The Experts below are selected from a list of 300 Experts worldwide ranked by ideXlab platform

Robin D Everall - One of the best experts on this subject based on the ideXlab platform.

Asa Stjerna - One of the best experts on this subject based on the ideXlab platform.

  • sound art or klangkunst a reading of the german and english literature on sound art
    Organised Sound, 2009
    Co-Authors: Andreas Engstrom, Asa Stjerna
    Abstract:

    The article is a study on the literature of sound art from two languange areas, German and English. The text reveals two different Discourses. The German texts on Klangkunst (sound art in German) focus upon the sound material’s relation to a spatial location where sound sculptures and installations are given central focus. These are genres that transcend the old divisions between spatial arts (Raumkunst) and the time-based arts (Zeitkunst). A strong emphasis on the dual aspect of seeing and hearing could be described as a central point of departure. Klangkunst concerns an investigation of both time and space, through ear and eye. In the English literature on sound art, there are often references to sound’s inner aesthetical qualities. The perspectives on sound’s relation to room is evident also here, but the perspectives are however broader, in the sense that the aspects of space and locality are diversified and pluralistic. One will find an even larger scope of literature and references if the area of sound art also includes cultural-studies perspectives on sound, sonic experiences and acoustic phenomena, the influx of new technologies on the everyday soundscape, and sound design. These are areas often referred to when speaking about the ‘sonic turn’. The way the term sound art is handled in English texts is often very vague. The German study of Klangkunst developed within the academic field of musicology. There has been a fruitful collaboration between musicologists, publishing houses, music journals, galleries, academic institutions and higher art education, which together has helped to establish Klangkunst as an artistic expression and Theoretical Discourse. This strong intellectual infrastructure has been important in the ‘construction’ of the concept Klangkunst. The two separate Theoretical Discourses not only deal with the concept of sound art differently. Although many of the artists are dealt with in both the English and the German literature, there are very seldom references to the German literature in the English texts. This tendency is not reciprocal.

Hitoshi Ieda - One of the best experts on this subject based on the ideXlab platform.

  • Theoretical Discourse on sustainable space design: Towards creating and sustaining effective sidewalks
    Business Strategy and the Environment, 2005
    Co-Authors: Iderlina Mateo-babiano, Hitoshi Ieda
    Abstract:

    Users are a potential source of behavioral change when led to experience alternative design strategies that aim to encourage a more sustainable lifestyle. Thus, ‘sustainability-oriented’ street design takes on an active role in creating spaces that cater to users by considering the whole spectrum of pedestrian needs, considering the users' historical and cultural diversity in the development of a more responsive street regulation and standards and incorporating the two interacting spatial components: movement, satisfying the basic need for mobility; and non-movement, complementing movement to achieve a more effective and sustainable space. The paper will touch on the dichotomy of space perception between the East and the West, based on the premise that city morphology has been influenced largely by its ecology, resulting in two city formations: the organic city form and the planned city system. It will wrap up with initial recommendations on achieving a more context-sensitive design. Copyright © 2005 John Wiley & Sons, Ltd and ERP Environment.

Richard Walsh - One of the best experts on this subject based on the ideXlab platform.

  • The fictive reflex: a fresh look at reflexiveness and narrative representation
    Neohelicon, 2016
    Co-Authors: Richard Walsh
    Abstract:

    Reflexiveness in literary contexts tends to be assimilated to self-reference; to the various ways in which a work may foreground the artifice and conventionality of its own features as representation, narrative or language. In this sense it is equated with metafiction, and regarded as a sophisticated and highly self-conscious use of narrative; here, however, I offer a contrary view of reflexiveness, one which sees it as elementary, pervasive, and constitutive of fictionality. In this view, there is a continuity between the basic logic of mimesis and the self-conscious “baring of the device” that, for the Russian Formalists, defines the literary. I begin by clarifying the nature of (fictive) representation as an act, and identify its intrinsic reflexiveness, and go on to compare this perspective with both the metafictional notion of reflexiveness and the Theoretical Discourse on reflexiveness around “mirror neurons” in cognitive literary studies. I then situate reflexiveness within a broader interdisciplinary environment, framed by complex systems science and the conceptualization of emergence in terms of representational recursiveness, which allows the two sides of the discussion so far to be understood as complementary aspects of reflexiveness, one of which aligns with the cultivation of (self-) consciousness, the other with the simple enactment of systemic relations. Finally I address the conceptual challenge presented by an account of narrative, and fiction, based upon reflexiveness, and suggest some ways in which it can be understood.

