Articles de revues sur le sujet « Humanities -> theatre -> directing »

2020 marks the tenth anniversary of the Barrydale Giant Puppet Parade, a large-scale, experimental annual public puppetry event and performance in a small rural town in the Klein Karoo of South Africa. This multifaceted, collaborative puppet theatre-making process, which results annually in the creation of a parade and large-scale original performance, is co-organized by Net Vir Pret (a children’s school aftercare non-profit organisation based in the town of Barrydale) and the Laboratory of Kinetic Objects (LoKO) at the Centre for Humanities Research at the University of the Western Cape (CHR@UWC). The following conversation between the author (a Theatre Research Fellow at the CHR@UWC and creative director of the parade since 2014) and Sudonia Kouter (the Net vir Pret Aftercare manager and a key artistic contributor in the parade creative and directing teams) explores some of the experiences of meaning-making that arise in such a multi-layered and ambitious project.

This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of festivals in which Polish theatres participate and highlights their contribution. It also discusses the reception of individual performances by Polish theatres in Ukrainian criticism. The author focuses on the absence of iconic plays of Polish theatre on the posters of Ukrainian festivals (the exception is Bzik tropikalny (The Tropical Craze) by Witkacy, directed by Grzegorz Jarzyna, 1998). This resulted in the fact that the most important achievements of Polish theatre remained unknown to the Ukrainian audiences, and the professional community gravitated more towards Russia than towards the West. Given the more than four-hundred-year history of Polish–Ukrainian relations, it is essential that steps be taken to restore Polish–Ukrainian theatrical communication in order to ensure that Ukrainian theatre is connected to the European cultural space.

We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.

William W. Demastes's new book is a rare find. It shows a new direction for interdisciplinary theatre scholarship, combining drama and performance with cognitive science, fuzzy logic, and complexity theory. With this challenging combination, Demastes extends the significance of theatre beyond its conventional place in the humanities and proposes specific ties between an ancient art form and recent scientific discoveries. He demonstrates a post-postmodern or “neostructuralist” approach that dares to discuss “the emergent essence of life itself,” through a materialist, yet “nonpositivist” science of the drama. He thus offers a glimpse “of ’universal' consciousness” in theatre's “spiritual something more” (7–9).

Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.

It is a well-known and often lamented fact that we know very little about the actual staging of plays in the theatre of Dionysus in the Fifth Century b.c. What snippets of information we do have date from later centuries and may reflect contemporary conditions of performance, or may be mere inference based on fifth-century texts. Even though we can derive considerable comfort from Oliver Taplin's dictum that ‘the Greek tragedians signalled all their significant stage directions in the words’, 2 much that would enhance our knowledge of a fifth-century production remains a mystery.

The study of time, space and movement as constituent art elements was a focus of attention of avant-garde artists. The theatre where events unfold both in space and time became a place of consolidation of Ukrainian artists, with the synergistic association of representatives in various art branches and movements. A scenographic sketch, that is, a two-dimensional realisation of idea of a future four-dimensional work, is a unique phenomenon to study the evolution of the avant-garde’s concept of the space-time continuum. Through the example of works of both distinguished and less known Ukrainian theatre artists we have studied features of the realisation of time and space categories according to the key stylistic directions of the Ukrainian avant-garde: cubism, futurism, cubo-futurism, constructivism, suprematism. A theoretical basis for the study has been provided by works of Western thinkers of the late nineteenth and early twentieth centuries: Edmund Husserl, Henri Bergson, Oswald Spengler, Ludwig Wittgenstein, Maurice Merleau-Ponty, and Meyer Schapiro, along with the Ukrainian art theorists Kasimir Malevich, Aleksandr Bogomasov, and Les Kurbas, as well as works of modern researchers such as Linda Henderson and Igor Duchan. We have drawn a parallel between the development of art concepts in the Ukrainian avant-garde and scientific achievements, and the sense of time and space categories in the philosophical thought of that epoch.

The authors of the article focus on the discussion format of practical research. In recent years, practice as research has become a direction of research activity in foreign universities and an object of close attention from the Russian academic community. Representatives of various disciplines in art and the humanities convincingly argue the need for such a format of creative practice in performance, theatre, dance and contemporary art. Practice as research includes different forms and ways of representing applied and project art products. Today, a practising researcher causes controversy and discussion since the model of creative practice as a method of studying art is an innovative educational format. Also, the parameters of evaluating practical research, the relationship between theoretical, purely research, and creative material cause significant difficulties. The methodology based on practice and the parameters of the assessment of practice as research give rise to a lively discussion. The situation in arts and humanities teaching is complicated because practice-related research has been labelled as field research and practice-based experimentation in medicine, design and engineering for a long time. Artistic practice in contemporary art and design has recently become the object of close attention at the Graduate School of Art and Design at the Higher School of Economics since, today, the practical focus of visual research is the main direction in educational bachelor and master’s programs. A new understanding of art as a practice and, at the same time, research can shed light on many topics, including cultural anthropology, psychology, sociology, etc. That is why we defend the idea of the interdisciplinarity of such studies in our article. Artistic practice as a field of academic research and new experience in postgraduate education is at the centre of our study. We strive to generalise the experience of European educational programs, expand the range of methodological approaches and present the author’s concept. Practice and research have long been inseparable in many humanities; project workshops and representation of creative artifacts are at the heart of contemporary art and design education. Modern Russian education is just beginning to explore new territory. In this sense, our collaborative research of an innovative format is designed to analyse foreign experiences and formulate the need to promote new educational technologies within the framework of graduate school. The habitus of practice as research is such that research based on practice raises the question of the forms of critical activity and content parameters of a creative artifact and documenting research materials. The posed research problem in combination with practice demonstrates the originality of research. It expands the boundaries of the research field by introducing a hybrid methodology for evaluating a creative project and critical discourse. The task of the authors of the article is to identify a debatable problem field, analyse analytical data related to the innovative scientific field and present essential strata of the new educational format, Practice as Research.

The field of performance studies has invigorated premodern scholarship by directing critical attention to live, ephemeral events that unsettle the textual archive. This special issue of JMEMS builds on this work by stepping away from the usual emphasis on theater and its texts to examine “performance” conceived more broadly. With case studies that range from a pig-clubbing “game” in medieval festivals to the gnomic utterances of secretive eighteenth-century philosophical rituals, these essays ask how we study a medium that has, by its nature, disappeared. How, in other words, do we engage textual remnants to locate traces of embodied action? A forum midway through the issue offers speculative and provocative answers to this question, and an afterword takes a wider view of the enterprise to think through its implications for periodization and historical analysis.

The article discusses a specific period of the production of the documentary genre at TV Ljubljana, known as the period of the Ljubljana School of Documentary Film (1981­1990). The focus of this research is predominantly the conditions and limitations of production, under which documentary films and practices, as well as the routines of the creators, were created, to analyse how production practices were reflected in the form and style of documentary films. The documentary films of this period began to move away from news coverage with current political content and the explanatory mode of representation, and moved towards the participatory and observatory modes of representation. The routines and practices became more professional. In particular, journalists began writing scripts and collaborating with talented directors from AGRFT (Academy of Theatre, Radio, Film and Television). Despite financial and production limitations, which placed numerous bureaucratic tasks into the creative process, and the self-censorship of creators, under the leadership of editor Drago Pečko and with the collaboration of directors, numerous authorial documentary films were made that were recognized in the Yugoslav space. Owing to the changed circumstances of the media, the management of public television saw the direction of the development of the medium after 1990 tend towards entertainment programmes, which meant that the documentary began losing its former importance in the name of ratings and advertising revenues.

The gods appear in nearly every passage of Aristophanic dialogue; it is hard to imagine more than five minutes passing in the comic theatre before hearing the name of an Olympian deity. This remarkable density is perhaps less telling than it might seem, for the vast majority of such references occur in oaths. Formally, an oath calls on one or more gods to witness (using the particles nē or ma) an assertion, a denial, or a promise. Less formally, simple oaths with nē or ma add colour and emphasis to colloquial language, somewhat like ‘swear words’ in English, and it is this usage which predominates in Aristophanes; to give just one example, the most popular oath ‘by Zeus’ occurs over 250 times in the eleven comedies. So common are these ‘oaths’ that they hardly seem worthy of the name; at most, they might seem to offer no more than insight into colloquial language at the profane level. Numerous instances, however, take issue with the institution of the oath itself and acquire considerable importance due to the integral role the oath played in Greek religion, especially given the state of that religion precisely during the period of Aristophanes' career, when traditional values were assaulted from numerous directions, and the forces of orthodoxy lashed back with a vengeance.

Virtual acoustic environments are created by mimicking the pressures of real acoustic sources at a listener’s ears. In this way, a listener can perceive virtual acoustic sources as coming from any desired direction. There are multiple methods to accomplish this using headphones or loudspeaker arrays, but not all are practical for everyday use. Some use cases limit the use of headphones or the number and position of loudspeakers, such as automobiles and home theater systems. These limitations also put bounds on the performance of each possible system, such as allowable head movement and the accuracy of localization. An exhaustive-search optimizer was used to find the performance of various sparse loudspeaker arrays, given a limited number of possible loudspeaker positions in a free-field environment for a single stationary listener. The optimizer sought to maximize allowable head rotation and translation and to minimize localization errors. Arrays consisting of two or four loudspeakers were considered using a spherical head model to find the necessary head-related transfer functions and cross-talk cancellation was used to create the virtual acoustic environment. From the results, pareto fronts were created that can be used to find the best loudspeaker array configuration for given design constraints.

