Non-fiction film shares a long and relatively uncharted history with the museum. Today, filmmaking is a widespread yet critically neglected area of modern museological practice. This practice-based PhD situates itself within these critical gaps to examine the knowledge producing potential of film archives and film practice at the Manchester Museum. Its primary historical sources are a group of taxidermy objects at the Manchester Museum, an archive of 16mm acetate films at the North West Film Archive and a collection of travel journals at Cheshire Archives and Local Studies. These diverse collections were generated by Maurice Egerton, the 4th Baron of Tatton in Cheshire during his travels in Africa in the first decades of the twentieth century. This thesis brings all three together for the first time since their moment of production. These collections recur throughout the thesis as I ask how film archives can complicate and enrich our understanding of collections and how filmmaking practice might continue to bring new types of knowledge into the museum and archive. Two research films are submitted with and discussed within the thesis. The first, 'Living Worlds at the Manchester Museum', adapts observational methods from visual anthropology to record objects and staff during the re-display of the mammal gallery at the Manchester Museum in 2011. The second, 'Articulating Archives' is the result of a creative collaboration in 2014 with Year 8 secondary school students and the institutions and archives named above. Within the production and analyses of these films I draw on diverse critical sources to suggest that film can illuminate properties of materiality, embodied knowledge and performed engagement that textual accounts fall short of capturing.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-03-04T14:29:56Z No. of bitstreams: 2 Dissertação - Eliene Nunes Macedo - 2015.pdf: 2596070 bytes, checksum: 48efb799e64e51bedb36f55a296fc65d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-04T14:54:31Z (GMT) No. of bitstreams: 2 Dissertação - Eliene Nunes Macedo - 2015.pdf: 2596070 bytes, checksum: 48efb799e64e51bedb36f55a296fc65d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-04T14:54:31Z (GMT). No. of bitstreams: 2 Dissertação - Eliene Nunes Macedo - 2015.pdf: 2596070 bytes, checksum: 48efb799e64e51bedb36f55a296fc65d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-07-30 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This master thesis introduces the Congo dance, which has been performed in Goiás City (Goiás/Brazil) since the first half of the 18th century. In this ritual, we are able to watch the fight between Moors and Christians. The routine is divided into street parades and representations of an embassy mission, performed by poor Afro-Brazilian men, usually at the city’s Historical Centre (held as a UNESCO world cultural heritage). The performances generally take place during the Divine Holy Ghost and the Our Lady of the Rosary festivals. This is an ethnographic research project, which aims at interpreting the performances of the Congo dance ritual and its complex meaning relations. Therefore, a detailed description of the Congo dance structure was done, by highlighting its gestures, orality, music, clothing and dramatization. Also, as an analytical category, the theoretical background to such cultural performances was reviewed, aiming at analysing the dance and dancers’ embodied knowledge. Furthermore, some questions on the congos’ cultural social historical were raised, bringing some comparison among the thoughts on ethnographic studies on the Congo dance and the possibility of an interlocution between Brandão’s ethnography (1977) and the one presented in this paper. Eventually, the representation and appropriation of this way of expression towards the whole Goiás City’s cultural heritage and how safeguard policy is done were deeply observed. As a conclusion, the study states that the Congo dance from Goiás City is the materialisation of the iconography of people who live, fight, resist and remain. / Esta dissertação apresenta a Dança dos Congos que se realiza na cidade de Goiás (Goiás/Brasil) desde a primeira metade do século XVIII. Nesse ritual, é realizada a luta entre mouros e cristãos e constitui-se em uma performance dividida em marchas de rua e embaixadas, executadas por homens afro-brasileiros, possuidores de poucos recursos financeiros, sendo realizada, sobretudo, no Centro Histórico da cidade (reconhecida como patrimônio mundial pela UNESCO), por ocasião das festas do Divino Espírito Santo e de Nossa Senhora do Rosário. Trata-se de uma pesquisa etnográfica, cujo principal objetivo é interpretar as performances do ritual da Dança dos Congos e as complexas relações de significados naquele sistema cultural. Por isso, primeiramente foi realizada uma descrição pormenorizada da estrutura da Dança dos Congos, destacando gestos, oralidade, músicas, indumentárias, dramatizações. Também foram acionados os referenciais teóricos das performances culturais, enquanto categoria analítica, para analisar o conhecimento encorporado na dança e nos dançantes dos congos. Logo em seguida, levantaram-se algumas questões sobre o contexto sócio-histórico e cultural dos congos, trançando reflexões sobre os estudos etnográficos da Dança dos Congos, explorando a possibilidade de uma interlocução entre a etnografia realizada por Brandão (1977) e a que realizei. E por fim, observaram-se as representações e apropriação dessa forma de expressão em relação ao conjunto de bens patrimoniais da cidade de Goiás e as políticas de salvaguardas executadas por seus detentores. Este estudo permitiu identificar que a performance da Dança dos Congos, da cidade de Goiás é a materialização da iconografia de um povo que vive, luta, resiste e permanece.

