scholarly journals On Stockhausen’s Kontakte (1959-60) for tape, piano and percussion

2009 ◽  
Vol 19 (2) ◽  
pp. 77-86
Author(s):  
John Rea
Keyword(s):  
Time Moment ◽  
Subjective Perception ◽  
John Cage ◽  
Formal Organization ◽  
Marcel Duchamp ◽  
University Of Toronto ◽  
Perception Of Time ◽  
And Performance ◽  
Definition Of ◽  
The University

Abstract A lecture/analysis given by John Rea at the University of Toronto, March 1968, discusses various topics in the composition such as: concepts (performance time, production time, subjective perception of time, moment time, moment characteristics), discussion of particular Moments, hardware, overall formal organization, definition of structure, parameter of space (an example), temporal transformation, and performance practice. The lecture text is also notable for the fact that Rea spoke to the pianist who had premiered Kontakte, David Tudor, who was in Toronto at that time to participate in a four and a half hour ‘happening’ known as Reunion (on March 5, 1968) organized by John Cage, and featuring Marcel Duchamp with whom he played chess on a photo-sensitive electronic chessboard.

Making Knowledge/Playing Culture

2020 ◽  
Vol 40 (1-2) ◽  
pp. 83-101
Author(s):  
Antje Budde ◽  
Sebastian Samur
Keyword(s):  
Experiential Learning ◽  
Undergraduate Students ◽  
Performance Studies ◽  
Performing Arts ◽  
Undergraduate Research ◽  
Theoretical Background ◽  
Comparative Approach ◽  
University Of Toronto ◽  
And Performance ◽  
The University

(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.

scholarly journals THE FUTURE OF EDUCATION FOR THE INFORMATION PROFESSIONS

2017 ◽  
Vol 19 (2) ◽  
pp. 15
Author(s):  
Adele Fasick
Keyword(s):  
Basic Education ◽  
Environmental Changes ◽  
University Of Toronto ◽  
Information Studies ◽  
The Future ◽  
Access Information ◽  
Definition Of ◽  
Future Of Education ◽  
The University ◽  
Alternative Delivery

Although technology and the Internet have enabled the information professions to make huge strides, there are still many issues to be resolved. This article outlines and discusses many of them including environmental changes; linking - access, knowledge of location is not enough to access information; the proposed Information Commons by the University of Toronto; changes in definition of professions; the need for alternative delivery of education and for service orientation. Finally, the need for flexible basic education for Information Studies students is emphasized in order to guarantee the future of the profession. 

scholarly journals Harold Innis' "Crisis in Public Opinion": Performance, Retrieval, and the Politics of Knowledge

2006 ◽  
Vol 31 (2) ◽  
Author(s):  
William J. Buxton ◽  
Risa Dickens
Keyword(s):  
Public Opinion ◽  
Canadian Journal ◽  
Communication Theory ◽  
University Of Toronto ◽  
Public Crisis ◽  
Original Speech ◽  
And Performance ◽  
The University ◽  
Collective Engagement ◽  
Le Canada

Abstract: On May 12, 1943, Harold Innis delivered a speech entitled “The Crisis in Public Opinion” at the annual luncheon of the Canadian National Newspapers and Periodicals Association, held in Toronto. The address has survived in transcript form in the Innis Papers collection at the University of Toronto Archives. Our paper can best be seen as a companion piece to the edited transcription of Innis’ original speech, which follows in this issue of the Canadian Journal of Communication. Emphasizing the performative nature of the speech, we contextualize “The Crisis of Public Opinion” by examining the correspondence leading up to and following the speech. We argue that Innis’ views on the “crisis of public opinion” in the print media indicate that he understood this particular issue as part of a broader public crisis related to the decline of political and juridical institutions and to shifts in power and influence. His commentary on media in Canada was bound up with his effort to promote collective engagement as a corrective to the biases in power that he had detected. The 1943 speech is thus significant not simply as a “missing link” between Innis’ writings on Canada and his later work on communication theory; it is a clear and compelling distillation of the engagement, enactment, and performance that were the abiding features of his work as an intellectual. Résumé : Le 12 mai 1943 à Toronto, Harold Innis a prononcé un discours intitulé « The Crisis in Public Opinion » au déjeuner annuel du Canadian National Newspapers and Periodicals Association (« Association canadienne des journaux et périodiques nationaux »). La transcription de ce discours a été conservée dans la collection des écrits d’Innis aux Archives de l’Université de Toronto. Notre article se veut un pendant à la transcription éditée du discours original d’Innis qui suit dans ce numéro du Canadian Journal of Communication. Tout en soulignant son caractère performatif, nous replaçons « The Crisis in Public Opinion » dans son contexte par l’examen de la correspondance qui l’a précédé et suivi. Nous soutenons que la manière dont Innis percevait la « crise de l’opinion publique » dans la presse écrite indique qu’il comprenait que cette question faisait partie d’une crise publique plus vaste correspondant au déclin d’institutions politiques et juridiques et à des transferts de pouvoir et d’influence. Ses commentaires sur les médias au Canada se rattachent à son effort de promouvoir un engagement collectif dont le but serait de minimiser les déséquilibres de pouvoir qu’il avait observés. Ainsi, le discours de 1943 n’est pas seulement significatif à titre de « chaînon manquant » dans les écrits d’Innis sur le Canada et, plus tard, sur la théorie en communication; il est aussi une distillation claire et attirante de l’engagement, de la motivation et de la performance qui étaient des traits constants de son travail d’intellectuel.