Empirical studies proved that good corporate governance had a positive link to the success of an organization. Good in directing and managing organizational processes, structures, and information mean satisfaction guaranteed was given to all stakeholders. Essential factor like working atmosphere may be considered when looking into corporate governance as well as organizational success. However, limited literature focused on the importance of communication climate and its connection to corporate governance and organizational success. Hence, this study looked into the predicting effect of communication climate to perceived corporate governance and organizational success. 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It is important to stress that these peculiar pseudo-revolutions, imported from Russia and carried out under the protection of the army and the police, were full of authentic revolutionary psychology and their adherents experienced them with grand pathos, enthusiasm, and eschatological faith in an absolutely new world. Poets found themselves on the proscenium for the last time. They thought they were playing their customary part in the glorious European drama and had no inkling that the theatre manager had changed the program at the last minute and substituted a trivial farce.–Milan Kundera, Life Is Elsewhere (1969)In the preface to her 1980 collection Desire in Language, Julia Kristeva acknowledged her ongoing debt to the pioneering linguistic theories of Roman Jakobson, a scholar who, in her phrase, "reached one of the high points of language learning in this century by never losing sight of Russian futurism's scorching odyssey through a revolution that ended up strangling it." Kristeva's statement takes us in two directions at once, both of which I will explore in this essay: it draws attention to Jakobson's sustaining roots in the avant-garde experimentation in poetic language that flourished in Russia in the early part of this century; and it tacitly underscores Kristeva's own ties to Russian avantgarde theory and practice. For Jakobson, Kristeva has suggested, the brief, febrile period of artistic experimentation that Marjorie Perloff has called "the futurist moment" continued to inform his writing in vital ways long after its unnatural death at the hands of the Soviet state. Certainly Jakobson, like Kristeva, is preoccupied throughout his work— from his exploration of Khlebnikov's "transsense" in "Recent Russian Poetry" to his 1980 study of Holderlin's schizophrenia—with the relationship between abnormal or "trans-normal" language and poetic language that lay at the heart of formalist theory and futurist practice in early twentieth century Russia.

Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Musician-Creator, which led to the formation of a significant layer of educated amateurs and many composers, whose works have been forgotten. The purpose of this article is to present Clémence de Grandval’s creativity as an important component of the development of artistic culture of France in the XIX century. Results and conclusion. The centers of salon culture, where composers and performers, poets and publicists, artists and theater figures gathered in the epoch of blossom of the European Romanticism influenced on shaping of personality and individual artistic style of Clémence de Grandval (1828–1907), born as Marie Félicie Clémence de Reiset (and also known as Vicomtesse de Grandval and Marie Grandval). Unlike of many women of that time, she was lucky to study from a young age. She took lessons from a family friend, the German composer F. Flotow, and later – from F.Chopin and C. Saint-Saëns. In the artistic environment of France in the XIX century Clémence de Grandval was not only well-known, but also a highly respected composer. For many years she held an honorable place in the National Musical Society of France, where she was also involved in patronage, helping young talented composers to promote their works. Both, the significant art prizes of that period, which Clémence de Grandval received through her musical talant and professional knowledge, as well as the respectful attitude of her contemporaries, indicate that during her lifetime she achieved great recognition. Clémence de Grandval’s creative heritage includes several operas, choral and instrumental works that were actively publishing in the XIX century, but later the scores of her orchestral compositions were lost. As of today, the interest to Clémence de Grandval’s creativity is reviving, though performers focus mainly on her chamber works, where orientation on home music is obvious. Thus, the legacy of this remarcable French women composer deserves a deeper investigation.

Materials are deeply connected with the environment, because they stem from raw materials extracted from the geosphere, rely on large amounts of energy and of water in their production stage, project emissions to air, water and soil when their ores (or minerals) are mined, when they are made in steel mills or cement kilns, including very significant amounts of greenhouse gases. They also contribute to emissions and energy consumption of the artifacts of which they are part, either consumption or investment goods. Their connection with the biosphere raises many issues, in terms of toxicology, ecotoxicology or biodiversity or simply of public health or in the working place. Materials, as an essential part of the anthroposphere, interact deeply with the anthroposphere itself but also with the biosphere, the geosphere, the atmosphere and the hydrosphere, thus with nature in a general way through mechanisms which can no longer simply be described at the margin, as resource depletion or as pollution. This raises issues related to the sustainability of materials in human activities, in which they are deeply immersed and entangled. The standard way of dealing with these environmental issues is to invoke sustainability and to explain that all actors are engaged in sustainable development, a morals or an ethics that points in which direction to go: all players in the materials field, industry, institutions and research, claim allegiance to sustainable development. At a more technical level, specific tools like Life Cycle Assessment (LCA) are used extensively to measure the interaction of materials with the environment. This, however, is not enough to deal properly with the environmental issues of materials, because these issues are not marginal any longer: the anthroposphere has become so large with respect to the biosphere, the geosphere and the planet in general that environmental risk is now part of modern life, especially in connection with climate change and the loss of biodiversity. To go deeper in analyzing the connection of human activities with nature, it is therefore necessary to reach out to SSH (Social Science and Humanities) disciplines and particularly to environmental ethics. This is a prerequisite for materials scientists (and others) to act decisively in the future in the face of the danger that lies ahead of us. The present paper reviews the advances of environmental ethics, a fairly young discipline born in the 1970s, in as far as it can help all actors on the world anthropospheric theater choose their lines for the future in a more conscious and sophisticated way than simply claiming obedience to sustainability. We will review briefly intellectual forerunners of the discipline like Jean-Jacques Rousseau, Henri David Thoreau, Rachel Carson or Paul Ehrlich. This will help flesh out well-known concepts like the precautionary principle or the “polluter-pays” principle, which are invoked in creating new materials or new processes to keep pollution and health issues under control, as part of the constraints of professional ethics but also of environmental law. It will be necessary to question to whom or to what the key concept of intrinsic value is attached: people, all living organisms or ecosystems, i.e. the environment in general, and thus to define anthropocentrism, biocentrism and ecocentrism. Environmental law and the ethics of sustainable development are still mainly anthropocentric while scientific ecology is more clearly ecocentric. To tackle the challenges of environmental issues as they are posed today and to avoid catastrophes, it might be necessary in the future for all social players and for people of the world of materials to follow the steps of environmental ethics and to move up from anthropocentrism to the broader vision of ecocentrism.

Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed areas of the world according to the estimates by the Gallup Institute (Esipova, 2011). Some authors, although aware that it is not a new phenomenon, talk about the era of migration (Castles, Miller, 2009) or the globalization of migration (Friedman, 2004). The global dimensions of migration are definitely influenced also by the increasingly visible features of modern societies like constantly changing conditions, instability, fluidity, uncertainty etc. (Beck, 2009; Bauman, 2002).The extent, direction, type of migrations and their consequences are affected by many social and natural factors in the areas of emigration and immigration. In addition, researchers from many scientific disciplines who study migrations have raised a wide range of research questions (Boyle, 2009, 96), use a variety of methodological approaches and look for different interpretations in various spatial, temporal and contextual frameworks. The migrations are a complex, multi-layered, variable, contextual process that takes place at several levels. Because of this, research on migrations has become an increasingly interdisciplinary field, since the topics and problems are so complex that they cannot be grasped solely and exclusively from the perspective of a single discipline or theory. Therefore, we are witnessing a profusion of different “faces of migration”, which is reflected and at the same time also contributed to by this thematic issue of the journal Ars & Humanitas.While mobility or migration are not new phenomena, as people have moved and migrated throughout the history of mankind, only recently, in the last few decades, has theoretical and research focus on them intensified considerably. In the last two decades a number of research projects, university programs and courses, research institutes, scientific conferences, seminars, magazines, books and other publications, involving research, academia as well as politics and various civil society organizations have emerged. This shows the recent exceptional interest in the issue of migration, both in terms of knowledge of the processes involved, their mapping in the history of mankind, as well as the theoretical development of migration studies and daily management of this politically sensitive issue.Migration affects many entities on many different levels: the individuals, their families and entire communities at the local level in the emigrant societies as well as in the receiving societies. The migration is changing not only the lives of individuals but whole communities and societies, as well as social relations; it is also shifting the cultural patterns and bringing important social transformations (Castles 2010). This of course raises a number of questions, problems and issues ranging from human rights violations to literary achievements. Some of these are addressed by the authors in this thematic issue.The title “Many faces of migration”, connecting contributions in this special issue, is borrowed from the already mentioned Gallup Institute’s report on global migration (Esipova, 2011). The guiding principle in the selection of the contributions has been their diversity, reflected also in the list of disciplines represented by the authors: sociology, geography, ethnology and cultural anthropology, history, art history, modern Mediterranean studies, gender studies and media studies. Such an approach necessarily leads not only to a diverse, but at least seemingly also incompatible, perhaps even opposing views “on a given topic. However, we did not want to silence the voices of “other” disciplines, but within the reviewing procedures actually invited scientists from the fields represented by the contributors to this volume. The wealth of the selected contributions lies therefore not only in their coherence and complementarity, but also in the diversity of views, stories and interpretations.The paper of Zora Žbontar deals with the attitudes towards foreigners in ancient Greece, where the hospitality to strangers was considered so worthy a virtue that everyone was expected to “demonstrate hospitality and protection to any foreigner who has knocked on their door”. The contrast between the hospitality of ancient Greece and the modern emergence of xenophobia and ways of dealing with migration issues in economically developed countries is especially challenging. “In an open gesture of hospitality to strangers the ancient Greeks showed their civilization”.Although the aforementioned research by the United Nations and Gallup Institute support some traditional stereotypes of the main global flows of migrants, and the areas about which the potential migrants “dream”, Bojan Baskar stresses the coexistence of different migratory desires, migration flows and their interpretations. In his paper he specifically focuses on overcoming and relativising stereotypes as well as theories of immobile and non-enterprising (Alpine) mountain populations and migrations.The different strategies of the crossing borders adopted by migrant women are studied by Mirjana Morokvasic. She marks them as true social innovators, inventing different ways of transnational life resulting in a bottom-up contribution to the integrative processes across Europe. Some of their innovations go as far as to shift diverse real and symbolic boundaries of belonging to a nation, gender, profession.Elaine Burroughs and Zoë O’Reilly highlight the close relations between the otherwise well-established terminology used in statistics and science to label immigrants in Ireland and elsewhere in EU, and the negative representations of certain types of migrants in politics and the public. The discussion focusses particularly on asylum seekers and illegal immigrants who come from outside the EU. The use of language can quickly become a political means of exclusion, therefore the authors propose the development and use of more considerate and balanced migration terminology.Damir Josipovič proposes a change of the focal point for identifying and interpreting the well-studied migrations in the former Yugoslavia. The author suggests changing the dualistic view of these migrations to an integrated, holistic view. Instead of a simplified understanding of these migrations as either international or domestic, voluntary or forced, he proposes a concept of pseudo-voluntary migrations.Maja Korać-Sanderson's contribution highlights an interesting phenomenon in the shift in the traditional patterns of gender roles. The conclusions are derived from the study of the family life of Chinese traders in transitional Serbia. While many studies suggest that child care in recent decades in immigrant societies is generally performed by immigrants, her study reveals that in Serbia, the Chinese merchants entrust the care of their children mostly to local middle class women. The author finds this switch of roles in the “division of labour” in the child care favourable for both parties involved.Francesco Della Puppa focuses on a specific part of the mosaic of contemporary migrations in the Mediterranean: the Bangladeshi immigrant community in the highly industrialized North East of Italy. The results of his in-depth qualitative study reveal the factors that shape this segment of the Bangladeshi diaspora, the experiences of migrants and the effects of migration on their social and biographical trajectories.John A. Schembri and Maria Attard present a snippet of a more typical Mediterranean migration process - immigration to Malta. The authors highlight the reduction in migration between Malta and the United Kingdom, while there is an increase in immigration to Malta from the rest of Europe and sub-Saharan Africa. Amongst the various impacts of immigration to Malta the extraordinary concentration of immigrant populations is emphasized, since the population density of Malta far exceeds that of nearly all other European countries.Miha Kozorog studies the link between migration and constructing their places of their origin. On the basis of Ardener’s theory the author expresses “remoteness” of the emigratory Slavia Friulana in terms of topology, in relation to other places, rather than in topography. “Remoteness” is formed in relation to the “outside world”, to those who speak of “remote areas” from the privileged centres. The example of an artistic event, which organizers aim “to open a place like this to the outside world”, “to encourage the production of more cosmopolitan place”, shows only the temporary effect of such event on the reduction of the “remoteness”.Jani Kozina presents a study of the basic temporal and spatial characteristics of migration “of people in creative occupations” in Slovenia. The definition of this specific segment of the population and approach to study its migrations are principally based on the work of Richard Florida. The author observes that people with creative occupations in Slovenia are very immobile and in this respect quite similar to other professional groups in Slovenia, but also to the people in creative professions in the Southern and Eastern Europe, which are considered to be among the least mobile in Europe. Detailed analyses show that the people in creative occupations from the more developed regions generally migrate more intensely and are also more willing to relocate.Mojca Pajnik and Veronika Bajt study the experiences of migrant women with the access to the labour market in Slovenia. Existing laws and policies push the migrants into a position where, if they want to get to work, have to accept less demanding work. In doing so, the migrant women are targets of stereotyped reactions and practices of discrimination on the basis of sex, age, attributed ethnic and religious affiliation, or some other circumstances, particularly the fact of being migrants. At the same time the latter results in the absence of any protection from the state.Migration studies often assume that the target countries are “modern” and countries of origin “traditional”. Anıl Al- Rebholz argues that such a dichotomous conceptualization of modern and traditional further promotes stereotypical, essentialist and homogenizing images of Muslim women in the “western world”. On the basis of biographical narratives of young Kurdish and Moroccan women as well as the relationships between mothers and daughters, the author illustrates a variety of strategies of empowerment of young women in the context of transnational migration.A specific face of migration is highlighted in the text of Svenka Savić, namely the face of artistic migration between Slovenia and Serbia after the Second World War. The author explains how more than thirty artists from Slovenia, with their pioneering work in three ensembles (opera, ballet and theatre), significantly contributed to the development of the performing arts in the Serbian National Theatre in Novi Sad.We believe that in the present thematic issue we have succeeded in capturing an important part of the modern European research dynamic in the field of migration. In addition to well-known scholars in this field several young authors at the beginning their research careers have been shortlisted for the publication. We are glad of their success as it bodes a vibrancy of this research area in the future. At the same time, we were pleased to receive responses to the invitation from representatives of so many disciplines, and that the number of papers received significantly exceeded the maximum volume of the journal. Recognising and understanding of the many faces of migration are important steps towards the comprehensive knowledge needed to successfully meet the challenges of migration issues today and even more so in the future. It is therefore of utmost importance that researchers find ways of transferring their academic knowledge into practice – to all levels of education, the media, the wider public and, of course, the decision makers in local, national and international institutions. The call also applies to all authors in this issue of the journal.

Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed areas of the world according to the estimates by the Gallup Institute (Esipova, 2011). Some authors, although aware that it is not a new phenomenon, talk about the era of migration (Castles, Miller, 2009) or the globalization of migration (Friedman, 2004). The global dimensions of migration are definitely influenced also by the increasingly visible features of modern societies like constantly changing conditions, instability, fluidity, uncertainty etc. (Beck, 2009; Bauman, 2002).The extent, direction, type of migrations and their consequences are affected by many social and natural factors in the areas of emigration and immigration. In addition, researchers from many scientific disciplines who study migrations have raised a wide range of research questions (Boyle, 2009, 96), use a variety of methodological approaches and look for different interpretations in various spatial, temporal and contextual frameworks. The migrations are a complex, multi-layered, variable, contextual process that takes place at several levels. Because of this, research on migrations has become an increasingly interdisciplinary field, since the topics and problems are so complex that they cannot be grasped solely and exclusively from the perspective of a single discipline or theory. Therefore, we are witnessing a profusion of different “faces of migration”, which is reflected and at the same time also contributed to by this thematic issue of the journal Ars & Humanitas.While mobility or migration are not new phenomena, as people have moved and migrated throughout the history of mankind, only recently, in the last few decades, has theoretical and research focus on them intensified considerably. In the last two decades a number of research projects, university programs and courses, research institutes, scientific conferences, seminars, magazines, books and other publications, involving research, academia as well as politics and various civil society organizations have emerged. This shows the recent exceptional interest in the issue of migration, both in terms of knowledge of the processes involved, their mapping in the history of mankind, as well as the theoretical development of migration studies and daily management of this politically sensitive issue.Migration affects many entities on many different levels: the individuals, their families and entire communities at the local level in the emigrant societies as well as in the receiving societies. The migration is changing not only the lives of individuals but whole communities and societies, as well as social relations; it is also shifting the cultural patterns and bringing important social transformations (Castles 2010). This of course raises a number of questions, problems and issues ranging from human rights violations to literary achievements. Some of these are addressed by the authors in this thematic issue.The title “Many faces of migration”, connecting contributions in this special issue, is borrowed from the already mentioned Gallup Institute’s report on global migration (Esipova, 2011). The guiding principle in the selection of the contributions has been their diversity, reflected also in the list of disciplines represented by the authors: sociology, geography, ethnology and cultural anthropology, history, art history, modern Mediterranean studies, gender studies and media studies. Such an approach necessarily leads not only to a diverse, but at least seemingly also incompatible, perhaps even opposing views “on a given topic. However, we did not want to silence the voices of “other” disciplines, but within the reviewing procedures actually invited scientists from the fields represented by the contributors to this volume. The wealth of the selected contributions lies therefore not only in their coherence and complementarity, but also in the diversity of views, stories and interpretations.The paper of Zora Žbontar deals with the attitudes towards foreigners in ancient Greece, where the hospitality to strangers was considered so worthy a virtue that everyone was expected to “demonstrate hospitality and protection to any foreigner who has knocked on their door”. The contrast between the hospitality of ancient Greece and the modern emergence of xenophobia and ways of dealing with migration issues in economically developed countries is especially challenging. “In an open gesture of hospitality to strangers the ancient Greeks showed their civilization”.Although the aforementioned research by the United Nations and Gallup Institute support some traditional stereotypes of the main global flows of migrants, and the areas about which the potential migrants “dream”, Bojan Baskar stresses the coexistence of different migratory desires, migration flows and their interpretations. In his paper he specifically focuses on overcoming and relativising stereotypes as well as theories of immobile and non-enterprising (Alpine) mountain populations and migrations.The different strategies of the crossing borders adopted by migrant women are studied by Mirjana Morokvasic. She marks them as true social innovators, inventing different ways of transnational life resulting in a bottom-up contribution to the integrative processes across Europe. Some of their innovations go as far as to shift diverse real and symbolic boundaries of belonging to a nation, gender, profession.Elaine Burroughs and Zoë O’Reilly highlight the close relations between the otherwise well-established terminology used in statistics and science to label immigrants in Ireland and elsewhere in EU, and the negative representations of certain types of migrants in politics and the public. The discussion focusses particularly on asylum seekers and illegal immigrants who come from outside the EU. The use of language can quickly become a political means of exclusion, therefore the authors propose the development and use of more considerate and balanced migration terminology.Damir Josipovič proposes a change of the focal point for identifying and interpreting the well-studied migrations in the former Yugoslavia. The author suggests changing the dualistic view of these migrations to an integrated, holistic view. Instead of a simplified understanding of these migrations as either international or domestic, voluntary or forced, he proposes a concept of pseudo-voluntary migrations.Maja Korać-Sanderson's contribution highlights an interesting phenomenon in the shift in the traditional patterns of gender roles. The conclusions are derived from the study of the family life of Chinese traders in transitional Serbia. While many studies suggest that child care in recent decades in immigrant societies is generally performed by immigrants, her study reveals that in Serbia, the Chinese merchants entrust the care of their children mostly to local middle class women. The author finds this switch of roles in the “division of labour” in the child care favourable for both parties involved.Francesco Della Puppa focuses on a specific part of the mosaic of contemporary migrations in the Mediterranean: the Bangladeshi immigrant community in the highly industrialized North East of Italy. The results of his in-depth qualitative study reveal the factors that shape this segment of the Bangladeshi diaspora, the experiences of migrants and the effects of migration on their social and biographical trajectories.John A. Schembri and Maria Attard present a snippet of a more typical Mediterranean migration process - immigration to Malta. The authors highlight the reduction in migration between Malta and the United Kingdom, while there is an increase in immigration to Malta from the rest of Europe and sub-Saharan Africa. Amongst the various impacts of immigration to Malta the extraordinary concentration of immigrant populations is emphasized, since the population density of Malta far exceeds that of nearly all other European countries.Miha Kozorog studies the link between migration and constructing their places of their origin. On the basis of Ardener’s theory the author expresses “remoteness” of the emigratory Slavia Friulana in terms of topology, in relation to other places, rather than in topography. “Remoteness” is formed in relation to the “outside world”, to those who speak of “remote areas” from the privileged centres. The example of an artistic event, which organizers aim “to open a place like this to the outside world”, “to encourage the production of more cosmopolitan place”, shows only the temporary effect of such event on the reduction of the “remoteness”.Jani Kozina presents a study of the basic temporal and spatial characteristics of migration “of people in creative occupations” in Slovenia. The definition of this specific segment of the population and approach to study its migrations are principally based on the work of Richard Florida. The author observes that people with creative occupations in Slovenia are very immobile and in this respect quite similar to other professional groups in Slovenia, but also to the people in creative professions in the Southern and Eastern Europe, which are considered to be among the least mobile in Europe. Detailed analyses show that the people in creative occupations from the more developed regions generally migrate more intensely and are also more willing to relocate.Mojca Pajnik and Veronika Bajt study the experiences of migrant women with the access to the labour market in Slovenia. Existing laws and policies push the migrants into a position where, if they want to get to work, have to accept less demanding work. In doing so, the migrant women are targets of stereotyped reactions and practices of discrimination on the basis of sex, age, attributed ethnic and religious affiliation, or some other circumstances, particularly the fact of being migrants. At the same time the latter results in the absence of any protection from the state.Migration studies often assume that the target countries are “modern” and countries of origin “traditional”. Anıl Al- Rebholz argues that such a dichotomous conceptualization of modern and traditional further promotes stereotypical, essentialist and homogenizing images of Muslim women in the “western world”. On the basis of biographical narratives of young Kurdish and Moroccan women as well as the relationships between mothers and daughters, the author illustrates a variety of strategies of empowerment of young women in the context of transnational migration.A specific face of migration is highlighted in the text of Svenka Savić, namely the face of artistic migration between Slovenia and Serbia after the Second World War. The author explains how more than thirty artists from Slovenia, with their pioneering work in three ensembles (opera, ballet and theatre), significantly contributed to the development of the performing arts in the Serbian National Theatre in Novi Sad.We believe that in the present thematic issue we have succeeded in capturing an important part of the modern European research dynamic in the field of migration. In addition to well-known scholars in this field several young authors at the beginning their research careers have been shortlisted for the publication. We are glad of their success as it bodes a vibrancy of this research area in the future. At the same time, we were pleased to receive responses to the invitation from representatives of so many disciplines, and that the number of papers received significantly exceeded the maximum volume of the journal. Recognising and understanding of the many faces of migration are important steps towards the comprehensive knowledge needed to successfully meet the challenges of migration issues today and even more so in the future. It is therefore of utmost importance that researchers find ways of transferring their academic knowledge into practice – to all levels of education, the media, the wider public and, of course, the decision makers in local, national and international institutions. The call also applies to all authors in this issue of the journal.

The article analyzes one of the peculiarities of organization of educational process at the Faculty of Philology, namely the use of elements of performing art in literary studies and extracurricular activity. The main ways of interaction between theatre and University in this field are visiting theatre, discussing plays, creating amateur theatres, writing literary scripts, plays, reviews, research articles and monographs dedicated to development of theatre and drama. It also contains the analysis of activity of the most prolific amateur theatres directors, these are V. Sachenko, A. Svashenko, O. Chuguj, L. Osmolovskyj, V. Svirskyj, their success in putting plays by Ukrainian and world literature classic playwrights on the stage. This article covers the history of founding and directing student theatres in the plays “Epiphany”, “The Twelve Chairs”, “Arabesque” and others, directing their own plays based on works dedicated to H. Skovoroda (“The Great Prophecy”) and V. Karazin (“Treacherous Destiny”), crash Bolshevist total-colonial regime and him consequence (“Attempt on the Devil”). The research makes an emphasize on the importance of mutual managing of large-scale creative projects, group watching and discussion of film adaptations of O. Dovzhenko (“The Poem about the Sea”), M. Sholokhov (“And Quiet Flows the Don”) as well as on creating the first university-based film studio. The article also shows that as the students of the Kharkiv University N. Zabila, O. Kolomiiets, R. Polonskyj, A. Zhytnytskyj, I. Perepeliak and L. Toma were active in providing the written literary basis for theatres, cinema and television of Ukraine. The foremost determined reason of graduates of the University (Yu. Stanishevskyj, V. Savchenko, V. Svirskyj, S. Oleshko) dedicated themselves to theatre is long and thorough mastering the secrets of Melpomene’s art during studying at the Faculty of Philology. We conclude that it is necessary to include in curriculum an extra course called “Basics of the Performing Art” for the humanitarian schools, as well as to open and manage student theatres.

AbstractA preoccupation with fragmentation has defined many recent responses to antiquity. Within scholarship this focus takes the form of poststructuralist-informed readings, which highlight how any text can be perceived as fragmentary due to the epistemologies that we use to frame our readings. Within artistic practice there is a corresponding privileging of fragmentation through the dismembering of text. Yet one does not need to deconstruct a text, or to point to the gaps in meaning that persist in any textual encounter, to think through fragmentation.In this essay, I propose that utilising actual fragments within contemporary theatre is not simply an extension in scale of wider practice but represents a qualitatively different endeavour which holds unique benefits. I suggest that fragmentary texts represent fertile material for contemporary immersive performance, as the sense of lack contained within their form provides a productive impetus for an audience's creation of the unified imaginary world necessary for a ‘deep' form of immersion. Fragments and immersive theatre make for a unique partnership as the fragmentary source text holds synergy with the form of immersive performance, where a complete or ideal experience remains an ever-elusive ambition. I make my argument through an analysis of Punchdrunk's 2017 Kabeiroi, which turned the surviving fragments of Aeschylus' Kabeiroi into a four-to-six-hour immersive experience. I argue that a sense of yearning and incompletion is inevitable in the reception of ancient fragments, but that within immersive experiences this becomes a genuinely productive force. Punchdrunk's approach, I conclude, should be considered a useful method for other artists and represents a new possible direction for classical performance reception.