Vad menar vi egentligen när vi säger att vi har det i oss eller att vi ska lära oss med alla våra sinnen och att elever ska utveckla hela sin förmåga? Denna studie är en begreppsanalys av det som man på engelska benämner embodied. Den undersöker detta i en svensk utbildningskontext och försöker finna motsvarande begrepp på svenska. Den belyser hur kroppsligt kunnande/lärande beskrivs inom tre olika utbildningsvetenskapliga områden. Studien består dels av en semantisk undersökning och dels av en kontextuell exploration. Den semantiska undersökningen innehåller en hermeneutisk begreppsanalys enligt Koort (1975) och en etymologisk granskning. Den hermeneutiska explorationen undersöker begreppet embodied först inom praktisk kunskap, sedan inom kognitiva lärandeteorier och slutligen relateras embodied till ett somatiskt kunskapsfält med kroppsliga/body-mind praktiker, på engelska kallat somatics.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

In recent years, there has been a significant amount of new attention to white dominance and privilege (or whiteness) as the often unmarked inverse of racial oppression. This interest has spawned the academic domain called Critical Whiteness Studies (CWS). While the critical investigation of whiteness is not new, and has been pioneered by Black scholars beginning at least since the early 1900s in the work of W. E. B. Du Bois, what is notable about this new interest in whiteness is its advancement almost exclusively by white scholars. The paucity of literature centering the Black voice in the study of whiteness both suggests the lack of appreciation for the importance of this perspective when researching the phenomenon of racial dominance, and raises questions about the manner in which racial equity work is approached by some Whites who do work that is intended to advance racial equity. This study investigates the context of racial equity collaborations between Blacks and Whites, responding to this knowledge deficit in two ways: a) it centers the Black voice, specifically and intentionally seeking the perspectives of Blacks about racial equity collaborations b) it investigates the nature and effects of the relationships between Blacks and Whites in these collaborative endeavours. This qualitative research study uses in-depth interview data collected from ten Black racial equity workers who collaborate with Whites in doing racial equity work. The data makes evident that the Black participants find these collaborations to be necessary and strategic while at the same time having the potential to undermine their own agency. The study examines this contradiction, discussing several manifestations of it in the lives of these Black racial equity workers. It outlines the importance of Black embodied knowledge to racial equity work and to these collaborations, and outlines an epistemology of unknowing and a politics of humility that these Blacks seek in their white colleagues. The study also outlines the collective and individual strategies used by these Black racial equity workers to navigate and resist the contradictory terrain of their collaborations with Whites in racial equity work.

Esta tesis doctoral tiene por objetivo el estudio de la actividad innovadora de los sectores económicos desde la perspectiva de los vínculos tecno-productivos que se establecen entre ellos. Dentro de este objetivo general, cobra una destacada importancia el territorio en el cual se encuentran estos sectores, siendo España y la Comunidad Valenciana los casos analizados. Ante estos objetivos, se plantean las siguientes preguntas que guían la investigación: a) ¿Qué rol desempeñan los servicios empresariales intensivos en conocimiento en la generación y difusión de innovación en el sistema económico? ¿Qué contribución cuantitativa realizan tales sectores al sistema de creación y generación de conocimiento? b) ¿Cuáles son los patrones de innovación de sectores menos intensivos en conocimiento, clasificados típicamente como tradicionales, pero con gran arraigo e influencia territorial (en particular el sector agroalimentario)? ¿A qué fuentes recurren con mayor intensidad cuando el territorio presenta también bajas intensidades tecnológicas o baja capacidad de absorción (la Comunidad Valenciana)? c) ¿Qué patrones de innovación se corresponden con distintas capacidades sectoriales para crear nuevas empresas? O en otras palabras, ¿el patrón de generación/absorción de conocimiento de cada sector afecta a su capacidad para crear nuevas empresas? Para dar respuesta a estas preguntas se ha utilizado el enfoque del "embodied knowledge". Esta aproximación permite mensurar el conocimiento "incorporado" en los productos y servicios que cada sector utiliza como inputs en sus procesos productivos y que indirectamente contribuyen a su propia intensidad o esfuerzo tecnológico y de innovación. La metodología implementada puede sintetizarse en la idea de que el mayor o menor grado de esfuerzo innovador en un sector no solo estará determinado por su propio gasto en actividades innovadoras, sino también por el gasto que sus proveedores realizan en estas actividades. / Alba, MF. (2012). CONOCIMIENTO INCORPORADO Y VÍNCULOS INTERSECTORIALES. APROXIMACIONES MEDIANTE EL ANÁLISIS INPUT-OTPUT [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/15181

