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In this paper, I take an ecopoetic standpoint by attending to those practices that distinguish between dirt and backdirt on field sites. Fabricating this distinction features ongoing and intermittent speculation of dirt/backdirt on a continuum of archaeological value. Rather than positioning this distinction as external to the field site, it is rather a matter of being exposed to the site and exposing it in one and the same movement. A necessary quality of staying with the indeterminacy of this ecopoetic dimension of decision-making includes an embodied wit in contrast to a brainy rationality. Excavating with embodied wit implicates the relational interplay between exposing the landscape through excavating it and yielding to the excavation in the process. The field site is then made knowable by how the touching power of both excavators and field site threads the archaeologically imagined and material worlds. [ABSTRACT FROM AUTHOR]

This article considers the role of disembodiment in the visual art and films of David Lynch. This line of inquiry, I argue, allows us to consider the ways scholars do and do not conceptualise the relationship between Lynch’s works of different mediums. Specifically, I pursue the conviction that Lynch’s preoccupation with an injured or fragmented body corresponds to his intermedial creative practice. I turn my attention to Lynch’s early short film The Alphabet (1968) which exemplifies how the violence inflicted on the body represents the violence wreaked by the separation of art into different media. Using Jacques Rancière’s definition of mediality and his idea of the sensorium, I offer a new perspective on the questions of disembodiment that manifest in tricky and unpredictable bodies in Lynch’s work and thus on how we should read Lynch’s output as joined up across mediums. [ABSTRACT FROM AUTHOR]

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This article is based on the project Experimental theatre: Intersectional encounters between dramatic art, school and academia, financed by the Swedish Research Council. It is an action research project on interactive dramatic art based at ung scen/öst (Östgötateatern), an experimental theatre group for children and young people. Malin Axelsson is the group's artistic director. Project manager Anna Lundberg has a background in drama studies and gender studies. The troika of dramatic art-school- academia provides an empirical focus, coupled with a closer analysis of the artistic processes between children and adults based on productions by ung scen/öst. What happens with the staging when the method involves open collaboration and shared learning? How is knowledge and meaning negotiated in artistic endeavors? The project includes two performances and a publication. The project received financial support from the Swedish Research Council for the period 2012-2013. This article focuses on translation practices at ung scen/öst, the creative processes within the project built by the group as a form, i.e. director, ensemble (actors), researcher and other members of the artistic team exploring ideas and expressions and creating theatre together. [ABSTRACT FROM AUTHOR]

Copyright of Croatian Journal of Ethnology & Folklore Research / Narodna Umjetnost is the property of Institute of Ethnology & Folklore Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arquiteturarevista is the property of Universidade do Vale do Rio dos Sinos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study investigated the varieties of pleasantness in bodily experience in order to advance the aesthetics of interaction paradigm. Interviews were held with twelve people varying in age and occupation. They were asked to describe pleasant experiences for Sight, Audition, Smell, Taste, Touch, Action and Thought. A phenomenological reduction performed on the interview transcripts resulted in seven pleasantness themes: sociality, aesthetics, comfort, agency, associations, vitality and progression. These pleasantness themes involved multiple bodily faculties with a prominence of two or three specific ones, which allowed a preliminary mapping of the pleasantness themes in relation to the body. The results may advance the aesthetics of interaction paradigm by explicating the varieties in pleasant experience and how the body is involved in shaping them. [ABSTRACT FROM AUTHOR]

Copyright of Revue Anthropologie et Sociétés is the property of Anthropologie et Societies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)