Chijioke J. Nwalozie - One of the best experts on this subject based on the ideXlab platform.

  • rethinking subculture and subcultural theory in the study of youth crime a Theoretical Discourse
    Journal of Theoretical & Philosophical Criminology, 2015
    Co-Authors: Chijioke J. Nwalozie
    Abstract:

    AbstractSubcultural theory is an invention of the Anglo-American sociologists and criminologists of the 1960s and 1970s. They chiefly refer to male urban working class youths whose behaviours are contrary to the dominant society. These youths are usually culturally identified with music, dress code, tattoo, and language. Whereas, it is assumed that subculture refers to lower subordinate or dominant status of social group labelled as such, yet, in societies where the Anglo/American cultural identities are wanting, it becomes difficult to recognise such deviant group of youths as subculture.This paper argues there should be a rethink about "subculture" and "subcultural theory". The rethink must ensure that youth subcultures are not benchmarked by those Anglo/American cultural identities, but should in the main refer to youths whose behaviours are oppositional to the mainstream culture, irrespective of the societies they come from.Meaning of subculture(s)One of the assumptions about "subculture" is the lower, subordinate, or deviant status of social groups labelled as such. These labelled groupings are distinguished by their class, ethnicity, language, poor and working class situations (Cutler, 2006); age or generation (Maira, 1999). These cultural and socio-structural variables make subcultures relatively homogeneous (Epstein, 2002). That is to say, subcultures must bear specific and similar cultural identities to qualify for the name, and they must also be particular to certain societies that labelled them as such. In most cases reference must be made to the Anglo/American youth subcultures, which dominated the whole idea of subculture and subcultural theory for many decades.Phil Cohen (1972:23), one of the most influential British subcultural scholars describes subculture (s):as so many variations on a central theme - the contradiction, at an ideological level, between traditional working class Puritanism, and the new hedonism of consumption; at an economic level, between the future as part of the socially mobile elite, or as part of the new lumpen. Mods, Parkers, Skinheads, Crombies, all represent, in their different ways, an attempt to retrieve some of the socially cohesive elements destroyed in their parent culture, and to combine these with elements selected from other class fractions.Cohen has clearly indicated that subculture has many varied ways of describing it, which seem contradictory. Irrespective of all these different patterns, the overriding principle is the struggle of the membership to aim at solving the problem created by the dominant culture, which apparently has been considered the main object of subcultural formation. As Newburn (2013) argues, the emergence of subculture is not just to respond to human material conditions, but far beyond that, they also represent a symbolic appraisal of the parent culture in which "style" was considered a form of resistance. Similarly, Jones (2013) stresses that the subcultural activity of youths is a manifesatation of political reaction to the dominant culture from which such youths consided themselves excluded.Since the 1990s, the term subculture has been used in a much broader perspective to explain any group of people who adjust to norms of behaviour, values, beliefs, consumption patterns, and lifestyle choices that are distinct from those of the dominant mainstream culture (Cutler, 2006). According to Gelder (2005: 1):Subcultures are groups of people that are in some way represented as nonnormative and/or marginal through their particular interests and practices, through what they are, what they do, and where they do it. They may represent themselves in this way; since subcultures are usually aware of their differences, bemoaning them, relishing them, exploiting them, and so on. But they will also be represented like this by others, who in response can bring an entire apparatus of social classification and regulation to bear upon them. …