Appropriation

Ce mémoire vise à analyser les différentes formes de l’appropriation musicale à travers, notamment, un travail de définitions. Nous tenterons plus précisément de déterminer l’influence de l’environnement technoculturel sur l’appropriation, et plus particulièrement comment ces formes ont évolué en passant de la graphosphère à l’audiovidéosphère.

Ph.d.-afhandlingen er en undersøgelse af hjemfølelse i det moderne samfund. Projektet tager afsæt i en dialogisk eidetisk metode, hvorigennem det bliver det undersøgt, hvad det er at føle sig hjemme, og hvordan denne følelse etableres. Undersøgelserne finder sted ved fortsatte teoretiske og empiriske indkredsninger. I udgangspunktet er afhandlingen tværfaglig og trækker teoretisk og metodisk overvejende på den fænomenologiske tradition, især Edmund Husserls overvejelser om morfologisk vage fænomener, Martin Heideggers forståelse af befindlighed og Otto Friedrich Bollnow ideer om det levede rum. Der bliver også inddraget tilegnelsesteori, især på baggrund af Carl Friedrich Graumanns tanker om appropriation. Dertil kommer inddragelse af Freuds forståelse af uhygge. Empirisk er afhandlingen funderet på feltnoter og dybdeinterviews med personer i to grupper af cases, der henholdsvis skal indfange ordinære og ekstreme erfaringer med at bo. Der er således dels foretaget dybdeinterviews med en række mennesker, der er flyttet for nyligt, dels er der gennemført et feltarbejde, der strækker sig over fem måneder ved et socialt værested for hjemløse og andre socialt udsatte borgere i København. Feltnoter og transskriberede dybdeinterviews er med inspiration fra bl.a. Max van Manen blevet bearbejdet til 48 fænomenologiske beskrivelser, der – med et formmæssigt skønlitterært præg – betoner følelsesinvolverede situationer. Beskrivelserne er efterfølgende og på forskellig vis blevet analyseret og diskuteret, for derved i den eidetiske tradition at fremdrage og fremstille det invariante og væsentlige ved fænomenet. Som forståelsesgrundlag for etablering af hjemfølelse bliver der udviklet en teori, hvor menneskers tilegnelse af omgivelserne opdeles i tre former. Den første angår prægningen af omgivelserne, den anden handler om en tilvænning til omgivelserne, og den tredje giver sig udtryk i en mere eksistentiel forsoning, som rækker udover omgivelserne. Empirisk er det især de to første former for tilegnelse, som bliver belyst. På baggrund af undersøgelserne fremtræder især syv væsentlige træk ved hjemfølelse. Således er hjemfølelse særligt kendetegnende ved: fravær af stress, reduceret opmærksomhed, kontrol over nære omgivelser, frihed fra andres regler, anerkendelse af ens tilstedeværelse, mulighed for tilbagetrækning og brug af personlige ting.

This paper describes three initial case studies of software use by teachers to support learners with special educational needs. In each case, the teachers were observed to be appropriating the software in ways that went beyond the intended use of the technologies. Appropriation has been previously explored as a positive process that provides benefits to users, yet these cases suggest that there may be specific benefits of appropriation for teachers in this context, and this is worthy of deeper investigation in the future.

Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, Quotational Practices shows how artists and writers use quotation not to undermine authorship and originality, but to answer questions at the heart of twentieth-century philosophies of history.

Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place.

Ultimately, Quotational Practices reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediums—from concrete poetry and the artist’s book to performance, painting, and video art.

Video games as the medium of art

The aim of the article is to discuss selected examples of art that uses video games as a source of aesthetic and formal patterns, as a ready-made material susceptible to subversion, and also as a means of expression and artistic creation. The analysis of this type of works allows us to distinguish three main areas of interaction between
art and video games: (1) works created by the technique of subversive appropriation, that is, the takeover and transformation/recontextualization of video game elements
(game art); (2) interventions in the form of game mods (art mods); and (3) art games.