“Uplifting Moana Perspectives: Emerging Pacific Researchers and New Directions in New Zealand-Based Pacific Research” presents a shared vision for the future of Pacific research by Pacific early career academics (PECA) primarily based in Aotearoa–New Zealand. The task of charting new directions in imagining possibilities for Pacific research is a critical one, which speaks to our communities’ long and storied history in Aotearoa: a reality incongruent with the lack of Pacific scholars employed in permanent positions in New Zealand universities.[i] This special issue challenges the idea that there is a dearth of Pacific research, asserting rather that our underrepresentation in academia is a structural issue, not necessarily one of scarcity. As special issue editors, we intentionally draw in a cross-section of emerging Pacific researchers in our country to confidently write with emerging Pacific scholars on the other side of our Moana-Oceania region, writing back to the exclusionary nature of conventional disciplinary norms and divides that we are forced to navigate. In doing so, our contributors challenge and transcend disciplinary boundaries and push against the Eurocentrism of our tertiary education system. This work is crucial, as the ability to build an academy that prioritises and centres our ways of knowing, doing, relating, and being is a key component of addressing cultural safety and inclusiveness in university lecture theatres, curriculums, and epistemological norms for both PECA and Pacific students in Aotearoa–New Zealand.

How do omnivorous consumers perceive co-creation in cultural consumption? In this article, we combine observation data on co-created cultural productions, focus groups and field interviews to investigate omnivorous consumers’ perceptions of artistic experiences characterized by different degrees of co-creation. We explored this topic in the context of co-creative theatre, an emergent theatrical genre that provides for the active involvement of omnivorous consumers in the staging of a theatrical performance. Our findings reveal new dimensions of what it means for omnivorous consumers to be culturally open by showing their perceptions of interactive and participatory art, two distinct co-creative artistic experiences. While interactive art encourages consumers to intervene in the artistic experience by following the precise direction of the professional artists on stage, participatory art entails an even more active and autonomous role of consumers in the design of the experience. Our findings indicate that there are differences between the way in which consumers perceive interactive art and participatory art and that two distinct dimensions of cultural consumption – novelty and authenticity – emerge from different co-creative dynamics. The observed co-creation experiences portray the transformation of the omnivorous consumers from spectators or visitors to co-authors of the experience and mark the dissolution of the existing boundaries between production and consumption.

