support of official church authorities. The primary aim given for images in Coptic religion is that of being tools for communicating with and partaking of the Holy World.' The focus of this paper is on the usages and functions which the images have in Coptic life, in particular how they serve the construction of ethnic consciousness and cohesion of the Copts. Coptic identity is an important issue for the Copts. The images in question are included in a conscious effort to formulate and mediate who the Copts are. Through choice of themes, composition of motifs, and style, the images impart Coptic self-conception.

Yoshiharu Tsukamoto, established Atelier Bow-Wow together with Momoyo Kaijima in 1992 in Tokyo. This architecture Studio has been worldwide recognized by its work focused on domestic practices, cultural issues and idiosyncratic forms, also by its strong academic performance with a rigorous research practice, which has allowed them to explore micro-architecture conditions in the city reflecting the complexity of urban life and how architecture is involved in it. Atelier Bow-Wow has released more than a dozen publications, among them Pet Architecture Guidebook (2001), Made in Tokyo (2001), Graphic Anatomy Atelier Bow-Wow (2007), Behaviorology (2010), and Commonalities (2014). Yoshiharu Tsukamoto is Professor of Tokyo Institute of Technology. He has taught at Harvard GSD, UCLA, Royal Danish Academy of Fine Arts, Barcelona Institute of Architecture, Kyoto Seika University, Cornell University, and Rice University.

Yoshiharu Tsukamoto fundó Atelier Bow-Wow junto con Momoyo Kaijima en 1992 en Tokio. Esta oficina de arquitectura ha sido reconocida en todo el mundo por su trabajo enfocado en prácticas domésticas, temas culturales y formas idiosincráticas, así como por su gran desempeño académico con una práctica rigurosa de la investigación. Esto les ha permitido explorar condiciones de micro-arquitectura en la ciu­dad que reflejan la complejidad de la vida urbana y cómo la arquitectura se involucra en ella. Atelier Bow-Wow ha publicado más de una docena de volúmenes, entre los que se encuentran Pet Architecture Guidebook (2001), Made in Tokyo (2001), Graphic Anatomy Atelier Bow-Wow (2007), Behaviorology (2010) y Commonalities (2014). Yoshiharu Tsukamoto es Profesor del Tokyo Institute of Technology. Ha enseñado en Harvard GSD, UCLA, Royal Danish Academy of Fine Arts, Barcelona Institute of Architecture, Kyoto Seika University, Cornell University y Rice University.

This article introduces the Ph.D. studies of its authors, who put into question the bridge between utopia and the reality experienced at the Mindelo_International School of Art (Mindelo_Escola Internacional de Arte – M_EIA), legally known as the University Institute of Art, Technology, and Culture [Instituto Universitário de Arte, Tecnologia e Cultura], the first Higher Education space in the areas of arts and design in Cape Verde, constituting a singular, irreverent, project in the struggle for art education practices informed by decolonized policies. Created in 2004, this utopian project sent its anchors out to the practices, promoting the country’s culture and development, by means of a relationship with the Atelier Mar’s local development projects, consolidating a long experience in the art education area. Tensions arise between expectations about the experimental and local nature of the M_EIA and its regulation and (non-)conformity with hegemonic knowledge in art education or development models foreign to the Cape Verdean reality.

We briefly describe in this paper the objectives, structure and organization of the International Committee for the Conservation and Management of the Atlantic Forest Atelids. This is an advisory group established to assist the Brazilian Institute for the Environment (Instituto Brasileiro do Meio Ambiente e dos Recursos Naturais Renováveis – IBAMA) in the definition of effective conservation measures for the two species of muriqui (Brachyteles hypoxanthus and B. arachnoides) along with the northern brown howling monkey (Alouatta guariba guariba), all of which are on the Brazilian Official List of Fauna Threatened of Extinction. We also describe the participation of IBAMA’s Center for the Protection of Brazilian Primates (Centro de Proteção de Primatas Brasileiros – CPB) and the Coordination for the Conservation of Threatened Fauna and Migratory Species (Coordenação de Conservação das Espécies da Fauna Ameaçada de Extinção e Migratória – COFAU). These are the sectors of IBAMA most involved with the planning and execution of conservation actions for threatened primates in Brazil.

A Clínica da Atividade é uma metodologia de ação para mudar o trabalho. Nós mostramos como um dispositivo experimental sobre a qualidade do trabalho é instituído na usina de Flins, a partir de uma demanda da empresa Renault. O método da autoconfrontação cruzada é utilizado com operadores de uma unidade de montagem de portas. Os resultados produzidos são objeto de um diálogo com a equipe no atelier e nos comitês de acompanhamento com a direção e sindicatos. A qualidade das análises e dos diálogos instituídos assim em diferentes níveis permitiu responder a problemas de desempenho e saúde ignorados ou reprimidos, como no exemplo da montagem de uma peça (coulisse). O reconhecimento do valor da experiência feita “com as portas” leva à concepção e generalização de um dispositivo organizacional em todo o departamento de montagem. No fim de 2015 o dispositivo é desenvolvido nos cinco departamentos de fabricação da usina, onde se desenvolve outro “diálogo social” a serviço de um desempenho durável, fonte de saúde.*****************************************************************************************RésuméLa Clinique de l’Activité est une méthodologie d’action pour changer le travail. Nous montrons comment un dispositif expérimental sur la qualité du travail est institué à l’usine de Flins, d’après une demande de l’entreprise Renault. La méthode des autoconfrontations croisées est utilisée avec des opérateurs d’une unité de montage des portes. Les résultats produits font l’objet d’un dialogue avec l’encadrement dans l’atelier et au sein des comités de suivi avec direction et syndicats. La qualité des analyses et des dialogues instituées ainsi à plusieurs niveaux ont permis de répondre à des problèmes de performance et santé ignorés ou refoulés, comme dans l’exemple du montage d’une pièce (coulisse). La reconnaissance de la valeur de l’expérience faite “aux portes” amène à la conception et la généralisation d’un dispositif organisationnel dans tout le département montage. Fin 2015, il est déployé dans les cinq départements de fabrication de l’usine, où se développe un autre « dialogue social » au service d’une performance durable, source de santé.Mots-clés: Santé au travail. Performance. Qualité du travail.

The training workshop on Implementation of Blood and Blood Product Regulation was organised and co-hosted by the Paul-Ehrlich -Institut Global Health Protection Program BloodTrain and the Africa Society for Blood Transfusion (AfSBT) from the 20th to the 22nd of August 2019. This was aimed at strengthening the capacity of African countries in developing and implementing regulatory systems for blood. Over thirty participants from countries across the African continent came together in Johannesburg, South Africa and shared knowledge and experiences among themselves and also with experts from the BloodTrain, Africa Society for Blood Transfusion (AfSBT), World Health Organization (WHO) and the New Partnership for Africa`s Development (NEPAD). The workshop addressed a wide range of topics ranging from standards in transfusion, clinical practice, regulatory framework for blood, WHO guidelines related to blood regulation, haemovigilance and regulatory oversight of associated Medical Devices In-vitro Diagnostics. In addition to the context and motivation of the workshop, this report summarises the key content covered throughout the workshop and recommendations for further improvement. French Title: Atelier de Formation sur la Mise en Oeuvre de la Réglementation du Sang et des Produits Sanguins, Afrique du Sud Un atelier de formation portant sur la mise en oeuvre de la réglementation du sang et des produits sanguin s a été co-organisé par le programme de protection de la santé mondiale Paul-Ehrlich-Institut BloodTrain et la Société Africaine de Transfusion Sanguine (SATS) du 20 au 22 août 2019. Il visait à renforcer la capacité des pays africains à élaborer et à mettre en oeuvre des systèmes de réglementation pour le sang. Plus de trente participants de pays du continent africain se sont réunis à Johannesburg, en Afrique du Sud et ont partagé leurs connaissances et leurs expériences entre eux ainsi qu'avec des experts de BloodTrain, de la SATS, de l'Organisation Mondiale de la Santé (OMS) et du Nouveau partenariat pour le développement de l'Afrique (NEPAD). L'atelier a abordé un large éventail de sujets, allant des normes de transfusion, de la pratique clinique, du cadre réglementaire pour le sang, des directives de l'OMS relatives à la régulation du sang, à l'hémovigilance et à la surveillance réglementai re des diagnostics in vitro des dispositifs médicaux associés. En plus du contexte et de la motivation de l'atelier, ce rapport résume le contenu clé couvert tout au long de l'atelier et des recommandations pour de nouvelles améliorations.

Abstract The article presents a biography of Andrzej Bobkowski (1913–1961), a Polish émigré writer associated with the Paris-based Instytut Literacki [Literary institute] and the monthly Kultura. Bobkowski belonged to the “1910 generation,” along with Czesław Miłosz, Zygmunt Haupt, and Witold Gombrowicz. He grew up in a family environment that was Protestant and Catholic, bourgeois and aristocratic, military and civilian, with high regard for intellect and physical strength. In 1936, he graduated from the Warsaw School of Economics and began working as a clerk in an office of an iron mill. In March 1939, he and his wife moved to Paris where they witnessed the outbreak of World War II. In Paris, Bobkowski started writing a diary that, redacted, would be published in 1957 in Paris under the title Szkice piórkiem. Francja 1940–1944 [Wartime notebooks: France 1940–1944]. During the war, Bobkowski was active in the Polish Office at the Atelier de Construction de Chatillon near Paris. After the war, he joined cultural initiatives of the Polish anti-communist emigration. Discouraged by the political situation in Europe, he left for Guatemala in 1948, but continued to publish in émigré journals.