Hearing Hope: Metatheatrical Utopias in the ‘Staging’ of Radio Drama

2010 ◽  
Vol 26 (1) ◽  
pp. 49-60
Author(s):  
Jenn Stephenson
Keyword(s):  
Associate Professor ◽  
Radio Drama ◽  
University Of Toronto ◽  
Canadian Theatre ◽  
Theory And Criticism ◽  
German Speaking ◽  
Long Time ◽  
Radio Play ◽  
And Performance ◽  
The University

The radio play has long survived the competition from television in Britain, and also has a long tradition in the German-speaking world in the form of the Hörspiel – but its strength has lain precisely in demanding a visual contribution from the listener's imagination. What happens when a radio play is ‘staged’ before a live audience? In 2005, under commission from the Royal Festival Hall, the composer Carter Burwell proposed writing a sound score for new plays; and under the banner of Theatre of the New Ear, he recruited his long-time collaborators on film, Charlie Kaufman and Joel and Ethan Coen, to write specifically for sound-only. In this article Jenn Stephenson describes the experience of ‘watching’ a radio play, and offers a theorization of its qualities and the effects on its audience. Jenn Stephenson received her PhD from the University of Toronto in 2003 and is now Associate Professor of Drama at Queen's University in Kingston, Canada. Her recent publications include articles in Theatre Journal, Journal of Dramatic Theory and Criticism, Studies in Theatre and Performance, and Theatre Research in Canada. She is co-editor of the ‘Views and Reviews’ section of Canadian Theatre Review.

scholarly journals University monitoring research: experience and results

2018 ◽  
Vol 20 (86) ◽  
pp. 153-160
Author(s):  
O. Smolinska ◽  
M. Drach ◽  
K. Dzyubynska
Keyword(s):  
Educational Process ◽  
Educational Activity ◽  
Subjective Perception ◽  
Research Experience ◽  
Monitoring Tools ◽  
National University ◽  
Functional Features ◽  
Definition Of ◽  
The University

The article presents the research of the monitoring that has recently been intensified, as well as radical changes in the organization of Ukrainian universities. Thus, we can observe that researches are gradually changing the goals, and as a result their functional features. Initially, the conduction of monitoring research is related to the definition of the degree of subjective perception of the quality of lecturers’ activity, as well as administrative and organizational changes, but afterwards it performs the functions of control and evaluation. Today the monitoring research is becoming an integral part of inner audit of the quality of educational activity. The problems, which arise, concern both, the quality of monitoring tools and the purpose of monitoring; its results are also connected with the results of efficient activity of subjects in educational process, including the university. It should be noted that, except for the purely internal instrumental functions, in the future, monitoring will become the means of the diagnosis of transparent activity in higher educational institutions. One of such steps is the demonstration of the content and the results of monitoring research, which was conducted at Stepan Gzhytskyi National University of Veterinary Medicine and Biotechnologies Lviv during 2008–2016, especially the results since 2010, as they enable us to compare. The authors give emphasis to the monitoring stages, analyzing the objectives, content and results. The data analysis of the research is the basis for the new approaches formation, concerning the university as a subject. This study stimulates the development of similar practices at other universities. First of all, it will encourage the transparency in their activities; secondly, the exchange of experience in the formation of internal system of quality, and finally, this work is essential in the creation of common space for international relations and significant inter-university research.

scholarly journals Question 94: On Philosophy as Subversion, In Response to Dieter Misgeld

2020 ◽  
Vol 24 (4) ◽  
pp. 400-407
Author(s):  
Stella Gaon
Keyword(s):  
First Generation ◽  
Frankfurt School ◽  
Theory And Practice ◽  
Professor Emeritus ◽  
University Of Toronto ◽  
Theodor Adorno ◽  
Emancipatory Politics ◽  
Narrow Definition ◽  
Definition Of ◽  
The University

Dieter Misgeld: A Philosopher’s Journey from Hermeneutics to Emancipatory Politics, by Hossein Mesbahian and Trevor Norris (2017), is a book-length transcript of a set of wideranging and extensive conversations with Professor Emeritus Dieter Misgeld. These interviews were conducted in 2005, on the occasion of his retirement from teaching at the Ontario Institute for Studies in Education at the University of Toronto. The “journey” referenced in the title reflects the sharp distinction between philosophy and politics that appears to inform Misgeld’s views throughout the text. In response to Misgeld, I propose that, while his understanding of philosophy as apolitical or quietist arguably holds on a narrow definition of the term “philosophy,” this definition forecloses a more radical understanding of philosophy as critique. A deeper and broader conception of philosophy as “theory,” I submit, can and should be drawn from the work of first generation Frankfurt School theorists Max Horkheimer and Theodor Adorno. Properly conceived and undertaken, philosophy as critical theory can and does subvert political power, albeit not in ways that one might predict on the basis of the customary separation of theory and practice. I refer to numerous moments of the discussion to make this case so as to convey the breadth and richness of the book.