The growth of the city and the urban reconfigurations have contributed to the redistribution and evolution of social and social practices in the urban public space in mass housing quarters, research on inhabited persons in the Constantine public space must therefore contribute to an upstream reflection on the process question of the modes of production, and downstream on changes in daily practices of the social groups that make and live the city. Confronting public policies and social intentions contained in the desired project participates in generating knowledge on the complex question of inhabiting it, and interactions between spaces designed-products and is received-delivered by users. This research is attempting to take a fresh look at nature's relationship between spatial reconfigurations and new socio-spatial practices in urban public spaces in mass housing quarters, considered as articulated and meaningful symbolic systems. It is a question of observing and understanding these two processes, and interpreting practices of appropriation and use of public spaces, with a particular interest given to the mode of inhabiting, with a view to optimal and adequate anticipation of the use by the planners, and designer in order to reduce the gap between designed and lived space.

In this article I focus on the fashion industry's relationship to vintage garments as design inspiration and product prototype. I analyse how appropriation of vintage is rationalized in standard industry practice and how ethical boundaries are drawn and maintained between 'appropriation' and 'inspiration' in the creative process. When talking with designers the discussion of inspiration and appropriation quickly becomes a personal and subjective discussion about the integrity of the design process and labour. So any discussion of creativity and industry practices has a responsibility to address the rank and file workers who bring artistic visions to life. Interns and employees in the industry were expected to knock-off other designs and designers while their own creativity was stifled and/or exploited. The central contradiction that emerges from this research is how an industry known for its creativity and ingenuity – notably an industry that polices copyright infringements around the world – routinely engages in practices of forgery that weaken both its claims to authorship and the lucrative status of designer-as-artistic-genius. I contend it is crucial to explore these issues through the situated and local everyday practices in the fashion industry in order to understand how these contradictions are navigated and even made profitable.

This paper analyses architecture created through appropriating
existing materials while focusing on strategies of intertextuality.
It argues that the meaning of an architectural object does not
derive from itself, or its poetic concepts, but rather from its
relationship with other architectural objects, other art works as
texts, cultural texts, and everyday practices. My aim is to show
various theoretical problems of the theory of architecture and
art, which as a network of overlapping texts of culture, surround
the architectural production of Alexander Brodsky. Here I use
different and varied theoretical concepts, selecting two case
studies by Brodsky – The Pavilion for Vodka Ceremonies and
Rotunda – upon which the paper is based as an interdiscursive
study.

This article examines the tensions between expression and expressionlessness in the works of the artist Luis Camnitzer, with special attention to these four works: "Selbstbedienung"
(Self-Service), "Patentanmeldung" (Patent Application), "Uruguayan Torture Series," and "Last Words."

The Second World War still receives wide attention in official commemorations and political discussions often focusing on national historical experiences of war. But collective memories of World War II are also strongly influenced by a multitude of popular renditions from both home and abroad. Films and novels, comic books, and websites constitute an important but underestimated source of widespread narratives and images of war, with various perspectives appealing to large and diverse audiences. The wide variety of transnational war representations makes it possible for participants in contemporary historical culture to make their own individual selections, resulting in a hybrid historical narrative which helps them to appropriate the past. Their relationship with history is, somewhat paradoxically, characterized both by commitment and distance, while the public authority of historians has become less obvious. The fact that the War is now a moral benchmark as well as a lighthearted topic of entertainment, combining fact and fiction, stresses the need for new research into popular culture in order to provide a more balanced picture of the contemporary social significance of the Second World War.

As archaeology has matured as a discipline, a variety of challenges emerge about the purpose, methods, and products of the enterprise, including intellectual property (IP) concerns pertaining to the products of archaeological research and related heritage control issues. This chapter examines the complex nature of IP in the context of archaeology. The two central questions addressed are: 1) What constitutes intellectual property in the context of archaeology?; and 2) Who has the right to interpret, benefit from, or control access to information and objects from the past, whether they represent one’s own heritage or, more often, someone else’s. These questions are explored through a series of broad themes, coupled with specific examples to illustrate some of the methodological challenges, their consequences and how IP-related issues can be avoided or at least mitigated. An overarching consideration is the significant differences in how IP and intangible heritage are defined and distinguished in countries where the ancestral population relates to the dominant population today, as contrasted to those where the modern population has come from elsewhere.