In the year 2017, Institute for Criminal Justice Reform (ICJR) found in the Surabaya District Court, the majority of the pleas of the Public Prosecutor for the accused as addicts and victims of narcotics abuse for convicting prison were 90% (ninety percent) and 10% (ten percent) are terminated by the imposition of narcotics rehabilitation as an attempted conviction. Therefore, this research was conducted in Batam city as one of the regions with high levels of narcotics illicit trafficking. The purpose of this study is to find out the procedures for implementing narcotic rehabilitation, to analyze the effectiveness of the law in the application of narcotic rehabilitation for addicts and victims of narcotics abuses in Batam City, and to measure the level of justice in providing penalization for addicts and victims of narcotics abusers processed through court verdicts. This research was carried out by conducting empirical legal research at the Riau Islands Police Narcotics Directorate, BNN Riau Islands Province, Batam District Court, and Batam BNN Rehabilitation Atelier. The results of this study state that in applying narcotic rehabilitation to addicts and victims of narcotics abuse can be made through voluntary and through legal processes (compulsory). The implementation of narcotics rehabilitation for narcotics addicts and victims of narcotics abuses in Batam City is not effective and the level of justice in providing criminal sentences for addicts and victims of narcotics abusers who through the legal process is felt to be unfair.

Dans un contexte de croissance démographique de la capitale soudanaise et d’explosion du secteur de la construction au début des années 2000, le nombre de briqueteries artisanales a rapidement augmenté dans l’agglomération de Khartoum, en passant de 1 750 ateliers en 1995 à 3 450 en 2005, dont 2 000 à Khartoum. Malgré la production massive de ce matériau et son utilisation répandue dans toute la capitale, divers acteurs se sont retrouvés sur la critique des conséquences environnementales de cette activité économique (pollution de l’air et du sol, déforestation causée par l’usage de bois comme combustible, utilisation de terres fertiles sur les berges du Nil…).Du Haut Conseil pour l’environnement à UN Habitat, en passant par des instituts de recherche de l’Université de Khartoum et par le gouvernement de l’État de Khartoum, un consensus apparaît autour de la nécessité d’une fermeture des briqueteries. Ce consensus repose sur des analyses techniques et sanitaires démontrant la nocivité de cette activité sur son environnement, mais aussi sur des textes législatifs.L’article revient d’abord sur les conditions de la production de ces briques rouges (localisation des ateliers, différentes étapes de l’extraction de la ressource naturelle à la commercialisation du matériau…), ainsi que sur les différentes formes de pollution qui y sont associées par de nombreux acteurs universitaires et institutionnels. Ces dommages environnementaux comprennent à la fois l’émission de CO2, la dégradation de terres fertiles sur les berges du Nil et la réduction de la couverture forestière liée à l’utilisation du bois comme combustible. Toutefois, il s’agit dans cet article de proposer une lecture critique de ces analyses scientifiques et de les remettre en perspective par rapport à d’autres sources.Je m’appuie pour cela sur deux enquêtes de terrain, effectuées entre février et avril 2020 et en avril 2021, mais aussi sur l’analyse détaillée de deux types de documents législatifs : la « Loi de protection et d’amélioration de l’environnement dans l’État de Khartoum » (2008) et onze décrets promulgués par l’État de Khartoum à propos de la fermeture des briqueteries (2010-2018). La première est disponible en ligne (http://www.envkh.gov.sd/pdf/law.pdf), tandis que les décrets ont été recueillis directement au siège de l’État de Khartoum, sans avoir pu les photocopier ni les photographier.Ces deux textes montrent avant tout que la question des briqueteries est considérée comme un enjeu environnemental et sanitaire. Si la loi de 2008 ne fait que préciser les taxes auxquelles sont soumis les propriétaires, les différents décrets appellent à la fermeture complète de ces ateliers et à leur relocalisation en dehors des espaces urbains. Ils justifient cela par la nécessité de préserver le milieu naturel de ces « nuisances et phénomènes négatifs » (التشوهات والمظاهر السلبية) et de protéger la population face aux « dommages sanitaires causés par l’industrie de la brique » (الأضرار الصحية الناجمة من صناعة الطوب). Ce cadre législatif est ensuite confronté avec d’autres types de sources (articles de presse, mémoires universitaires, rapports divers), ce qui permet de montrer la construction d’une parole institutionnelle consensuelle.De nombreux mémoires universitaires cherchent à démontrer les conséquences négatives de la production de briques rouges sur l’environnement, tandis que plusieurs rapports d’institutions internationales telles qu’UN Habitat et l’Agence britannique pour l’aide au développement s’alignent également sur cette critique des briqueteries. Une même vision circule ainsi entre les multiples acteurs impliqués, une parole institutionnelle unique émerge de ces différentes sources.Pourtant, il s’agit de remettre en perspective l’émergence de ces critiques, qui s’appuient, certes, sur un savoir environnemental technique, mais aussi sur une certaine conception des espaces urbains. Cet accent mis sur la nécessaire protection de l’environnement est en effet au cœur d’objectifs de durabilité définis par des institutions internationales et réappropriés par les acteurs soudanais. La production artisanale de briques rouges, perçue comme étant archaïque et polluante, ne correspond pas à l’idéal d’une ville moderne et respectueuse de l’environnement.Cet argument environnemental apparaît toutefois comme étant un trompe-l’œil. Il semble mobilisé pour justifier des politiques d’aménagement, telles que la construction de la corniche du Nil ou du pont Manshiya. Les campagnes d’évacuation des briqueteries menées dans les années 2010, suite à la publication des différents décrets, sont à replacer dans le contexte plus large des restructurations urbaines en cours au même moment à Khartoum. Elles répondent à des convoitises foncières croissantes pour les berges du Nil, où se situent les briqueteries. La fermeture des briqueteries entre ainsi dans une stratégie de mise en avant d’espaces verts préservés, d’embellissement de la ville et d’attraction des capitaux étrangers. L’afflux de ces investissements conduit à une concentration de services, d’activités à haute valeur ajoutée et de fonctions récréatives au cœur de l’agglomération du Grand Khartoum.L’ensemble de l’article, en partant de l’étude de cas des briqueteries à Khartoum, s’appuie donc sur une méthodologie de croisement des sources : textes législatifs, mémoires universitaires, rapports institutionnels, entretiens et observations de terrain. Cette confrontation apparaît nécessaire pour interroger une critique consensuelle, qui se fonde principalement sur des arguments environnementaux et sanitaires. Elle permet de rappeler l’importance socio-économique de cette activité productive sur laquelle reposent des milliers de personnes, mais aussi de montrer que des enjeux d’aménagement sont au cœur des politiques de fermeture des briqueteries. Leur localisation sur les berges du Nil en fait une cible pour les investisseurs qui souhaiteraient profiter du potentiel touristique et résidentiel de cet espace, comme c’est déjà le cas sur les rives des quartiers de Burri et Manshiya.

Natural de Formiga, Minas Gerais. Marc Davi vive e trabalha em Belo Horizonte. Dedica-se ao desenvolvimento de trabalhos que transitam entra as linguagens, com ênfase em performance, escultura e instalação. Com formação em Artes Plásticas – bacharelado em Artes Plásticas na Escola Guignard (UEMG) – e outras áreas do saber – estudou medicina na Faculdade de Medicina da UFMG e bacharelado (incompleto) em Design Gráfico (UEMG). Estudou canto popular na Babaya Casa de Canto (2005-2009) e canto lírico (2009-2019) com Marilene Gangana, Neyde Ziviani e Sergio Anders. Desenvolve atualmente sua pesquisa em artes visuais no atelier ESPAI, em Belo Horizonte. Participou do grupo do Háptico de Sonia Laboriau, na escola Guignard, em 2007-2008 e do grupo de estudos e orientação de projetos com Solange Pessoa, em 2008. Fundador da plataforma Glory Hole, dedicada a experimentações de linguagens, sem categoria nem classificação. Em 2008 realiza a performance “Triângulo das delícias” no Instituto Inhotim. Em 2010 participa do filme “petit a” de Dora Longo Bahia, dentro do projeto Destricted.br e no mesmo ano recebe o convite de Marco Paulo Rolla para participar de suas performances, durante uma semana consecutiva de performances, na mostra dos terreiros da 29ª Bienal de São Paulo. Participou da residência artística CA-BRA (Centro América – BRAsil), em 2011, com jovens artistas de toda a América Latina. Em 2013 realiza sua primeira performance no Museu de Arte da Pampulha, na mostra Outra Presença. Com a mostra “Da morte e do amor – proposições de um aniquilamento do outro” inaugura a galeria Periscopio Arte Contemporânea em 2015. Deixa a galeria em 2017 e retoma sua poética baseada na diluição do corpo, na sublimação do objeto e na revivificação de símbolos decadentes. Foi finalista do Prêmio Pipa em 2020.