‘Look Again’: Indeterminacy and Contemporary British Drama

2011 ◽  
Vol 27 (1) ◽  
pp. 71-85 ◽  
Author(s):  
Emilie Morin
Keyword(s):  
Performance Art ◽  
Conceptual Art ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
British Drama ◽  
The Status ◽  
Event Score ◽  
Sarah Kane ◽  
And Performance ◽  
The University

The integration into conceptual art of techniques inspired by Fluxus (the international aggregate of artists who saw indeterminacy as imaginatively and linguistically enabling) has, in turn, given rise to a specific line in British playwriting since the mid-1990s, as evidenced in plays by Martin Crimp, Sarah Kane, and Tim Crouch which gesture towards conceptual art, performance art, and the event score. In this article Emilie Morin brings to light the affinities between this artistic moment in contemporary British theatre and the international avant-garde. She discusses the shared interest of Crimp, Kane, and Crouch in indeterminacy and the fusion between artistic media, paying particular attention to Crouch's redefinition of the status of the modern artwork in his play for galleries England (2007). Critical recognition of the experimental mode in which these playwrights operate has remained subsumed under a non-specific appreciation of their relationship to conceptual art, leaving important questions of form and legacy unaddressed. Here, the proximity between this marginal trend in British playwriting and developments in experimental music and performance art exploring ideas of indeterminacy is highlighted, and the contemporary problematization of performance as event and concept is reconfigured in relation to the legacies of Marcel Duchamp, John Cage, and Fluxus. Emilie Morin is Lecturer in the Department of English and Related Literature at the University of York and the author of Samuel Beckett and the Problem of Irishness (Palgrave Macmillan, 2009). Her research interests lie in European modernism and the avant-garde.

scholarly journals Putting Purpose Into Practice

2021 ◽  
Keyword(s):  
Financial Reporting ◽  
First Century ◽  
Superior Performance ◽  
Think Tank ◽  
University Of Oxford ◽  
Critical Issues ◽  
And Performance ◽  
Definition Of ◽  
The University ◽  
The Way

The book provides a detailed and practical description of how companies can put purpose into practice in their organizations. Based on a ground-breaking research project on the Economics of Mutuality undertaken jointly by the Saïd Business School at the University of Oxford and Mars Catalyst, the think tank of Mars Inc., the food and beverages company, over a period of five years, the book describes how purpose promotes business growth and performance. In particular, it gives a highly accessible and readable account of how companies can determine and implement their corporate purposes, and how, by so doing, they address critical issues in their ecosystems, such as rising inequality and environmental degradation, while delivering superior performance and resilience. The book will equip executives, managers, investors, policymakers, academics, and students with tools to understand the way in which companies can build purpose-centric businesses, map and orchestrate stakeholder ecosystems, identify untapped resources, create unconventional partnerships, measure and manage performance beyond financial reporting, and adopt a new definition of profit to promote corporate purposes. The book includes fourteen case studies of companies of varying sizes, sectors, and geographies that sought to put purpose into practice. They provide deep insights into the way in which companies have delivered corporate purpose and the challenges they faced in doing this. The book stresses both the opportunity and obligation on business to reposition itself to address the changing needs of society and the planet in the twenty-first century.

A Pareto-Improving Way to Teach Principles of Economics: Evidence from the University of Toronto

2020 ◽  
Vol 110 ◽  
pp. 299-303
Author(s):  
Dwayne Benjamin ◽  
Avi J. Cohen ◽  
Gillian Hamilton
Keyword(s):  
Domestic Students ◽  
University Of Toronto ◽  
Statistics Courses ◽  
Underrepresentation Of Women ◽  
And Performance ◽  
Economics Courses ◽  
The University ◽  
Pareto Improving ◽  
Better Than

University of Toronto undergraduates can choose between conventional and literacy-targeted (LT) principles of economics courses. We compare demographics and performance in subsequent courses for 13,000 students over 11 years and find that LT courses attract a greater percentage of female and domestic students; conditional on meeting grade thresholds, LT students do just as well in intermediate theory and statistics courses as conventional principles students; women do as well or better than men in intermediate theory and statistics courses. With appropriately chosen thresholds, departments offering LT courses can preserve subsequent disciplinary rigor and address underrepresentation of women and minorities.

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