«Music conveys different meanings to everyone, and sometimes, it can even communicate different things at different times to the same person», Daniel Barenboim once said. This is tantamount to saying that music is influenced by the context in which it is played, whilst at the same time influencing the context of those who are listening to it. As such, music exists within a system of relationships. From this, it follows that music can be interpreted as a public art – when it is performed in front of an audience – when it is played by one or more musicians in the presence of a listener or listeners who witness the performance. This premise sparks an initial reflection: music, the most ephemeral of all the arts, excepting the work of composers (the technicians who “create” music), is born, grows, develops and dies in the moment of the performance, in which its entire existential cycle resides. And the proof of its existence can only be found in that moment of contact between the artist and their audience. That is the moment in which music exists. The period of history that we are currently living through – the social context of the pandemic, with theatres and concert halls shuttered – has relegated the existence of music to the medium that plays it. In this specific moment, music exists only if it is “recorded” on a medium – in other words, deprived of the vital force of the act of “live” public performance, which is the very proof of its existence. Although there have always been forms and genres of music that have evolved specifically for private settings (chamber music, for example), it is nonetheless a feature of our time to give even those forms and genres a public dimension; indeed, since the 19th century, chamber music has been performed in public settings – concert halls, auditoriums, theatres. That very same private dimension that defines chamber or home concerts instead takes on a public nature: as such, we find home concerts being played as part of major festivals (think of the “Piano City” model, which has now spread worldwide), bringing the public into private homes, giving the masses a taste of a type of musical creation designed for a reserved, elegant, unique setting; a type of musical creation that requires an attentive ear, but that is no longer the preserve of the few. From this starting point, it becomes clear how music, in its ephemerality, is nonetheless conditioned by the historical and social context of the time in which it is played, and not only the historical context in which it is created. Here again is the theme of creation: it is at this level that the material factors – namely the writing techniques adopted by individual composers to create their music, the music of each specific moment in history, the music of each specific geographical place – become intertwined with the cultural factors. Since the time when music transitioned from the dimension of oral transmission, as it originated, to the dimension of written transmission, the techniques of writing music have undergone a process of constant evolution by which they have ultimately created a structure within a system that has long been recognised – at least to the ear of Western listeners – as the koiné, the only possible musical language: the tonal system. This includes the majority of what is commonly referred to as the “classical” repertoire – the body of work studied in music schools, according to general consensus, despite the fact that it is also very much a feature of the “pop” repertoire, which is somehow perceived as an element that exists in contrast with the former. So much so that the introduction of courses of study dedicated to pop music in conservatories has truly shocked and bewildered some, as if the existence of two concepts of making music – which have always been considered distant from one another – within the same educational system were entirely inconceivable. Art music and pop music: two opposing faces that form a double-sided mirror reflecting the ways in which music is conceived today. And yet, there are forms and genres of what we now consider to be art music – forms and genres that have been incorporated into a “classical” musical repertoire, the preserve of specific audiences in specific venues – that were once the pop of yesteryear. Because pop is not merely the “song” genre (the canzone, the lieder, the chanson, etc.): pop is also – as we have been reminded on many occasions, even recently – opera, for example, not because “pop” is simply short for “popular”, and the word therefore comes with an implied meaning of “common” or “simple”, but because it forms an integral part of the cultural and social fabric, both in Italy and beyond. The same language and the same writing technique can therefore be adapted to two incredibly different ways of making music (art music and pop music); the technique is the same, yet it is used in different ways, some being more complex, others somewhat simpler; what changes is the context in which the music is made – the cultural position that we intend to attribute to the music itself. The idea of giving music a certain cultural position has had a clear influence on public consciousness and tastes: indeed, the very fact that our idea of “art” music is defined by its origins in a repertoire tradition, built up and stratified over time, within which there is actually hidden a “pop” dimension – as defined above, with reference to the example of opera – has resulted in that specific musical model being pigeonholed into a sector, contrasting it with a broader social dimension that recognises as music what we now conceive as commercial music, “pop” music in the pejorative sense of the term, divorced from its nobler roots. The relationship between technical and cultural factors has always marked the history of music, with the various historical periods – each with their own social context – ultimately deciding whether it is the former or the latter that prevail in the relationship between the two. Moreover, the relationship between material factors (compositional and writing technique) and immaterial factors (the cultural context of those who make and listen to music) intersects with the products of another key relationship, namely that between creativity and technique, the unique combination of which gives rise to any given piece of music. Indeed, much as is the case for the relationship between technique and culture, the relationship between creativity and technique also shifts and transforms depending on the historical period. This even holds true within the same “musical type”: just think of the technique/creativity relationship as applied to the classical repertoire and the technique/creativity relationship as applied to art music, be it classical or contemporary. Although we are in the same cultural context – what is, as a gross oversimplification, commonly considered the context to which art or classical music belongs – but the balance of power between the two factors is entirely subverted. This leads us to the conclusion that the relationship between creativity and technique does not necessarily involve an equation. Just think of the music of Wolfgang Amadeus Mozart and, in particular, his instrumental chamber music (which, as previously mentioned, we have made into a public form by inserting it into contexts with a public audience) or his symphonic music. How many times have we heard it defined as simple, melodic, catchy, pleasant? This is the general consensus; it is the social dimension of Mozart’s music that makes it a largely accessible listening experience even to the “untrained ears” of those who do not have a musical background. What lies behind this way of thinking about and considering music – specifically Mozart’s music, in this case – is an enormous misconception: the idea that music that is easy to listen to and enjoy is music written easily, or in other words, that what underpins this ease of listening is technical simplicity. Mozart’s writing absorbs into itself all its technical complexities, which are rendered imperceptible to the listener, as if disguised by the final audible product, and yet present within it: in short, Mozart did not write “simple” music. He was wholly familiar with technique, particularly instrumental technique, and thus demanded the maximum possible performance from each individual instrument in terms of sonority, timbre, colour; he did this in a new way compared to his contemporaries, ultimately producing a catalogue whose longevity and usability over time is destined to last eternally. Let us return to the intersection between our two relationships: technique/culture and technique/creativity. Mozart wrote differently from the other composers of his time: whilst nowadays, we listen to his music without any difficulty, his contemporaries struggled to understand him and his work. In terms of technique vs. creativity, when it comes to Mozart’s output, we could be forgiven for believing that it is the creative dimension that “wins”. And yet, Mozart’s music is anything but simple: it is not the result of a spur-of-the-moment burst of creativity, but rather the result of a creative act that is the culmination of his technical mastery and deeply intimate knowledge of instruments. Staying with the technique/creativity dichotomy for a moment, let us instead consider the effect that The Rite of Spring had on its listeners in Paris on 29 May 1913, but let us also consider how we feel today when we listen to a piece of contemporary art music. The relationship between that very same pair of qualities seems to be subverted: the creative act seems to be transformed into a show of pure technique. So what has changed? First of all, the koiné, as mentioned previously, has changed: from the Short Century onwards, composers started working and continue to work not only in an effort to create new forms of art, but also to create new forms of linguistic expression. This has served to distance art music from the listener (a distancing which has only further driven a wedge between the worlds of “classical” music and “pop” music, as touched upon previously) as a result of feeling betrayed, having lost their ability to understand. It is once again the immaterial factor, as represented by the cultural context, that conditions how the public receives the work of musical art and influences whether that same musical object will exist only in the moment of its creation and first performance or whether it will stand the test of time. Music’s relationship with time – a factor that affects the technique/culture duality, if it is indeed true that the passage of time and historical eras, with all the resultant changes, see the former of the two material and immaterial factors prevail over the latter at times, and vice versa at others, making music a heteronomous art – develops in complex directions. Time is one of the essential components of music, together with pitch, intensity and timbre: time, understood as the duration of each individual sound, within the “musical discourse”, structured into periods and phrases, organised within a system of measurement that recognises in each beat, measure or bar the set of values (notes of a specific duration) encompassed between two vertical lines placed on the stave. Time is thus understood to be one of the fundamental components of musical structure. And amongst the arts, this particular definition of time is only found in music. In much the same vein, the temporal dimension that underpins the concept of performance is unique to music (and the non-plastic arts): indeed, music only exists as public art for as long as it is being performed by a performer. To add a further layer, each performer has their own internal sense of time, their own way of experiencing and conceiving of time, which in turn affects the timing of their performance. This is what makes each performance – even of the same piece – different from the others in terms of both its total duration and the duration of each individual musical gesture made by each individual performer. Then there is the need for music – though the same can be said of architecture as well as any other form of artistic expression – to last over time. A need which, in the case of music, is satisfied on the one hand by merely overcoming the hurdle of the very first performance, following which there is X number of subsequent performances, demonstrating the longevity of a specific piece over time, thanks to performative actions repeated by different performers; on the other, by the identification and use of media which allow for the reproduction of specific performative actions, making them available to listen to ab aeterno, albeit with the loss of the public dimension of the music. Played back, these performances become a source of inspiration and imitation for other performers: a piece of music that stands the test of time due to being performed and played back multiple times will become part of the repertoire. The definition we are referring to here is a collection of sheets, pieces, works that time does not tarnish, but rather cements and preserves, reviving the audience’s need to listen to them again, because the audience recognises themselves in them, feels comforted and satisfied, despite acknowledging that each performance has characteristics that differ from previous ones and that will differ from subsequent ones. This demonstrates how the figure of the performer becomes part of music itself, playing a rather significant role in the redefinition of the creative process: if the piece being played is the same (i.e. written by a specific composer or group of composers), what makes each rendition unique is the co-creative action of the performer or performers. The performer(s)’ being involved in the creation of the work does not always necessarily presume the existence of a systemic or choral logic which establishes links between the creator of the work (i.e. the composer), the performer(s) and the audience. This type of three-way relationship is possible in a context in which the three participants in the system act “simultaneously”, so to speak. In other words, whilst this was possible in Mozart’s day, when the composer himself wrote specific sheets of music earmarked for specific performers – consider, for example, his Clarinet Concerto in A major, K. 622, the last sheet composed by Mozart and allocated to his friend and brother Mason, an extraordinary virtuoso of the instrument, Anton Stadler – it is obviously no longer possible to achieve this today, with the same Concerto entrusted to a performer who not only has no way of hearing Stadler’s original performance, but also has no way of establishing a dialogue or relationship with the composer. Not to mention the public dimension of the performance, with its contemporary rituality, so far removed from that of Mozart’s era. The “circuit” of the systemic logic laid out above therefore “breaks” when the “maker” of the work eventually dies, but this ultimately lends any connection added value as compared with the context of “simultaneous” creation: for the performers, this relationship with the composer is a plus. Being able to co-create a piece by playing it in the presence of the person who composed it not only allows the performer to fully capture the essence of the written music, but also gives the composer an opportunity to determine that when performed, their work does in fact correspond to what they committed to paper. Here, the duality of technique/creativity crops up once again: creativity, which forms the foundation of the act and process of composition, is finally faced with the technical capabilities of the instrument(s), whose repositories are the performers themselves, capable of playing their part in the simultaneous creation by offering the composer guidance in terms of technical and performance-related issues, even though this may impact upon the composer’s creative freedom. Nevertheless, the systemic-choral logic can also be applied in music coloured by other nuances of meaning, in reference to specific musical genres, be it chamber music, symphonic music, choral music, etc. These are all genres which live and die on cooperation between groups of people, interaction between peers – such as the members of a quartet, for example – or complementary interaction between performers of different “ranks” in a hierarchy, where within individual groups (the sections of an orchestra being a prime model), certain specific instrumentalists are given a primary role as compared with others. In all these cases, the co-creative action which links together composer and performer is complemented by the co-creative action that consists of multiple performers coming together to play and, in doing so, collaboratively bring to life a specific musical object. As the result of the composer’s primal act of creation, subsequently co-created by the performer(s), every type of music ultimately “exists” only at the moment when it encounters the audience. This encounter, this meeting, takes the form of a ritual of sorts in performance venues, theatres, concert halls and auditoriums, but it is by no means limited to these places. Music aspires to escape from those environments, as if to invade society. In other words, music is not just a public art: it is also a social art, in that it establishes relationships between artists and audiences, as well as between members of these audiences themselves; the latter phenomenon occurs not only at the moment of shared listening, but also after the fact, at the moment of reflection on what they have heard. That it is a social art, in the sense of being able to bring together different components of society, does not necessarily mean that it is an art that engages with social issues. The subjective dimension of the primordial creative act may very well derive from a wholly pure and extremely personal creative urge, an impulse, a need, entirely divorced from any kind of socio-political involvement. Music is pure art par excellence, especially instrumental music. Hence even today, it is possible to choose to make “music for music’s sake”, according to an agenda that has echoes of Parnassianism: “l’art pour l’art”, as famously proclaimed by Théophile Gautier, has no social, moral, educational or utilitarian purpose - rather, it is an end in itself. On the contemporary music scene, however, it is nonetheless true that an increasing proportion of composers are drawing their creative drive from the world around them. Social engagement has entered the world of “pop” music - it can be found in sheets of contemporary art music. It was in the 1960s that Luigi Nono brought music into workrooms and factories. Indeed, his thoughts on the matter are well known: «For me personally, making music is about having an effect on contemporary life, on the contemporary situation, on the contemporary class struggle [...]». Nowadays, it is no longer a question of the class struggle, nor do we feel a pressing need to bring contemporary music to the masses – after all, that is the purpose of “pop”. Art music interprets the reality around it by placing an emphasis on issues of gender – the theme of equal opportunities being a mainstay of contemporary music – of integration – with contemporary Western music being played on ethnic instruments, instruments from the cultures of people who have immigrated to the West, or even contemporary art music interacting with styles from other musical cultures – of the needs of young people, both performers and composers, to whom specific projects, calls and competitions are dedicated. The musical language of contemporary society, in all its many and varied forms, allows the younger composers in particular to enjoy an expressive and creative freedom that simply has no equal in any other context or at any other time in history. Having dismantled the common koiné, contemporary art music – as a combinatorial art – opens up a world of multifaceted and incredibly diverse possibilities for the synthesis of technique and creativity. This does not mean leaving the composer free to create without a formal education; on the contrary, it means structuring the educational path of a student/composer in a way that allows them to discover how music can come into contact with other languages, mix with other artistic forms, go beyond its own boundaries to absorb and draw upon what contemporary culture and society can offer, in terms of inspiration, to the trained ear of the musician. In order to be a musician nowadays, it is no longer sufficient to simply have a knowledge of the more material factors, the techniques (of both composition and performance) referred to at the start of this text: the performer and the composer are at the heart of an “extended” educational system that offers them professional development that does not become apparent in the mere act of creation or performance, but instead nourishes their relationship with the world of the production, reproduction, distribution and marketing of music. And yet, all this is still not enough to guarantee a future for music. In order to spark a social transformation that would make music a part of people’s lives – and not simply for the pleasure of listening to it, as a soundtrack in the background of other activities, but as a discipline with the power to actually improve people’s lives, which music is, to all intents and purposes, in view of the studies demonstrating that a knowledge of it bolsters the intellectual faculties of the individual – it is necessary for music to grow in step with the individual, in the context of educational courses shared by all students, not just those who intend to enter the world of music professionally. A step in this direction has already been taken – albeit with a top-down approach, at the level of higher musical and university education – with the development of study programmes that establish links between music and the scientific disciplines (for example, the agreement between the Milan Conservatory and the Politecnico di Milano) as well as the humanities (for example, the agreement between the Milan Conservatory and the University of Milan). The future of music lies in its ability to resume its central position in the world of higher education. Indeed, this role had been attributed to it since the Middle Ages: a fundamental aspect of higher education, music took pride of place amongst the liberal arts, a part of the Quadrivium together with arithmetic, geometry and astronomy, and alongside grammar, rhetoric and dialectic in the Trivium. Heteronomy is therefore a consubstantial characteristic of music from and throughout every age, and is now pushing it towards a more free, open and constant dialogue with other disciplines than some other arts manage, especially in its relationship with new technologies, ultimately with a view to creating brand-new professional profiles.

IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. Newcastle: Centre for 21st Century Humanitie, n.d. 1 Apr. 2019 <https://c21ch.newcastle.edu.au/colonialmassacres/>.Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia: U of Queensland P, 2014. Cranney, Kate. Ecological Science in the Tasmanian Midlands. Melbourne: Bush Heritage Australia, 2016. 1 Apr. 2019 <https://www.bushheritage.org.au/blog/ecological-science-in-the-tasmanian-midlands>.Davidson N. “Tasmanian Northern Midlands Restoration Project.” EMR Summaries, Journal of Ecological Management & Restoration, 2016. 10 Apr. 2019 <https://site.emrprojectsummaries.org/2016/03/07/tasmanian-northern-midlands-restoration-project/>.Department of Main Roads, Tasmania. Convicts & Carriageways: Tasmanian Road Development until 1880. Hobart: Tasmanian Government Printer, 1988.Dillon, Margaret. “Convict Labour and Colonial Society in the Campbell Town Police District: 1820–1839.” PhD Thesis. U of Tasmania, 2008. <https://eprints.utas.edu.au/7777/>.Gammage, Bill. The Biggest Estate on Earth: How Aborigines Made Australia. Crows Nest: Allen & Unwin, 2012.Greening Australia. Building Species Hotels, 2016. 1 Apr. 2019 <https://www.greeningaustralia.org.au/projects/building-species-hotels/>.Kerry Lodge Archaeology and Art Project. Kerry Lodge Convict Site. 10 Mar. 2019 <http://kerrylodge.squarespace.com/>.Kirkpatrick, James. “Natural History.” Midlands Bushweb, The Nature of the Midlands. Ed. Jo Dean. Longford: Midlands Bushweb, 2003. 45–57.Mitchell, Michael, Michael Lockwood, Susan Moore, and Sarah Clement. “Building Systems-Based Scenario Narratives for Novel Biodiversity Futures in an Agricultural Landscape.” Landscape and Urban Planning 145 (2016): 45–56.Mules, Warwick. “The Edges of the Earth: Critical Regionalism as an Aesthetics of the Singular.” Transformations 12 (2005). 1 Mar. 2019 <http://transformationsjournal.org/journal/issue_12/article_03.shtml>.The Marathon Project. <http://themarathonproject.virb.com/home>.University of Tasmania. Strategic Directions, Nov. 2018. 1 Mar. 2019 <https://www.utas.edu.au/vc/strategic-direction>.Wright L. “University of Tasmania Students Design ‘Species Hotels’ for Tasmania’s Wildlife.” Architecture AU 24 Oct. 2016. 1 Apr. 2019 <https://architectureau.com/articles/university-of-tasmania-students-design-species-hotels-for-tasmanias-wildlife/>.