Purpose The following paper is a “Q&A interview” conducted by Joanne Pransky of Industrial Robot journal as a method to impart the combined technological, business and personal experience of a prominent, robotic industry engineer-turned successful innovator and leader, regarding the challenges of bringing technological discoveries to fruition. The paper aims to discuss these issues. Design/methodology/approach The interviewee is Gianmarco Veruggio who is responsible for the Operational Unit of Genoa of the Italian National Research Council Institute of Electronics, Computer and Telecommunication Engineering (CNR-IEIIT). Veruggio is an early pioneer of telerobotics in extreme environments. Veruggio founded the new applicative field of Roboethics. In this interview, Veruggio shares some of his 30-year robotic journey along with his thoughts and concerns on robotics and society. Findings Gianmarco Veruggio received a master’s degree in electronic engineering, computer science, control and automation from Genoa University in 1980. From 1980 to 1983 he worked in the Automation Division of Ansaldo as a Designer of fault-tolerant multiprocessor architectures for fail-safe control systems and was part of the development team for the new automation of the Italian Railway Stations. In 1984, he joined the CNR-Institute of Naval Automation (IAN) in Genoa as a Research Scientist. There, he worked on real-time computer graphics for simulation, control techniques and naval and marine data-collection systems. In 1989, he founded the CNR-IAN Robotics Department (Robotlab), which he headed until 2003, to develop missions on experimental robotics in extreme environments. His approach utilized working prototypes in a virtual lab environment and focused on robot mission control, real-time human-machine interfaces, networked control system architectures for tele-robotics and Internet Robotics. In 2000, he founded the association “Scuola di Robotica” (School of Robotics) to promote this new science among young people and society at large by means of educational robotics. He joined the CNR-IEIIT in 2007 to continue his research in robotics and to also develop studies on the philosophical, social and ethical implications of Robotics. Originality/value Veruggio led the first Italian underwater robotics campaigns in Antarctica during the Italian expeditions in 1993, 1997 and 2001, and in the Arctic during 2002. During the 2001-2002 Antarctic expedition, he carried out the E-Robot Project, the first experiment of internet robotics via satellite in the Antarctica. In 2002, he designed and developed the Project E-Robot2, the first experiment of worldwide internet robotics ever carried out in the Arctic. During these projects, he organized a series of “live-science” sessions in collaboration with students and teachers of Italian schools. Beginning with his new “School of Robotics”, Veruggio continued to disseminate and educate young people on the complex relationship between robotics and society. This led him to coin the term and propose the concept of Roboethics in 2002, and he has since made worldwide efforts at dedicating resources to the development of this new field. He was the General Chair of the “First International Symposium on Roboethics” in 2004 and of the “EURON Roboethics Atelier” in 2006 that produced the Roboethics Roadmap. Veruggio is the author of more than 150 scientific publications. In 2006, he was presented with the Ligurian Region Award for Innovation, and in 2009, for his merits in the field of science and society, he was awarded the title of Commander of the Order of Merit of the Italian Republic, one of Italy’s highest civilian honors.

e4710042At the end of the 20th century, the Council of Europe adopted a set of recommendations on needs and responsibilities related to Prison Education. These recommendations stipulated that individuals in reclusion must have access to education and training programs that serve an integral purpose of acquiring / developing life skills, leading to an effective reintegration into society and the labor market and that, simultaneously prevent recurrence. Based on these assumptions, a University Extension program was developed in the area of Environmental Citizenship, the main goal of which was to promote the acquisition of environmental citizenship skills and to develop social and emotional skills, such as critical thinking, communication and collaboration. The analysis of the program's results was developed based on the qualitative analysis of the participations of the eighteen trainees/prisoners in the virtual classrooms created in the virtual learning environment, having as reference the pedagogical model developed by Moreira (2017). The results reveal that the use of cinema in virtual environments, anchored in the pedagogical model for the deconstruction of moving images, can have very positive effects in the acquisition of knowledge in ecological science and in the development of environmental citizenship, social and emotional skills.ResumoNos finais do século XX o Conselho da Europa adotou um conjunto de recomendações sobre necessidades e responsabilidades em matéria de Educação em Prisões, sendo que essas recomendações estipulavam que os indivíduos em contexto de reclusão devem ter acesso a programas de educação e formação, que sirvam um propósito integral de aquisição/desenvolvimento de competências de vida, conduzindo a uma efetiva reintegração na sociedade e mercado de trabalho e que, em simultâneo, previnam fenómenos de recidiva. Baseados nesses pressupostos desenvolvemos um programa de Extensão Universitária, na área da Cidadania Ambiental, sendo que o seu principal objetivo foi promover a aquisição de competências de cidadania ambiental e desenvolver competências sociais e emocionais, como o pensamento crítico, a comunicação e a colaboração. A análise dos resultados do programa foi realizada a partir da análise qualitativa das participações e narrativas dos dezoito formandos/reclusos nas salas de aula virtuais criadas no ambiente virtual de aprendizagem, tendo como referencial o modelo pedagógico desenvolvido por Moreira (2017). Os resultados revelam que a utilização do cinema em ambientes virtuais, ancorado no modelo pedagógico para a desconstrução de imagens em movimento, pode ter efeitos muito positivos na aquisição de conhecimentos na ciência ecológica e no desenvolvimento de competências, quer de cidadania ambiental, quer sociais e emocionais.Palavras-chave: Educação nas prisões, Cidadania ambiental, Ambientes virtuais, reclusão.Keywords: Prison education, Environmental citizenship, Virtual environments, Imprisonment.ReferencesALBANO, A.; PICOZZI, F. Gli incerti confini del sovraffollamento carcerario. Revista Eletrônica da Faculdade de Direito da Universidade Federal de Pelotas, v. 2, n.º 2, p.49-59, 2016.BARATTA, A. Criminologia crítica e crítica del diritto penale: introduzione ala sociologia giurídico-penale. Bologna: Il Mulino, 1982.BARDIN L. L´analyse de contenu. Paris: PUF, 1977.CNMP. CONSELHO NACIONAL DO MINISTÉRIO PÚBLICO. A Visão do Ministério Público sobre o Sistema Prisional do Brasil. Brasília-DF, 2018.COSTA, E.; MOREIRA, J. A. O b-Learning e a percepção de competências de aprendizagem em ambientes virtuais no ensino da História. Tecnologia, Gestão e Humanismo, v.2, n.º 1, p. 42-55, 2013.DIAS-TRINDADE, S.; MOREIRA, J. A. Reintegração e Inclusão Digital em Estabelecimentos Prisionais. Um Programa de Aprendizagem para o Desenvolvimento de Competências. In: C. P. VIEIRA; J. A. MOREIRA. Educação, Cidadania e Inclusão Digital. Práticas e Desafios. Santo Tirso: Whitebooks, p. 75-88, 2018.DIAS-TRINDADE, S.; MOREIRA, J. A. Pedagogical scenarios enriched with audiovisual technologies and their impact on the promotion of the learning skills of inmate students in Portugal. Digital Education Review, n.º 35, p. 97-110, 2019. Disponível em: http://revistes.ub.edu/index.php/der/article/view/27302/pdf_1DIREÇÃO-GERAL DE REINSERÇÃO E SERVIÇOS PRISIONAIS (DGRSP). Estatísticas Prisionais Anuais, Lisboa: Ministério da Justiça, 2018. Disponível em: http://dgrsp.justiça.gov.pt/. 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Anant-propos « Innover » est un mot d’ordre sociétal qui encourage la communauté des chercheurs à produire des connaissances, des démarches et des outils visant à faire « autrement », à changer de paradigme, ou tout au moins de modèle de production pour ce qui concerne la communauté des agronomes. Pour une grande partie de cette communauté, le débat est centré sur la conception innovante des systèmes agricoles visant de nouveaux compromis entre production (quantité, qualité), protection de l’environnement, maîtrise de la consommation des énergies non renouvelables, tout en contribuant à la sécurité alimentaire globale et à la traçabilité des pratiques. Mais d’autres dimensions doivent être intégrées : la participation des acteurs au processus de conception, la façon dont les différentes sources d’innovations (la recherche, les agriculteurs, les filières, les industriels) interagissent, l’accompagnement de l’engagement dans le changement des exploitants agricoles et le rôle du conseil (public, privé) dans ce cadre, l’étude des verrouillages sociotechniques, etc. La notion d’innovation embarque de fait beaucoup de questions de natures différentes, auxquelles apporter des réponses nécessite une interdisciplinarité entre sciences techniques et sciences sociales. Ce numéro spécial propose une vision de l’innovation dans les systèmes d’élevage centrée sur la contribution des zootechniciens. Il regroupe ainsi huit articles choisis pour traiter des innovations à l’échelle des systèmes d’élevage (et non aux échelles infra – fonctions physiologiques, animal, ou supra – territoire, filière –). Les auteurs ont été sollicités principalement au sein de l’Inra et chez nos partenaires proches (enseignement supérieur agronomique, Instituts techniques et Cirad). A l’Inra, cela concerne les deux départements de recherche au sein desquels des travaux sont conduits sur les systèmes d’élevage, à savoir le département « Sciences pour l’action et le développement » (Sad) et le département « Physiologie animale et systèmes d’élevage » (Phase). Partant des questions générales sur la conception innovante et l’évaluation des systèmes, ce numéro explore différentes leviers de changements radicaux qui sont en germe dans le secteur de l’élevage : l’élevage de précision, l’écologie industrielle, l’agro-écologie, avec leurs déclinaisons (les capteurs appareillés sur les animaux, l’élevage de poissons avec de l’eau recirculée, les systèmes laitiers bas intrants). Deux articles complètent le panorama en s’intéressant au repérage des innovations dans les exploitations d’élevage en France et aux dynamiques diversifiées d’innovation et de changement en Afrique. Les thèmes des articles ont ainsi été pensés pour mixer des réflexions conceptuelles sur l’innovation, en tant qu’objet et en tant que processus, avec des exemples concrets pris soit dans les dispositifs expérimentaux des instituts de recherche, soit chez les éleveurs eux-mêmes. Différentes espèces animales sont concernées par ces exemples, des poissons aux bovins, en passant par les volailles, les ovins et les caprins. Ce numéro spécial souligne ainsi que le secteur de l’élevage n’est pas en reste en matière d’innovations. Mais le champ est vaste et il ne prétend pas en faire le tour, notamment sur le plan des innovations génétiques : il est difficile d’être exhaustif dans un tel exercice ! Pour finir, à la lecture de ce numéro, quelques questions pour l’avenir nous semblent devoir être formulées : - L’innovation dans les systèmes d’élevage se construit aujourd’hui dans des dispositifs partenariaux associant recherche, développement et formation, inventeurs et utilisateurs. Les éleveurs sont au cœur du processus d’innovation et sont bien sûr les acteurs déterminants de sa réussite ou de son échec. Mais le rôle d’autres parties prenantes (filières, conseil public et privé, action publique, acteurs des territoires et industriels) mériterait d’être plus approfondi ; - Dans le secteur de l’agriculture, et en particulier de l’élevage, les applications des innovations portent sur le vivant, en l’occurrence des animaux. Des questions portent sur la considération apportée à ces êtres vivants et aux formes d’interaction entre hommes et animaux dans le travail quotidien. Par exemple, est-il souhaitable, éthique, d’équiper les animaux avec des capteurs divers et variés, au risque de remettre en cause leur bien-être, ou la nature même de l’activité d’élevage ? L’agro-écologie porte-t-elle d’autres formes de considérations des animaux ? Ces questions importantes restent ouvertes ; - L’avenir sera sans doute fait d’une coexistence de deux mouvements qui peuvent apparaître en première approche contradictoires : d’une part, le mouvement vers l’agro-écologie mettant en exergue les propriétés des processus écologiques et d’autre part, le mouvement vers l’automatisation, les nouvelles technologies de l’information et de la communication (NTIC), l’élevage dit « de précision » s’appuyant sur l’écologie industrielle et la recherche de l’efficience. Mais ne faudra-t-il pas tenter de travailler aussi la mise en synergie de ces deux mouvements ? - L’innovation dans les systèmes d’élevage doit être réfléchie en même temps dans le secteur animal et végétal, en particulier quand il s’agit de raisonner les systèmes fourragers de demain, mais aussi le rôle des cultures dans l’alimentation animale et l’autonomie des exploitations. La polycultureélevage, bien plus qu’une tradition désuète, est sans doute une forme intéressante et prometteuse pour mettre en œuvre les principes tant d’agro-écologie que d’écologie industrielle, avec des modes d’organisation et d’interaction à repenser entre ateliers à l’intérieur de l’exploitation et entre exploitations à l’intérieur d’un territoire. L’année 2014 est marquée par la sortie en France de deux numéros spéciaux consacrés à l’innovation en élevage : le présent numéro d’INRA Productions Animales et celui de la revue Fourrages1. Pour nous, cela est le signe d’un enjeu important perçu par la communauté scientifique agronomique autour des questions d’innovation, à l’heure où l’élevage doit relever le défi d’être multi-performant. 1 L'innovation en systèmes fourragers et élevages d’herbivores : un champ de possibles. Fourrages, 217, mars 2014