Inspired by Said's methodology of contrapuntal reading, this article examines Edward Said's reference to Shakespeare's Hamlet (1604) in his memoir, Out of Place (1999) to shed light on his experiences of exile and displacement. We contend that Hamlet gives voice to Said's incestuous desire and his inability, like that of Hamlet, to live up to the standards required of him by his dominating father who, like Hamlet's father, is a ghostly figure that dominates Said's life even after his death. We argue that while Said points out that Shakespeare is an extension of imperial authority, his readings of Hamlet with his mother destabilises the colonising force of Shakespeare and displaces Western hegemony over performance and interpretations.

Ce livre examine comment et pourquoi les éducateurs en Afrique de l'Ouest, au Mali en particulier, s'approprient pédagogiquement les technologies de l'information et de la communication (TIC) et avec quels effets. L'appropriation consiste à intégrer la nouveauté, personnellement et dans son milieu, et à la mobiliser de façon stratégique pour répondre aux objectifs contextualisés, souvent à l'encontre du statu quo. Une méthodologie qualitative et des approches interprétatives ont permis de comprendre les significations que les éducateurs donnent à leur réalité ainsi qu'à leurs expériences. Trente-et-une personnes ont été interviewées : 23 enseignants du primaire et du secondaire, six professeurs d'université, et deux gestionnaires. Les éducateurs ont assimilé les TIC jusqu'à ce qu'elles deviennent partie intégrante de leur être et de leur vie quotidienne. En adaptant les TIC à leur milieu, ils ont travaillé comme des agents culturels, jouant le rôle d’interface entre les TIC et la société. Les professeurs, en particulier, ont exprimé leur souhait d’utiliser les TIC pour faciliter et renforcer la participation africaine aux débats mondiaux et à la production scientifique, et pour changer la perception présente et future de l’Afrique et des Africains. En somme, les éducateurs ont embrassé les TIC pour les possibilités de transformation qu’elles offrent. Des changements apparaissent dans les rapports entre enseignants et étudiants (plus d’interactions), dans les salles de classes (plus d’échanges) et les contenus des cours (plus actualisés et diversifiés), suggérant que les TIC peuvent avoir un rôle de catalyseur dans l’évolution des pratiques pédagogiques, y compris dans des contextes où l’accès aux documents est difficile et où l’héritage du colonialisme se fait encore sentir. Les perspectives et les expériences des éducateurs utilisant les TIC dans l’éducation en Afrique peuvent enrichir la théorie, la pratique et la politique éducatives et permettre d’avoir une meilleure compréhension du concept d’appropriation comme processus de changement culturel.

Toure, K. (2016). Pedagogical appropriation of information and communication technologies (ICT) by West African educators. Bamenda: Langaa. ISBN: 9956-763-78-0

Voir :  www.kathryntoure.net/2016/09/02/pedagogical-appropriation-of-information-and-communication-technologies-ict-by-west-african-educators-2016-book-by-kathryn-toure

Le livre est disponible via African Books Collective, Amazon, et d’autres distributeurs.

This is the first anthology of writings dedicated to the history and theory of collage. The book gathers together nineteen essays written by artists, theorists, and historians - all seek to define collage with reference to the notion of 'ends': the physical, historical, technological, or ideological extremities through which it operates and that distinguish it from other media.

The book includes essays by: Yuval Etgar, Herta Wescher, Christine Poggi, Clement Greenberg, Elza Adamowicz, Louis Aragon, Max Ernst, Hans Arp, Hannah Höch, Benjamin Buchloh, Brandon Taylor, John Stezaker, Groupe MU, Craig Owens, Douglas Crimp, Richard Prince, Sherrie Levine, Martha Rosler and Ali Smith.

This succinct book articulates a clear framework for remixing and drawing at intermediate and advanced levels. It begins by walking through the ideas of copyright and fair use, providing context, examples, and advice. Mueller directs students through building a collection of sources and influences, leading to the development and analysis of style.