IntroductionI stumble to my feet breathing heavily and, over the roar of a tank, a nearby soldier yells right into my face: “We’re surrounded! We have to hold this line!” I follow him, moving past burning debris and wounded men being helped walk back in the opposite direction. Shells explode around me, a whistle sounds, and then the Hun attack; shadowy figures that I fire upon as they approach through the battlefield fog and smoke. I shoot some. I take cover behind walls as others fire back. I reload the weapon. I am hit by incoming fire, and a red damage indicator appears onscreen, so I move to a better cover position. As I am hit again and again, the image becomes blurry and appears as if in slow-motion, the sound also becoming muffled. As an enemy wielding a flame-thrower appears and blasts me with thick fire, my avatar gasps and collapses. The screen fades to black.So far, so very normal in the World War One themed first-person shooter Battlefield 1 (Electronic Arts 2016). But then the game does something unanticipated. I expect to reappear—or respawn—in the same scenario to play better, to stay in the fight longer. Instead, the camera view switches to an external position, craning upwards cinematically from my character’s dying body. Text superimposed over the view indicates the minimalist epitaph: “Harvey Nottoway 1889-1918.” The camera view then races backwards, high over the battlefield and finally settles into position behind a mounted machine-gun further back from the frontline as the enemy advances closer. Immediately I commence shooting, mowing down German troops as they enter our trenches. Soon I am hit and knocked away from the machine-gun. Picking up a shotgun I start shooting the enemy at close-quarters, until I am once again overrun and my character collapses. Now the onscreen text states I was playing as “Dean Stevenson 1899-1918.”I have attempted this prologue to the Battlefield 1 campaign a number of times. No matter how skilfully I play, or how effectively I simply run away and hide from the combat, this pattern continues: the structure of the game forces the player’s avatar to be repeatedly killed in order for the narrative to progress. Over a series of player deaths, respawning as an entirely new character each time, the combat grows in ferocity and the music also becomes increasingly frenetic. The fighting turns to hand-to-hand combat, or shovel-to-head combat to be more precise, and eventually an artillery barrage wipes everybody out (Figure 1). At this point, the prologue is complete and the gamer may continue in a variety of single-player episodes in different theatres of WW1, each of which is structured according to the normal rules of combat games: when your avatar is killed, you respawn at the most recent checkpoint for a follow-up attempt.What are we to make of this alternative narrative structure deployed by the opening episode of Battlefield 1? In contrast to the normal video-game affordances of re-playability until completion, this narrative necessitation of death is in some ways motivated by the onscreen text that introduces the prologue: “What follows is frontline combat. You are not expected to survive.” Certainly it is true that the rest of the game (either single-player or in its online multiplayer deathmatch mode) follows the predictable pattern of dying, replaying, completing. And also we would not expect Battlefield 1 to be motivated primarily by a kind of historical fidelity given that an earlier instalment in the series, Battlefield 1942 (2002) was described by one reviewer as:a comic book version of WWII. The fact that any player can casually hop into a tank, drive around, hop out and pick off an enemy soldier with a sniper rifle, hop into a plane, parachute out, and then call in artillery fire (within the span of a few minutes) should tell you a lot about the game. (Osborne)However what is happening in this will-to-die structure of the game’s prologue represents an alternative and affectively unsettling game experience both in its ludological structure as well as its affective impact. Defamiliarization and Humanization Drawing upon a phenomenology of game-play, whereby the scholar examines the game “as played” (see Atkins and Kryzwinska; Keogh; Wilson) to consider how the text reveals itself to the player, I argue that the introductory single-player episode of Battlefield 1 functions to create a defamiliarizing effect on the player. Defamiliarization, the Russian Formalist term for the effect created by art when some unusual aspect of a text challenges accepted perceptions and/or representations (Schklovski; Thompson), is a remarkably common effect created by the techniques used in combat cinema and video-games. This is unsurprising. After all, warfare is one of the very examples Schklovski uses as something that audiences have developed habituated responses to and which artworks must defamiliarize. The effect may be created by many techniques in a text, and in certain cases a work may defamiliarize even its own form. For instance, recent work on the violence in Saving Private Ryan shows that during the lengthy Omaha Beach sequence, the most vivid instances of violence—including the famous shot of a soldier picking up his dismembered arm—occur well after the audience has potentially become inured to the onslaught of the earlier frequent, but less graphic, carnage (Bender Film Style and WW2). To make these moments stand out with equivalent horrific impact against the background of the Normandy beach bloodbath Spielberg also treats them with a stuttered frame effect and accompanying audio distortion, motivated (to use a related Formalist term) by the character’s apparent concussion and temporary disorientation. Effectively a sequence of point of view shots then, this moment in Private Ryan has become a model for many other war texts, and indeed the player’s death in the opening sequence of Battlefield 1 is portrayed using a very similar (though not identical) audio-visual treatment (Figure 2).Although the Formalists never played videogames, recent scholarship has approached the medium from a similar perspective. For example, Brendan Keogh has focused on the challenges to traditional videogame pleasure generated by the 2012 dystopian shooter Spec Ops: The Line. Keogh notes that the game developers intended to create displeasure and “[forcing] the player to consider what is obscured in the pixilation of war” by, for instance, having them kill fellow American troops in order for the game narrative to continue (Keogh 9). In addition, the game openly taunts the player’s expectations of entertainment based, uncritical run-and-gun gameplay with onscreen text during level loading periods such as “Do you feel like a hero yet?” (8).These kinds of challenges to the expectations of entertainment in combat shooters are found also in one sequence from the 2009 game Call of Duty: Modern Warfare 2 in which the player—as an undercover operative—is forced to participate in a terrorist attack in which civilians are killed (Figure 3). While playing that level, titled “No Russian,” Timothy Welsh argues: “The player may shoot the unarmed civilians or not; the level still creeps slowly forward regardless” (Welsh 409). In Welsh’s analysis, this level emerges as an unusual attempt by a popular video game to “humanize” the non-playing characters that are ordinarily gunned down without any critical and self-reflective thought by the player in most shooter games. The player is forced into a scenario in which they must make a highly difficult ethical choice, but the game will show civilians being killed either way.In contrast to the usual criticisms of violent video games—eg., that they may be held responsible for school shootings, increased adolescent aggression and so on —the “No Russian” sequence drew dramatic complaints of being a “terrorist simulator” (Welsh 389). But for Welsh this ethical choice facing the player, to shoot or not to shoot civilians, raises the game to a textual experience offering self-inspection. As in the fictional theme park of Westworld (HBO 2016), it does not really matter to the digital victim if a player kills them, but it should—and does—matter to the player. There are no external consequences to killing a computer game character composed only of pixels, or killing/raping a robot in the Westworld theme park, however there are internal consequences: it makes you a killer, or a rapist (see Harris and Bloom).Thus, from the perspective of defamiliarization, the game can be regarded as creating the effect that Matthew Payne has labelled “critical displeasure.” Writing about the way this is created by Spec Ops, Payne argues that:the result is a game that wields its affective distance as a critique of the necessary illusion that all military shooters trade in, but one that so few acknowledge. In particular, the game’s brutal mise-en-scène, its intertextual references to other war media, and its real and imagined opportunities for player choice, create a discordant feeling that lays bare the ease with which most video war games indulge in their power fantasies. (Payne 270)There is then, a minor tradition of alternative military-themed video game works that attempt to invite or enable the player to conduct a kind of ethical self-examination around their engagement with interactive representations of war via particular incursions of realism. The critical displeasure invoked by texts such as Spec Ops and the “No Russian” level of Call of Duty is particularly interesting in light of another military game that was ultimately cancelled by the publisher after it received public criticism. Titled Six Days in Fallujah, the game was developed with the participation of Marines who had fought in that real life battle and aimed to depict the events as they unfolded in 2004 during the campaign in Iraq. As Justin Rashid argues:the controversy that arose around Six Days in Fallujah was, of course, a result of the view that commercial video games can only ever be pure entertainment; games do not have the authority or credibility to be part of a serious debate. (Rashid 17)On this basis, perhaps a criterial attribute of an acceptable alternative military game is that there is enough familiarity to evoke some critical distance, but not too much familiarity that the player must think about legitimately real-life consequences and impact. After all, Call of Duty was a successful release, even amid the controversy of “No Russian.” This makes sense as the level does not really challenge the overall enjoyment of the game. The novelty of the level, on the one hand, is that it is merely one part of the general narrative and cannot be regarded as representative of the whole game experience. On the other hand, because none of the events and scenarios have a clear indexical relationship to real-world terrorist attacks (at least prior to the Brussels attack in 2016) it is easy to play the ethical choice of shooting or not shooting civilians as a mental exercise rather than a reflection on something that really happened. This is the same lesson learned by the developers of the 2010 game Medal of Honor who ultimately changed the name of the enemy soldiers from “The Taliban” to “OPFOR” (standing in for a generic “Opposing Forces”) after facing pressure from the US and UK Military who claimed that the multiplayer capacities of the game enabled players to play as the Taliban (see Rashid). Conclusion: Affective Friction in Battlefield 1In important ways then, these game experiences are precursors to Battlefield 1’s single player prologue. However, the latter does not attempt a wholesale deconstruction of the genre—as does Spec Ops—or represent an attempt to humanise (or perhaps re-humanise) the non-playable victim characters as Welsh suggests “No Russian” attempts to do. Battlefield 1’s opening structure of death-and-respawn-as-different-character can be read as humanizing the player’s avatar. But most importantly, I take Battlefield’s initially unusual gameplay as an aesthetic attempt to set a particular tone to the game. Motivated by the general cultural attitude of deferential respect for the Great War, Battlefield 1 takes an almost austere stance toward the violence depicted, paradoxically even as this impact is muted in the later gameplay structured according to normal multiplayer deathmatch rules of run-and-gun killing. The futility implied by the player’s constant dying is clearly motivated by an attempt at realism as one of the cultural memories of World War One is the sheer likelihood of being killed, whether as a frontline soldier or a citizen of a country engaged in combat (see Kramer). For Battlefield 1, the repeated dying is really part of the text’s aesthetic engagement. For this reason I prefer the term affective friction rather than critical displeasure. The austere tone of the game is indicated early, just prior to the prologue gameplay with onscreen text that reads:Battlefield 1 is based on events that unfolded over 100 years agoMore than 60 million soldiers fought in “The War to End All Wars”It ended nothing.Yet it changed the world forever. At a simple level, the player’s experience of being killed in order for the next part of the narrative to progress evokes this sense of futility. There have been real responses indicating this, for instance one reviewer argues that the structure is “a powerful treatment” (Howley). But there is potential for increased engagement with the game itself as the structure breaks the replay-cycle of usual games. For instance, another reviewer responds to the overall single-player campaign by suggesting “It is not something you can sit down and play through and not experience on a higher level than just clicking a mouse and tapping a keyboard” (Simpson). This affective friction amplifies, and draws attention to, the other advances in violent stylistics presented in the game. For instance, although the standard onscreen visual distortions are used to show character damage and the direction from which the attack came, the game does use slow-motion to draw out the character’s death. In addition, the game features incidental battlefield details of shell-shock, such as soldiers simply holding the head in their hands, frozen as the battle rages around them (Figure 4). The presence of flame-thrower troops, and subsequently the depictions of characters running as they burn to death are also significant developments in violent aesthetics from earlier games. These elements of violence are constitutive of the affective friction. We may marvel at the technical achievement of such real-time rendering of dynamic fire and the artistic care given to animate deaths and shell-shock depictions. But simultaneously, these “violent delights”—to borrow from Westworld’s citation of Shakespeare—are innovations upon the depictions of earlier games, even contemporary, combat games. Indeed, one critic has almost ashamedly noted: “For a game about one of the most horrific wars in human history, it sure is pretty” (Kain).These violent depictions show a continuation in the tradition of increased detail which has been linked to a model of “reported realism” as a means of understanding audience’s claims of realism in combat films and modern videogames as a result primarily of their hypersaturated audio-visual texture (Bender "Blood Splats"). Here, saturation refers not to the specific technical quality of colour saturation but to the densely layered audio-visual structure often found in contemporary films and videogames. For example, thick mixing of soundtracks, details of gore, and nuanced movements (particularly of dying characters) all contribute to a hypersaturated aesthetic which tends to prompt audiences to make claims of realism for a combat text regardless of whether or not these viewers/players have any real world referent for comparison. Of course, there are likely to be players who will simply blast through any shooter game, giving no regard to the critical displeasure offered by Spec Ops narrative choices or the ethical dilemma of “No Russian.” There are also likely to be players who bypass the single-player campaign altogether and only bother with the multiplayer deathmatch experience, which functions in the same way as it does in other shooter games, including the previous Battlefield games. But perhaps the value of this game’s attempt at alternative storytelling, with its emphasis on tone and affect, is that even the “kill-em-all” player may experience a momentary impact from the violence depicted. This is particularly important given that, to borrow from Stephanie Fisher’s argument in regard to WW2 games, many young people encounter the history of warfare through such popular videogames (Fisher). In the centenary period of World War One, especially in Australia amid the present Anzac commemorative moment, the opportunity for young audiences to engage with the significance of the events. As a side-note, the later part of the single-player campaign even has a Gallipoli sequence, though the narrative of this component is designed as an action-hero adventure. Indeed, this is one example of how the alternative dying-to-continue structure of the prologue creates an affective friction against the normal gameplay and narratives that feature in the rest of the text. The ambivalent ways in which this unsettling opening scenario impacts on the remainder of the game-play, including for instance its depiction of PTSD, is illustrated by some industry reviewers. As one reviewer argues, the game does generate the feeling that “war isn’t fun — except when it is” (Plante). From this view, the cognitive challenge created by the will to die in the prologue creates an affective friction with the normalised entertainment inherent in the game’s multiplayer run-and-gun components that dominate the rest of Battlefield 1’s experience. Therefore, although Battlefield 1 ultimately proves to be an entertainment-oriented combat shooter, it is significant that the developers of this major commercial production decided to include an experimental structure to the prologue as a way of generating tone and affect in a fresh way. ReferencesAtkins, Barry, and Tanya Kryzwinska. "Introduction: Videogame, Player, Text." Videogame, Player, Text. Eds. Atkins, Barry and Tanya Kryzwinska. Manchester: Manchester University Press, 2007.Bender, Stuart Marshall. "Blood Splats and Bodily Collapse: Reported Realism and the Perception of Violence in Combat Films and Videogames." Projections 8.2 (2014): 1-25.Bender, Stuart Marshall. Film Style and the World War II Combat Film. Newcastle, UK: Cambridge Scholars Publishing, 2013.Fisher, Stephanie. "The Best Possible Story? Learning about WWII from FPS Video Games." Guns, Grenades, and Grunts: First-Person Shooter Games. Eds. Gerald A. Voorhees, Josh Call and Katie Whitlock. New York: Continuum, 2012. 299-318.Harris, Sam, and Paul Bloom. "Waking Up with Sam Harris #56 – Abusing Dolores." Sam Harris 12 Dec. 2016. Howley, Daniel. "Review: Beautiful Battlefield 1 Gives the War to End All Wars Its Due Respect." Yahoo! 2016. Kain, Erik. "'Battlefield 1' Is Stunningly Beautiful on PC." Forbes 2016.Keogh, Brendan. Spec Ops: The Line's Conventional Subversion of the Military Shooter. Paper presented at DiGRA 2013: Defragging Game Studies.Kramer, Alan. Dynamic of Destruction: Culture and Mass Killing in the First World War. UK: Oxford University Press, 2007. Osborne, Scott. "Battlefield 1942 Review." Gamesport 2002. Payne, Matthew Thomas. "War Bytes: The Critique of Militainment in Spec Ops: The Line." 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