Un dossier d’INRA Productions Animales consacré à l’élevage caprin en 2012 peut surprendre. Représentant moins de 1% du produit brut de l’Agriculture Française, cet élevage largement ancré dans son environnement socioculturel local et dans la tradition de terroirs variés, évoque encore, mais de moins en moins, des images du passé comme celle de la «vache du pauvre» ou de la grandmère gardant trois chèvres au bord du chemin. Cet élevage s’est en effet marginalisé au XIXème siècle et dans la première moitié du XXème siècle dans les pays qui s’industrialisaient, notamment en Europe où l’effectif caprin ne représente plus actuellement que 2% du total mondial. De nombreux arguments ont milité pour éditer ce dossier, d’abord la rapide transformation de l’élevage caprin à la fin du XXème siècle et plus encore dans ces premières années du XXIème siècle, ensuite des travaux originaux conduits récemment sur l’espèce caprine, qui sont venus combler le retard important que cette espèce avait accumulé en matière de recherches agronomiques et vétérinaires. A l’échelle mondiale, l’élevage caprin est celui dont les effectifs ont le plus augmenté au cours de ces vingt dernières années (FAOSTAT 2010) : 4ème troupeau mondial avec plus de 900 millions de têtes (470 millions en 1975) derrière les bovins, les ovins et les porcins ; d’après les prévisions, il deviendrait le 3ème autour de 2015. Nombreuses sont les explications à cette situation un peu paradoxale, mais deux sont souvent avancées par les experts. Cette progression actuelle des effectifs caprins s’observe presque exclusivement dans les pays en développement et dans certains pays émergents. Elle serait surtout due aux difficultés que rencontre le maintien de l’élevage des autres espèces domestiques dans ces zones, dans certains cas du fait de l’appauvrissement des éleveurs et des acteurs des filières animales. Cette progression tient aussi au fait que le marché des caprins a une réalité essentiellement locale et que, dans ces conditions, il n’est pas exposé aux crises internationales que le marché des produits des autres espèces a pu subir au cours des quarante dernières années. En Europe, les effectifs caprins sont restés assez stables : 12,5 M de têtes au total, 1,3 M en France dont 1,1 M de femelles laitières âgées de plus d’un an. La France possède le troisième troupeau (10% des effectifs européens), assez loin derrière la Grèce (37%) et l’Espagne (22%). Il convient de noter la progression importante des effectifs caprins en Roumaine et aux Pays-Bas au cours de la dernière décennie. L’élevage caprin européen, et particulièrement l’élevage français, s’est fortement spécialisé en production laitière puisque 75 à 93% environ du produit brut des ateliers caprins en France provient du lait. En effet, la marge brute que dégage la production de chevreaux de boucherie est réduite en raison des coûts des aliments d’allaitement et des aléas liés à la mortalité périnatale. Des avancées dans les techniques d’élevage, notamment dans les domaines de l’alimentation et de la génétique, ont permis des améliorations assez rapides des performances des femelles laitières. La production laitière moyenne des 240 000 chèvres inscrites au contrôle laitier en 2010 était de 842 kg de lait sur une durée moyenne de lactation de 274 jours avec un taux protéique de 32,3 g/kg de lait et un taux butyreux de 37,0 g/kg de lait. Le plus intéressant à noter, c’est qu’en dix ans la production laitière annuelle au contrôle laitier a progressé de 90 kg, le taux protéique de 1,6 g/kg et le taux butyreux de 2,5 g/kg (Institut de l’Elevage 2012). La France est le premier producteur européen de lait de chèvre avec 30% du lait produit. Plus de 80% de ce lait est transformé en fromages. Même si la consommation présente quelques signes d’essoufflement actuellement, l’augmentation de la production de lait de chèvre depuis plus de trente ans et en conséquence celle des fromages a en général été bien absorbée par la demande, en progression malgré quelques périodes tendues. Ce résultat est dû notamment à de nouveaux produits de qualités rhéologique et organoleptique bien adaptées pour conquérir de nouveaux marchés, à l’utilisation de technologies avancées en matière fromagère et à la bonne image de ce fromage (produit festif et de qualité) auprès des consommateurs. Le secteur caprin en France a suivi l’évolution générale des productions animales : mécanisation du travail, simplification des techniques pour réduire le coût de production et pour améliorer l’efficacité du travail, augmentation rapide de la taille des unités de production. Plus de 35% de chèvres laitières appartiennent à des unités de plus de 350 têtes et la production est de plus en plus concentrée dans une région, le Poitou-Charentes, qui produit plus de 50% du lait de chèvre en France et en transforme encore plus. Bref, cette évolution et ces résultats, malgré un contexte qui tend à devenir de moins en moins favorable, s’expliquent par de multiples raisons, entre autres, la mise en place d’une filière bien organisée, des éleveurs motivés et le plus souvent passionnés par leur métier et une coopération étroite et efficace entre la recherche et le développement tant au niveau national que régional. Cette coopération exemplaire a débuté dès les années 1955-1965 avec des pionniers comme G. Ricordeau, à qui l’on doit la mise en évidence du gène sans corne expliquant le taux élevé d’infertilité en caprins, facteur qui a longtemps freiné le développement caprin (Ricordeau 2008) et J.-M. Corteel, qui a beaucoup travaillé sur la mise au point des techniques d’insémination artificielle (Leboeuf 2013). Ils ont su gagner la confiance des éleveurs, même parfois de petites unités. Ce lien s’est poursuivi et développé ensuite grâce à la création de la section caprine de l’Institut technique ovin et caprin (ITOVIC), mais aussi par des relations directes et personnelles entre chercheurs et responsables du développement ou par des réunions informelles autour de certains problèmes que rencontraient les éleveurs.Cette coopération a très bien résisté dans les années 1980, d’une part, aux nouvelles demandes des éleveurs qui donnaient la priorité aux questions socio-économiques suite à la première crise du prix du lait de chèvre en 1981 et, d’autre part, aux évolutions de la politique de l’INRA, qui face aux nouveaux enjeux scientifiques et technologiques, a été conduit à considérer comme moins prioritaire certaines recherches appliquées intéressant le développement. Ainsi, malgré l’évolution des problématiques scientifiques et des relations entre le monde de la recherche et du développement, mais aussi face au développement rapide de la recherche caprine dans les pays émergents, la recherche caprine en France est toujours très active. Un sondage bibliométrique montre que le nombre de publications avec «dairy goat» en mot-clé, de 250 à 300 par an dans les années 1980-1990, s’est accru nettement au début des années 2000 pour se situer actuellement vers les 700 publications par an. Au cours des dix dernières années, les pays qui ont le plus contribué à ces publications ont été la France, donc l’INRA, suivie par les USA, l’Italie et l’Espagne, eux-mêmes suivis par le Brésil, le Mexique et la Turquie. Ce dossier de la revue INRA Productions Animales a donc pour objectif d’illustrer le dynamisme des recherches menées en France sur les caprins, s’il était encore nécessaire de le faire. Le choix des six thèmes de recherche retenus pour constituer ce numéro n’a pas été aisé en raison du nombre de thèmes possibles. L’ambition de ce dossier n’étant pas d’être exhaustif, la rédaction de la revue et son comité se sont mis d’accord pour ne pas retenir de sujets dans les domaines où les publications ont déjà été nombreuses. C’est le cas, par exemple, de la traite des chèvres laitières (Le Du 1989, Marnet et al 2001), du polymorphisme de la caséine alpha chez les