- Available at http://remixinganddrawing.com/

The text is about the attitude of copying works of art, from a natural process of learning and authorized composition scheme to a crime. At the same time, it deals with the practice of contemporary artists that changed the purpose of the copy, from simple study to autonomous work of art.

Arab World English Journal (AWEJ) Vol.6. No.4 December  2015 
                                                                                                                                                                    Pp. 408-418




Can the Subaltern Communicate?


Mohamed BELAMGHARI
University Mohamed I, Oujda, Morocco


Abstract:
Following Gayatri Spivak's Controversial essay, "can the subaltern Speak?" a host of debates have come to the fore as regards whether or not the subaltern voice can speak at all, especially after the era of independence. Of course, Spivak has her reasons to answer the question she raises in the negative, but other writers (I take the example of Moroccans) have proven that they can speak and they actually have spoken in their writings though the means whereby the speech is conducted is Western. In this sense, my contribution addresses the question of the subaltern voice in some post-colonial literary works, especially of the Moroccans, and the extent to which this voice is able or abled to speak. This is seen into especially through the content of what the subaltern voice says and the literary techniques employed in speaking its mind.
Key Words: Abrogation, appropriation, discourse, the subaltern

In a recent study on indirect reports published in Journal of Pragmatics, Capone (2010) points out how several leading pragmatic theorists have recently argued that utterance interpretation incorporates societal information such that the final result of semantic and pragmatic interpretation takes sociocultural defaults into account (e.g., Jaszczolt, 2005a). Croom (2013) for one has pointed out how different in-group and out-group speakers have in fact used slurs in different ways, and further suggests that several salient cultural markers can aid in the interpretation of whether a slur is being used derogatorily or nonderogatorily in a given context (p. 200). Thus, for pragmatic theorists concerned with the semantics and pragmatics of slurs more specifically, several highly important yet currently unexplored questions include the following: Are racial slurs always used to express offense, and are racial stereotypes always concerned with negative characteristics? How might the stereotypical features of members that a slur typically targets influence the meaning that slur communicates in context, and how might racial slurs and stereotypes differentially affect members of different races? Concerned with such questions, Embrick and Henricks (2013) recently argued that racial slurs and stereotypes function as symbolic resources that exclude nonwhite or non-European American minorities, but not whites or European Americans, from opportunities or resources, and so are necessarily negative or derogatory irrespective of the particular context of their use (pp. 197–202). They accordingly advocate an account of racial slurs and stereotypes that is consonant with the context-insensitive accounts of Fitten (1993) and Hedger (2013), yet dissonant with the context-sensitive accounts of Kennedy (2002) and Croom (2011). The purpose of this chapter is to first briefly explicate the context-insensitive and context-sensitive accounts of racial slurs and stereotypes, consider reasons for why issues concerning the semantics and pragmatics of slurs have often appealed to stereotypes and stereotypical features, and then critically evaluate the main claims that Embrick and Henricks (2013) recently proposed in support of their context-insensitive account by drawing upon empirical evidence on (in-group and out-group uses of) racial slurs and stereotypes (for European Americans and ­African Americans) from recent research in linguistics, sociology, and psychology. The chapter concludes by discussing implications of the present findings for future work in pragmatics on racial slurs and stereotypes.

https://doi.org/10.1007/978-3-319-12616-6_31
https://doctorcroom.com/croom-2015h

Representations of motherhood abound in almost all great literatures and cultures. While the traditional portrayal of motherhood followed a set pattern and favoured the mother-son relationships, the contemporary literature contests with and problematizes such conventional notions. Here, the author examines the contemporary delineation of motherhood as revealed in the two postmodern novels under consideration. These novels are themselves hypertexts—Toni Morrison’s Beloved being a historical appropriation of the African American slave trade history and J M Coetzee’s Foe being a literary appropriation of the 18th century British classic Robinson Crusoe. Within the broad scope of their textual appropriations, these novels also appropriate and problematize the traditional notions of motherhood through their strong female protagonists, namely, Sethe and Susan Barton.

This essay examines the tension between the culture of use signaled by the internet and the culture of ownership embedded in the clearance culture of restrictive copyright law through a comparison with and reinterpretation of Richard Serra’s 1967-1968 verb list.