caprins (Grosclaude et al 1994, Manfredi et al 1995) ou encore de la reproduction caprine. INRA Production Animales a en effet déjà publié des articles exhaustifs sur la neuro-endocrinologie de la reproduction chez le caprin (Chemineau et Delgadillo 1994), sur le comportement sexuel de cette espèce (Fabre-Nys 2000), sur la production et la conservation de semence de bouc (Leboeuf et al 2003) et récemment sur la maîtrise de la reproduction de l’espèce caprine (Leboeuf et al 2008). Il a été proposé de sélectionner des thèmes novateurs ou riches en résultats récents, qui intéressent le développement de l’élevage caprin en France, mais aussi de portée internationale. Dans ces conditions, il a d’abord été retenu trois thèmes représentant des dimensions basiques de l’élevage : génétique, pathologie, alimentation avec des articles faisant le point sur les dernières avancées dans chaque secteur, et trois autres thèmes originaux et porteurs d’avenir, le pâturage des chèvres laitières hautes productrices, les apports de la modélisation pour comprendre le fonctionnement du troupeau de chèvres laitières et les techniques rationnelles d’élevage caprin en milieu tropical. Le premier article de Manfredi et Ådnøy (2012) sur la génétique des caprins laitiers, est un travail franco-norvégien illustrant la collaboration continue sur ce thème entre les deux pays depuis près de 50 ans. Il fait le point sur les études de génétique polygénique relatives à la production et à la composition du lait. Il traite de l’approche moléculaire qui démarre en caprins et surtout répond à la question d’actualité sur ce que nous pouvons attendre dans les années futures de la sélection génomique en caprins. Le deuxième article de Hoste et al (2012) sur la pathologie caprine, a réuni des spécialistes de l’INRA, des écoles vétérinaires, de l’Anses et de l’Institut de l’Elevage. Il fait le point sur les recherches en cours et leurs applications concernant diverses pathologies infectieuses d’actualité dans le secteur caprin. Ainsi il passe en revue les principales pathologies provoquées par les prions et les virus, par les agents bactériens et la question des parasites gastro-intestinaux. L’article évoque aussi le projet de la mise en place d’un observatoire des maladies caprines en France. Il se termine par une réflexion intéressante soulignant la proximité des agents pathogènes en ovins et caprins et les différences dans les processus morbides chez ces deux espèces. Il en conclut que des études originales sur caprins sont tout à fait fondamentales pour appréhender certains mécanismes pathogéniques. L’article suivant de Sauvant et al (2012) se propose d’actualiser les recommandations alimentaires des caprins publiées en 2007, pour répondre à une demande du développement. Les avancées dans ce domaine proviennent notamment d’une approche modélisée de la connaissance des nombreuxfacteurs de variation du poids vif, de la production laitière et de la composition de lait. Les lois de réponse plus précises aux apports d’aliments concentrés, les nouvelles lois de réponse concernant la sécrétion des acides gras du lait ainsi que les excrétions d’azote et de méthane, ainsi que les valeurs repères applicables sur le terrain concernant le comportement alimentaire, l’acidose et les besoins en eau sont les principales nouveautés. L’alimentation représente, rappelons-le, 70% en moyenne du prix de revient du litre de lait de chèvre. Parmi les trois articles plus spécifiques sur des sujets originaux, figure l’article de Lefrileux et al (2012) sur l’aptitude des chèvres hautes productrices de lait à valoriser les prairies temporaires au pâturage. Il répond à des demandes variées, notamment la demande sociétale pour une conduite d’élevage plus écologique. Or, peu d’information existe sur ce sujet, d’une part, en raison de la diminution de ce mode d’alimentation à cause des problèmes parasitaires rencontrés et, d’autre part, car la chèvre a la réputation d’être une mauvaise utilisatrice du pâturage et d’avoir un comportement très affirmé pour sélectionner son ingéré. Les auteurs montrent qu’il est possible d’obtenir des performances laitières de 1000 – 1100 kg de lait par an et par chèvre avec des régimes alimentaires où plus de 50% des besoins énergétiques sont couverts par le pâturage. L’étude du fonctionnement du troupeau caprin est un sujet qui a déjà été développé à l’INRA (Santucci et al 1994) mais, au cours de ces dernières années, elle a fait l’objet d’avancées importantes grâce à l’utilisation de la modélisation. L’article de Puillet et al (2012) présente un simulateur de fonctionnement du troupeau caprin laitier permettant de tenir compte de la variabilité individuelle des carrières animales et d’étudier comment les conduites de l’alimentation et de la reproduction mises en œuvre par l’éleveur, modulent les performances du troupeau. De tels outils sont appelés à l’avenir à avoir diverses applications au niveau du terrain pour les agents de développement, par exemple pour quantifier le risque biologique associé à certaines conduites d’élevage. Le Centre INRA des Antilles-Guyane travaille depuis plus de 50 ans sur l’amélioration des systèmes de production caprine en milieu tropical (Alexandre et al 1997). Alexandre et al (2012) présentent dans le dernier article de ce numéro une synthèse sur la situation de l’élevage caprin en zone tropicale. Rappelons que 95% des caprins vivent en milieu tropical. A travers leur grande expérience du sujet, ces auteurs proposent des voies d’amélioration très prometteuses grâce à l’apport d’intrants bien réfléchi techniquement et économiquement, à l’utilisation de l’effet mâle en reproduction et à une complémentation à base d’aliments non conventionnels. Les six articles de ce numéro ne doivent pas occulter les autres recherches sur les caprins effectuées par l’INRA ou d’autres organismes. Comme il n’est pas possible d’être exhaustif, citons simplement quelques exemples qui peuvent intéresser le développement : la maîtrise de la reproduction femelle sans utilisation d’hormones pour répondre aux cahiers des charges de certains produits caprins labellisés (Brice et al 2002) ; la monotraite, technique qui a priori séduit les éleveurs en permettant une réduction de charge de travail (Komara et Marnet 2009) ; les risques d’acidose en liaison avec le comportement alimentaire des chèvres laitières, trouble métabolique encore fréquent avec certainstypes de régimes et dont les conséquences économiques peuvent être importantes (Desnoyers et al 2009) ; l’évaluation des systèmes de production caprine (Bossis et al 2008, Toussaint et al 2009) sans oublier les travaux de technologie laitière réalisées par l’ITPLC sur le fromage de chèvre (Raynal-Ljutovac et al 2007a). Il faut noter aussi le début d’études sur le bien-être des caprins (Servière et Morand-Fehr 2012) et le besoin de travaux sur les lactations longues (14 - 20 mois),technique qui séduit de plus en plus d’éleveurs. Nous devons aussi signaler deux documents importants, l’un sur la qualité du lait de petits ruminants (Haenlein et al 2007) et l’autre sur la production et la qualité de la viande caprine (Mahgoub et al 2011) dans lesquels les travaux de recherches français sur l’influence des systèmes d’alimentation sur la qualité du lait de chèvre (Morand-Fehr et al 2007), sur la stabilité à la chaleur de ce lait (Raynal-Ljutovac et al 2007b) et sur la composition lipidique du chevreau (Morand-Fehr et al 2011) sont présentés. Il nous reste à souhaiter que la lecture de ce numéro apporte une somme d’informations originales à tous les lecteurs cherchant à prendre connaissance des dernières avancées de la recherche caprine et que la recherche caprine se maintienne et se développe à l’avenir en France pour répondre aux demandes de la filière, mais aussi en milieu tropical où les caprins jouent un rôle socio-économique essentiel pour certaines populations rurales.

Cette étude se penche sur l’enseignement de l’art à l’université. Elle situe la problématique au niveau de la pédagogie spécifique à l’enseignement dans des établissements universitaires qui différent des autres (comme les écoles de commerce, de santé, …) du contenu, des objectifs et des approches puisqu’elle touche aussi bien du contenu scientifique que des pratiques artistiques. La méthode d’investigation repose sur une approche empirique issue dans un premier temps de l’analyse des discours des experts parlant de ce sujet à l’occasion d’un colloque international organisé en Tunisie en 2018 et des interviews avec des étudiants et des enseignants à l’occasion de visites professionnelles de deux écoles européennes de beaux-arts. De plus, le background de l’expérience personnelle dans l’enseignement aux écoles d’art a été utilisé pour décortiquer les paradigmes contemporains de l’enseignement universitaire au regard de l’organisation de l’école sous forme d’ateliers individualisés ou interconnectés ou l’organisation des ateliers sous forme de workshops au sein des écoles. Les résultats ont montré que le concept « école-atelier » pourra rassurer aussi bien la forme scolaire que la liberté artistique chez les apprenants autant que les ateliers ouverts avec leur aspect événementiel.

Staffing changes in the summer of 2015 at the University of Toronto’s Ontario Institute for Studies in Education (OISE) Library and an increased student enrolment in one of OISE’s core programs meant that the OISE Library would not be able to meet the demand for information literacy (IL) instruction in the fall. A new librarian and two Library and Information Science (LIS) graduate students were hired in early September and had only a short time to learn about OISE’s students, programs, and IL instruction more broadly before designing, delivering, and evaluating IL sessions for graduate students in OISE’s Master of Teaching (MT) program. Recognizing and drawing on each team member’s unique skills and experiences, the OISE Library piloted a team-based mentorship approach to training which enabled the team to collaboratively develop their instructional skills while meeting the goal of a better IL session for its MT students. In turn, this approach provided the LIS student instructors the unique opportunity to gain instructional experience within the library, teaching fellow graduate-level students. This paper outlines the rationale for piloting a team-based mentorship approach, describes the various implementation stages of the pilot project, and explores the ways in which the instruction team incorporated MT student feedback to improve its teaching. LIS students on the instruction team share their perspectives on participating in an instruction team. Des changements de personnel au cours de l’été 2015 à la Bibliothèque de la Ontario Institute for Studies in Education (OISE) de l’Univeristé de Toronto ainsi qu’une augmentation des inscriptions à l’un des programmes d’études de base signifiaient que la Bibliothèque OISE ne serait pas en mesure de répondre à la demande de formation documentaire à l’automne. Un nouveau bibliothécaire et deux étudiants diplômés en science de l’information ont été embauchés au début septembre et n’ont eu que peu de temps pour en apprendre davantage sur les étudiants et les programmes d’OISE ainsi que sur la formation documentaire au sens large avant de devoir conceptualiser, offrir et évaluer des ateliers pour les étudiants diplômés du programme de maîtrise en enseignement. En reconnaissant et en tirant parti des habiletés et expériences uniques de chaque membre de l’équipe, la Bibliothèque OISE a mis sur pied une approche de mentorat collective pour la formation qui a permis à l’équipe de développer de façon collaborative ses techniques d’enseignement dans le but d’offrir une meilleure session aux étudiants inscrits au programme de maîtrise en enseignement. Cette approche a donné aux formateurs étudiants une occasion unique de parfaire leur expérience d’enseignement au sein de la bibliothèque tout en formant d’autres étudiants diplômés. Cet article explique pourquoi cette approche de mentorat collective a été choisie, décrit les étapes de mise sur œuvre du projet et discute des façons dont l’équipe de formation a intégré les commentaires des étudiants diplômés afin d’améliorer son enseignement. Les étudiants en sciences de l’information faisant partie de l’équipe partagent leur perspective quant à leur participation au sein d’une équipe d’enseignement.

Abstract of PhD thesis submitted in 2018 to the Atelier Doctoral Programme, Doctoral School of History, Eötvös Loránd University, Budapest, under the supervision of Gábor Sonkoly, in co-operation with Deccan College Post Graduate and Research Institute, Pune, India, under the supervision of Vasant Shinde.

Mesmo transitando em diversas linguagens, meu pensamento e prática artísticasão centrados no desenho. Além da prática individual, sempre trabalhei coletivamente e fuiprofessora de desenho por 40 anos. O assunto deste texto é a residência artística Boîte àdessin / Caixa do Desenho realizada pelo Atelier D43 no Espaço cultural Anis Gras, na Françaem maio de 2016. O Atelier D43 é o grupo de desenho do Instituto de Artes da UFRGS -Porto Alegre que criei em 2012 integrado pelos alunos, hoje jovens artistas, Caju Galon eKelvin Koubik. Desde o início, a pesquisa do D43 trata de das possibilidades do desenho facea novos meios tecnológicos e linguagens artísticas contemporâneas. A partir de 2015, passa afocar-se no desenho como performance e no vídeo como suporte das ações que se realizamdentro do ateliê. Além de registro, o vídeo constitui-se numa das estratégias, tratadas notexto, para experimentar novas formas de desenhar e fugir ao automatismo do gesto. Portrata-se de uma revista virtual, alguns vídeos e material ilustrativo estarão linkados no texto.Mais informações sobre o grupo no site: Atelier D43

Maria Grazia Chiuri, creative director at the House of Christian Dior, talks about her current role working for the French luxury brand. She reflects on how passionate she is about highlighting and promoting women’s multifaceted manifestations of work, image and creativity. Chiuri also discusses her long career in fashion, starting with her mother’s atelier, her studies at the European Institute of Design and then her work for the Fendi sisters and Valentino, both located in Rome, where she was born. Chiuri stresses certain books have been crucial for her, from Ngozi’s recent bestseller , to Clare Hunter’s Threads of Life (2019) and classical texts by Simone de Beauvoir, as well as Robin Morgan’s . In addition, she emphasizes how beneficial it has been to be able to immerse herself in Dior’s rich archive. She finds inspiration in the history of women, fashion, feminism, the arts, cinema and how all these institutions promote necessary changes to the fashion industry of the twenty-first century.

International audience A chromatic root is a zero of the chromatic polynomial of a graph. At a Newton Institute workshop on Combinatorics and Statistical Mechanics in 2008, two conjectures were proposed on the subject of which algebraic integers can be chromatic roots, known as the ``$α +n$ conjecture'' and the ``$nα$ conjecture''. These say, respectively, that given any algebraic integer α there is a natural number $n$ such that $α +n$ is a chromatic root, and that any positive integer multiple of a chromatic root is also a chromatic root. By computing the chromatic polynomials of two large families of graphs, we prove the $α +n$ conjecture for quadratic and cubic integers, and show that the set of chromatic roots satisfying the nα conjecture is dense in the complex plane. Une racine chromatique est un zéro du polynôme chromatique d'un graphe. A un atelier au Newton Institute sur la combinatoire et la mécanique statistique en 2008, deux conjectures ont été proposées dont le sujet des entiers algébriques peut être racines chromatiques, connus sous le nom ``la conjecture $α + n$'' et ``la conjecture $n α$ ''. Les conjectures veulent dire, respectivement, que pour chaque entier algébrique $α$ il y a un nombre entier naturel $n$, tel que $α + n$ est une racine chromatique, et que chaque multiple entier positif d'une racine chromatique est aussi une racine chromatique . En calculant les polynômes chromatiques de deux grandes familles de graphes, on prouve la conjecture $α + n$ pour les entiers quadratiques et cubiques, et montre que l'ensemble des racines chromatiques qui confirme la conjecture $nα$ est dense dans le plan complexe.

Since 2019, at the Institut de Recherche sur l'Enseignement des Sciences in Aix-Marseille Université, we have been running a workshop aimed at exploring solutions to the difficulties regularly encountered in interdisciplinary teaching. At regular intervals, this workshop brings together six teachers from different disciplines - from university and high school - who are simply given the time to present and explain to each other the specificities of the discipline they teach, using a basic categorial grid to guide analysis and enable comparison. However, our initial findings indicate that the primary beneficiary of these interdisciplinary encounters is disciplinary teaching itself. In fact, this introspective and collective work has brought to light fundamental implicits, specific or common, to these disciplines that teachers were unaware of; that they had never shared with their students; and that they identified as the source of hitherto unspeakable difficulties encountered by many of them. The hypothesis defended here is therefore that - through an effect of analogies and contrasts - interdisciplinary dialogue can be a formidable tool for reinforcing and clarifying disciplinary teaching, and could play a key role in teacher training. Depuis 2019, au sein de l’Institut de Recherche sur l’Enseignement des Sciences d’Aix-Marseille Université, nous animons un atelier visant à explorer des solutions aux difficultés régulièrement rencontrées dans l’enseignement interdisciplinaire. Cet atelier réunit à intervalles réguliers six enseignants de disciplines différentes — de l’université et du lycée — auxquels est simplement donné le temps de présenter et expliquer les uns aux autres les spécificités de la discipline qu’ils enseignent, à l’aide d’une grille catégorielle élémentaire, guidant l’analyse et permettant la comparaison. Or, nos premières conclusions indiquent que le premier bénéficiaire de ces rencontres interdisciplinaires est l’enseignement disciplinaire lui-même. De fait, ce travail introspectif et collectif a fait émerger des implicites fondamentaux spécifiques ou communs à ces disciplines dont les enseignants n’avaient pas conscience ; qu’ils n’avaient jamais partagé avec leurs élèves ; et qu’ils ont identifié comme la source de difficultés jusque-là inexprimables rencontrées par nombre d’entre eux. L’hypothèse défendue ici est donc que — par effet d’analogies et de contrastes — le dialogue interdisciplinaire peut être un formidable outil de renforcement et de clarification de l’enseignement disciplinaire, qui pourrait jouer un rôle clé dans la formation des enseignants.