The article offers a new theoretical and analytical perspective on the phenomenon of Edward Hopper’s popularity, contemporary reception and interpretation of his painting, with special focus on the iconic Nighthawks. It looks at selected exhibitions, critical statements and pictorial structure of the paintings, confirming Hopper’s images importance in today’s visual culture and points to their ‘desire’ to dialogize with other images and media, uncovers ‘differential specificity’ of this painting. The title phrase ‘The virtual Hopper’ relates to the potential of these paintings to activate visual memory and generate numerous images quoting Hopper’s works. Thus Hopper’s rich, disseminated afterlife in the age of ‘pictorial turn’ is rooted both in technological change causing the virtual life of images and the paintings’ properties, which is demonstrated by the close reading of Nighthawks in dialogue with its later visual transformations. Nighthawks turns out to be a meta-painting: ‘a painting about the circulation of images’.

This work is a practical reflection about the process of change of Köpi wasteland.While trying to discover the impact of the Berlin Wall today, we ended up discovering a hidden project. We found a place, an old military area, a footprint of the Berlin Wall. This area is defined today as a wasteland, a nowhere. We decided to study the area through a direct exploratory journey into the understanding of this place. Through our lived experience, the wasteland label of this nowhere place was tested through an exploring and questioning methodology. Little by little we discovered that this is not a wasteland. After studying the place it became obvious that the label wasteland is not accurate for it. So the development of a new word was needed. NowHERE is this word. This explains the paradox that wastelands confront in their everyday existence. The main issue with wastelands is not the lack of program as some may argue, but the lack of knowledge about these spaces as Secchi1 points out. What is really happening there?
One of the most important changes throughout this research process was the recognition of this space as a place.
Thus, the present work consists of a documentation of the “project” that is already there, explaining its “uncertain” status as a positive characteristic. Furthermore, reflects about the understanding of a project-place before the conventional developing phase of design of a project for a place, and how to bring these nowHERE qualities to design as a time continuity.

Abstrakt: Príspevok sa zaoberá vzťahom autorstva a jeho premien v súvislosti so špecifickou formou interpretácie: výtvarnej parafrázy, citácie či apropriácie. Na pozadí neoficiálnej výtvarnej scény, presnejšie; bytových a ateliérových výstav (Majstrovstvá Bratislavy v posune artefaktu, 1979-1986) sledujem vzťah diela a jeho výtvarno-interpretačných premien. Jadro štúdie tvorí skúmanie vzťahu autora k svojmu dielu v relácii k tvorivému použitiu (privlastneniu) diela iného umelca a zmysel interpretácie ako výtvarnej stratégie v umení od 60. rokov 20. storočia. Hlavnými textovými zdrojmi sa stali teoretické diela Umberta Eca Otvorené dielo (1962), Rolanda Barthesa Smrť autora (1968) a Michela Foucaulta Čo je autor? (1969). Ukazuje sa , že výtvarnej parafrázy a interpretácie odkrýva hlbšie symptómy neoficiálnej výtvarnej scény: odkazy čerpajúce z prostredia umenia, snahu obohatiť dielo o význam dešifrovateľný úzkym okruhom výtvarníkov alebo vznik výtvarného artefaktu ako potreba vyrovnávania sa s dielami minulosti.

Abstract: The paper deals with the relationship of authorship and its transformations in connection with specific forms of interpretation: art paraphrases, or appropriation. Against the background of the unofficial art scene, specifically; flat and studio exhibition (Bratislava´s championships shifting artifact, 1979-1986) monitors the relationship between the work and its artistic transformations. The aim of studies examining the author for his work on the show for the creative use (appropriation) the work of another artist and meaningful interpretation as artistic strategies in art from the 60th of the 20th century. The main textual sources have become the theoretical work of Umberto Eco Opera Aperta (1962), Roland Barthes Death of the Author (1968) and Michel Foucault What is an author? (1969). It turns out that artistic paraphrases and interpretations reveals the deeper symptoms unofficial art scene: Links benefiting from "artworld", efforts to enrich the work to decipher the meaning of a narrow circle of artists or artifact creation as the need to cope with the old ones.