As cidades de Cachoeira e São Félix, localizadas no Recôncavo da Bahia,consideradas “cidades monumentos nacional” pelo Instituto do PatrimônioHistórico e Artístico Nacional (IPHAN), possuem, através de sua historicidade,reconhecimento nacional e internacional. Com importantes aspectos históricos,apresentam uma vasta herança cultural e artística. De um lado, uma paisagemarquitetônica, colonial e secular; de outro, uma produção contemporânea seguindo influências étnicas, modernas e migratórias. Dentro desse contexto, este trabalho teve como objetivo principal mapear os espaços de produção e veiculação das artes visuais nessas cidades, de dezembro de 2013 a janeiro de 2014, a partir da identificação, localização e registro das atividades exercidas por eles, além de refletir sobre o impacto desses espaços para o circuito de artes local. O trabalho elenca 29 espaços, os principais tipos de linguagem estética produzidas por eles, e aborda as principais estratégias de uso: ateliês, galerias, museus, centro deeducação em artes e outros. No tocante à metodologia, foram utilizados os métodos Análise e síntese, Analítico comparativo e procedimentos metodológicos consistindo em sínteses de bibliografia, pesquisa de campo – que incluiu aplicação de questionário e registros fotográficos – e, por fim, o processamento e análise de dados que apontou a existência sumária destes espaços no circuito paisagístico.

O campo da educação conhece um entusiasmo considerável pelo portefolio. E contudo, as vozes discordantes parecem anunciar que o fascínio ultrapassou o seu paroxismo. A revista Suiça Educateur Magazine numa edição recente coloca a questão: instrumento de formação ou areia para os olhos? Alguns professores em formação criticam o instrumento porque receiam que a economia esteja a penhorar a educação. Apesar destas reservas, os projectos difundem-se, nomeadamente na formação de professores. Na formação profissional, o Instituto Suíço de Pedagogia para a Formação Profissional (ISPFP), em Zollikofen e Lausanne, foi também contaminado pela portefoliomania e trabalha, desde 1995, sobre diferentes projectos. Foram objecto de relatos nas revistas especializadas (Behrens 1997, 2000), contribuíram para os debates políticos da formação profissional (ISPFP, 1997) ou foram retomados nos ateliês de formação Behrens. O presente artigo mostra como as práticas de portefolio, adjacentes umas às outras, podem obedecer a finalidades muito distintas. Com efeito, quando os docentes em formação preparam as aplicações do portefolio, são muitas vezes surpreendidos pela polissemia do termo e pela quantidade de usos que lhe estão associados. A ausência de uma clareza conceptual faz com que as propostas apresentadas oscilem entre a utilização como ajuda à aprendizagem, tarefa de avaliação ou como utensílio de gestão de carreira.

Este trabalho parte de reflexões sobre experiências docentes no curso de Licenciatura em Dança do Instituto Federal de Goiás/ Campus Aparecida de Goiânia, no contexto específico das disciplinas Ateliê de criação em dança I e II, onde propõem-se o estudo e vivências de diferentes acervos de dança e seus processos de ensino-aprendizagem a partir da criação artística como eixo norteador das relações entre os sujeitos e o estar-junto como paradigma ético e estético. Metodologicamente trabalhamos com a revisão de literatura que tenta dar conta das questões que envolvem a dança e a Pedagogia performativa levando em consideração as experiências nos Ateliês de criação. A presente reflexão aponta para a possibilidade da construção de novos olhares em torno dos saberes formativos na trajetória a partir da perspectiva da Experiência e da Pedagogia Performativa pensadas em contextos de Juventude. Tais processos são experimentados em uma Instituição Pública de Ensino que se compromete com a problematização e a recriação de práticas específicas e modos de ser no seio dos diversos grupos sociais. O contato sistemático e criativo com a diversidade cultural presente nesses acervos de dança a partir da utilização de metodologias coletivas e participativas sob a perspectiva da Pedagogia Performativa tem contribuído para um processo sistemático e multidimensional orientado à formação do sujeito de direito e a promoção de uma socialidade ativa e participante.

Philippines is endowed with rich heritage in the past where present and future generations need to be informed and educated. Museum, as center for education and tourism destination, plays a significant role in safekeeping, preserving and displaying the country’s historical treasures so that Filipino children and youth may have the glimpse of the past and have tangible experiences about them at the present. Museums for anthropological, ethnographic, archaeological, historical, visual arts collections and others are situated in the different parts of the country. According to Reyes, (2020), through using a museum to cultivate and promote respect, interest, and proper recognition in minority cultures and people who played a significant role to a nation, we are working to prevent cultural and historical losses. Museums in modern museology undertake their activities by taking the different segments of society into consideration. These activities are permanent exhibitions, temporary exhibitions, guided tours, dia-film demonstrations, discussions, seminars and atelier trainings (Kelej; 2000: http: //sosyalbilimler.atauni.edu.tr). University museums have become models for some public historical museums of formerly colonized countries. The distinction, nonetheless, lies in the museum’s purpose: public historical museums are basically devoted to characterize philosophical structures of countries and patriotism, while the emphasis of university museums is scholarship and the academic institution’s notion of education. Because of the changing social function of museums in the Philippines, university museums slowly declined in essentialness when historical museums turned out to be important for nation-building developments. (Mateo, 2020). In relevance to the study, Nueva Ecija University of Science and Technology is a state university founded in 1908, otherwise known as Wright Institute in San Isidro, Nueva Ecija. From trade school to the present status of being a university, it became a notable education institution which provides knowledge, skills and training to the students and gives cultural and historical accounts in Nueva Ecija. It established the university museum in 2006 at the Sumacab Campus, Cabanatuan City. The museum provides a facility that will serve as a home for antique collections, tools, and other material accomplishments as evidence of cultural evolution and advancement among Novo Ecijanos in the hope that will inspire the present generation to become imaginative and creative as well. This study tackles about the redevelopment of NEUST University Museum to be an education tourism destination where it serves as a venue that meet the past to its present regarding the historical and cultural heritage of Nueva Ecija, and its role as academic institution for the benefit of students and local community as well as the entire Novo Ecijanos.The study will consist of three levels: redevelopment stage, infrastructure and collection management stage and program/activities planning stage.

Rezensionen zu: Johannes Diehl, Markus Witte Hebräisches und aramäisches Wörterbuch zum Alten Testament Begründet von Georg Fohrer. 4., völlig neu bearb. Aufl., De Gruyter, Berlin/Boston 2021. Miriam von Nordheim-Diehl Streit um Korach. Eine biblische Figur zwischen Numeri, den Psalmen und der Chronik (Wissenschaftliche Monographien zum Alten und Neuen Testament, Bd. 176), Vandenhoeck & Ruprecht, Göttingen 2023. Stefan Alkier, Thomas Paulsen (Hg.): Das Evangelium nach Lukas und die Taten der Abgesandten. Neu übersetzt (Frankfurter Neues Testament Bd. 4), Brill, Schöningh, Paderborn 2023 Stefan Alkier (Hg.): Zuversichtsargumente. Biblische Perspektiven in Krisen und Ängsten unserer Zeit Biblische Argumente in öffentlichen Debatten Bd. 3 (in zwei Bänden) Stefan Alkier, Martin Keßler und Stefan Rhein (Hg.): Evangelische Kirchen und Politik in Deutschland. Konstellationen im 20. Jahrhundert. (Christentum in der modernen Welt, Bd. 5), Mohr Siebeck, Tübingen 2023. Stefan Michels: Testes veritatis. Studien zur transformativen Entwicklung des Wahrheitszeugenkonzepts in der Wittenberger Reformation. (SMHR, Bd. 129), Mohr Siebeck, Tübingen 2022. Volker Leppin, Stefan Michels (Hg.): Reformation als Transformation? Interdisziplinäre Zugänge zum Transformationsparadigma als historiographischer Beschreibungskategorie. (SMHR, Bd. 126), Mohr Siebeck, Tübingen 2022. Tugrul Kurt, Felix Machka, Johannes Müller, Christoph Rogers (Hg.): Grenzgänge wissenschaftlicher Reflexivität in Judentum, Christentum und Islam. Wissenschaftliche Buchgesellschaft, Darmstadt 2023. Heiko Schulz, Jon Stewart, Karl Verstrynge (Hg.): Kierkegaard Studies Yearbook 2023. De Gruyter, Berlin/Boston 2023. Heiko Schulz (Hg.): Das Böse – die Scham – das Opfer. Drei religiöse Kernphänomene in philosophisch-theologischer Perspektive. (Kleine Schriften des Fachbereichs Evangelische Theologie der Goethe-Universität Frankfurt am Main, Bd. 14), Evangelische Verlagsanstalt Leipzig 2023. Harmjan Dam: Kirchengeschichte kompetenzorientiert unterrichten. Ein Arbeitsbuch. Verlag W. Kohlhammer, Stuttgart 2023. David Käbisch, Juliane Keitel (Hg.): Religion und Populismus. (Religion unterrichten, Bd. 2/2), Vandenhoeck & Ruprecht, Göttingen 2021. Ann-Kathrin Knittel: Predigt und Exegese im Atelier. Kohlhammer, Stuttgart 2023.Walter Pohl, Andre Gingrich, Nathan P. Gibson (Hg.): Knowledge Collaboration among Jews, Christians, Zoroastrians, and Muslims in the Abbasid Near East I. Medieval Worlds 17 (2022), https://doi.org/10.1553/medievalworlds_no17_2022. Walter Pohl, Andre Gingrich, Nathan P. Gibson (Hg.): Knowledge Collaboration among Jews, Christians, Zoroastrians, and Muslims in the Abbasid Near East II. Medieval Worlds 18 (July 2023), https://doi.org/10.1553/medievalworlds_no18_2023. Christian Wiese, Stefan Vogt, Mirjam Wenzel, Doron Kiesel, Gury SchneiderLudorff (Hg.): Das jüdische Frankfurt. Von der Emanzipation bis 1933. (Kontexte zur jüdischen Geschichte Hessens, Bd. 2), De Gruyter, Berlin / Boston 2023. Claudio Carvalho, Ephraim Meir und Christian Wiese (Hg.): Rosenzweig Jahrbuch / Rosenzweig Yearbook 13: Transzendenz und Offenbarung / Transcendence and Revelation. Verlag Karl Alber, Freiburg i. Br. 2023. Andrea Kirchner: Emissär der jüdischen Sache. Eine politische Biografie Richard Lichtheims. Instituts, Bd. 35), Vandenhoeck & Ruprecht, Göttingen 2023. Andrea Kirchner (Hg.): Von Konstantinopel nach Genf. Quellen zum Wirken Richard Lichtheims. (Archiv jüdischer Geschichte und Kultur, Bd. 7), Vandenhoeck & Ruprecht, Göttingen 2022.

The State of Research on Early Medieval Weaponry in Poland – 65 Years After Studies by Andrzej NadolskiAndrzej. Nadolski’s monograph “Studies of the early medieval arms and armour from the Polish lands in the 10th-12th centuries” that was published in 1954 was the first major work in Polish scholarship that made use of archaeological sources in studies on military affairs. Earlier works by Józef Łepkowski, Tadeusz Korzon and Władysław Dziewanowski were actually solely based on written and iconographic sources. The period of 65 years which has passed since the publication of Andrzej Nadolski’s book is a good moment for undertaking an attempt at confronting it with the present state of research on early medieval weaponry in Poland. Nadolski’s typological proposals are still in use; on the other hand, due the growth in the number of finds the source basis of his book has become significantly obsolete. It is possible to isolate two periods in studies on early medieval arms and armour: until 1989 and after this date. This caesura is not a matter of incident. There is no doubt that democratisation of public life after the fall of communism in Poland significantly influenced the mentality of subsequent generations of researchers. Furthermore, it facilitated access to foreign literature, which was manifested in a broader research perspective. In the first period, activities in the Łódź research centre come to the forefront. These were examinations undertaken both by Andrzej Nadolski himself (in the years 1947–1993 he published about 70 works on weaponry and military affairs) or by his students gathered in the Atelier for History of Old Weaponry in the Institute of History of Material Culture of the Polish Academy of Sciences. A research team that was formed here was termed “the Łódź school of archaeological arms and armour studies”. Within the framework of this Atelier a few research works originated which became canonical in Central European arms and armour literature. What is more, Nadolski was one of initiators and authors of the first arms and armour exhibition in the history of post-war Poland (1978). He was also a founder and the first editor of the Fasciculi Archaeologiae Historicae periodical. It has been issued since 1986 by the Łódź Branch of the Institute of Archaeology and Ethnology of the Polish Academy of Sciences. Papers on weaponry and military issues have constituted a significant part of each volume of this journal. Archaeological arms and armour studies before 1989 were also pursued in other research centres. In Poznań, it was as early as the 1950s that Zofia Hilczerówna and Jan Żak were carrying out studies on equestrian equipment and parts of horse tack. Among researchers who were active in Wrocław one must mention Wanda Sarnowska and later on Krzysztof Wachowski. A dozen of so works also originated in other research centres; these works, however, were rather short (sometimes a few sentences long) mentions or papers which could be now termed case studies. Among these studies, the greatest number concerned swords, parts of horse tack and spurs. It must be underlined that it was as early as in the late 1950s that metallurgical examinations and analyses commenced to be used in order to answer questions concerning the technology and methods of weaponry manufacture. To sum up the first period of post-war arms and armour studies, the very fact that such research was undertaken and that archaeological finds were taken into consideration was of significance. What also deserves attention was the use of results of analyses of medieval iconography in formal and typological studies, as well as the first cases of technological examinations. As regard deficiencies, one must mention an almost complete absence of research works on battlefields, a rather low interest in studies on staff and butt weapons, as well as in research concerning the period before the 10th c. After the fall of communism in 1989 certain changes took place in the structure of the community of weaponry researchers. Students of Nadolski formed arms and armour research centres at the Nicolaus Copernicus University in Toruń and at the University of Łódź. The 1990s first of all brought a number of studies which critically assessed early medieval archaeological sources that had been gathered so far. Their criticism especially concerned the importance of weapons as chronology markers, with special reference to spurs with hook-shaped terminals. In the Łódź centre a study of Polish military technique until 1500 and two volumes of history of late medieval weaponry were completed in this time. Furthermore, research on stirrups and weaponry of nomadic peoples were also carried out. On the other hand, the most important issue in the Poznań centre was the presence of Scandinavian weaponry and warriors in the territory of the Piast State. Furthermore, individual finds of weaponry were still published in various regions of Poland. Sometimes these finds underwent more in-depth specialist analyses, aimed at identifying their technology of manufacture. More extensive studies on pre-Romanesque spurs and swords can be seen as exceptions. The post-millennium period is remarkable for an intensification of studies on early medieval weaponry. This intensification was spurred by three initiatives which were undertaken independently in various research centres. The first of these came into being in the Łódź centre and concerned a new study on early medieval weaponry from various regions of Poland. This ambitious plan was only partially fulfilled by means of publications of arms and armour from Western Pomerania and Lesser Poland. The second initiative was related to the fact of undertaking systematic underwater examinations in Lake Lednica by the Nicolaus Copernicus University in Toruń. The assemblage of weaponry that was gathered in the course of this research is one of the most numerous in Poland. Apart from papers of various size, it was also discussed in three monographs concerning axes, swords as well as staff weapons and protective equipment. The third initiative is the foundation of anew periodical “Acta Militaria Mediaevalia” which focuses on medieval weaponry. The idea of this journal was proposed by Piotr Kotowicz and the first volume was published in 2005. Due to these initiatives it came to a sort of “changing of the guard” in the arms and armour research community. Researchers from a new generation came into prominence. They were focusing both on regional research, related to place of their employment, but were also undertaking more general studies. This resulted in a number of new works. Apart from swords and axes, which were also often dealt with in previous studies, more attention was paid to spur thong fittings, sword scabbard chapes, mace heads, flail striking ends and to shields. A separate research trend were works devoted to ideological significance of weapons, their religious and symbolic meanings as well as studies on trauma inflicted by weapons. Cyclical meetings within the framework of the Andrzej Nadolski Colloquia have become an opportunity for exchange of ideas and presentation of research results. The same role has been fulfilled by Festschriften for doyens of Polish arms and armour studies. Analogously to the previous period, however, a number of weaponry studies came into being beyond the main trends. In result of this, numerous arms and armour papers sometimes appeared in niche publications. Regrettably, the last two decades have also brought an increase in activity of illegal treasure hunters equipped with advanced metal detectors. Their activity has led to a discovery of an unspecified number of finds of weaponry (hundreds, if not thousands). Out of these, only few found their way to the academic discourse and (sometimes) to collections of museum institutions. Discoveries of the last 65 years have dramatically enlarged the source basis of weaponry finds. For instance, the number of axes (178 specimens were known to Nadolski) has increased five times (891 finds in 2014). This is also the case with other categories of finds. In such a huge assemblage of artefacts there are finds which cannot be classified with the use of existing typologies. This enforced corrections of typologies which are in use or creations of new ones. The recent period has also brought numerous works discussing multi-aspect specialist analyses of arms and armour, also including studies on weapon parts made from organic materials (leather, wood and textiles). On the other hand, as compared with archaeological finds, much less attention was paid to iconographic depictions of weaponry and interpretation of written sources. This overview of issues in research on early medieval weaponry in the territory of Poland demonstrates an enormous progress which has taken place since the publication of Nadolski’s monograph. This is first of all a quantitative progress – it can be speculated that about a dozen or so thousand of various finds related to military equipment of 8th–mid-13th c. warriors have been discovered so far in the territory of Poland. Due to international contacts, access to the most recent literature and a possibility of a more and more precise dating of artefacts, this progress is also qualitative in its nature. In the discussed period, some categories of weapons became subjects of separate studies (e.g., axes or swords), while other still wait for their monographers. Concerning other research postulates, one must mention a need for a comprehensive analysis of sources from the so-called tribal period or weapons from eastern borderlands of present-day Poland. It is also necessary to renew monographic studies for individual regions of the country. As it can be seen, the community of students of early medieval weaponry in Poland still face a great deal of work and numerous challenges.

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. 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