Dieser Dissertation liegt die Problematik des impliziten verkörperten Wissens im Erkennen und Entdecken mittels visueller Instrumente zu Grunde. Mit Entdeckung ist der Akt des allerersten Erkennens von etwas gemeint, über dessen Existenz oder Beschaffenheit dem Entdecker zuvor keine expliziten Kenntnisse zur Verfügung standen. Eine zentrale These dieser Arbeit besagt, dass dies durch den transmodalen Charakter der empirischen Begriffsbildung gesichert wird. Dieses erkenntnistheoretische Problem wird anhand des Entdeckens von emergenten Mustern urbaner Organisation ausgearbeitet, die aus der Vogelperspektive auf urbanen Echtzeitkarten erscheinen. In der Arbeit werden Trends interaktiver Kartierung aufgezeigt, bei denen unter anderem urbane Sensordaten, Daten aus der Verortung von Personen, Objekten und Information und anwendergenerierte Informationen visualisiert werden. Die Konklusion beinhaltet Ausblicke, an welchen Punkten die anhand der interaktiven Karten gewonnenen Erkenntnisse in Stadtentwicklungsprojekte und in die Entwicklung von ortssensitiven Technologien einfließen können. / This dissertation elaborates on the role of implicit embodied knowledge in recognition and discovery through the use of visual instruments. Discovery refers to the very first act of recognition of something, that''s existence or features were not explicitly known by the discovering person beforehand. According to a central thesis of this work discovery is enabled by the transmodal character of empirical concept formation. This epistemological question is elaborated based on the case of emergent patterns of urban organization that appear on urban real-time maps from the bird''s eye view. Trends of interactive mapping are shown where urban sensor-data, location data of persons, objects, and information, as well as user generated information is visualized. The conclusion contains outlooks how knowledge gained from interactive urban maps can be utilized in urban development projects and in the development of location sensitive technologies.

This thesis aims to present a practical example of how art can become an instrument capable of investigating, showing and facing a social problem. For doing so, art can overcome communication issues; secondly, it can create a “common world” of shared values that leads to changes in society. The ethnographic example shown here is set among the theatrical company of the KulturParken association (Uppsala, Sweden), which works with people with disability. The fieldwork focuses on the development and staging of their theatrical show “Sagan om Liv och Lust” which deals with the problem of sexuality and disability. The thesis structure follows two main arguments: communication process and evolution in society. The arguments are framed and analysed through the embodied knowledge concept and Turner’s theory about ritual in theatre, as well as through Kester’s dialogical and relational aesthetic theory and Rancière’s Dissensus one. This thesis highlights how disability arts and a disability aesthetic allowed the members of the company to develop a personal awareness, leading them to overcome self-imposed barriers and those imposed by society. Moreover, it shows how the receivers of the theatrical message become active actors themselves, carrying forward the communicative process.

In this thesis, I demonstrate the dynamic way in which musical processes can be described as metaphors. Using Steve Larson’s three main metaphors (gravity, inertia, and magnetism) as a starting point, I propose additional metaphors (friction, repulsion, momentum, wave, orbit, and oscillation) to analyze the first movements of Mozart’s Piano Concerto No. 20 in D minor, K 466 and Schumann’s Piano Concerto in A minor, op. 54. These metaphors provide a means to discuss points of convergence and divergence between the Classical style and the early-Romantic style. Additionally, most theorists of the energeticist tradition only discuss motion through prose; I introduce a way to represent these metaphors as musical examples. By focusing on the listener’s experience through musical motion, the model proposed in this thesis is useful, not only for the theorist, but for all who wish to communicate ideas about music in a dynamic way.

In the context of Chicanx experiences in the United States, where varying generations of Chicanxs experience bicultural realities, this study shows how embodied knowledge performed through the body’s movements in folklórico dance by Chicanx youth from multiple generations, acts as a mechanism for reconnecting youth to cultural ties, reevaluating educational practices, and emplacing within youth, the ability to foster the confidence to express and create imagined futures. Data collection incorporated a series of interviews with eight Chicanx youth and adults who have either taught or danced folklórico in the Phoenix, Los Angeles, or Coachella Valley areas. Interview participants revealed a strong sense of cultural orgullo that acts as a bedrock for their cultural identity affirmation and reclamation. This orgullo and other cultural knowledges such as familismo and collective consciousness were emphasized through pedagogies of embodiment. Dancers described learning these cultural knowledges not just through the embodiment of physical dance steps but through the embodiment of social customs honored by their folklórico communities. Much of these social customs centered around fostering and maintaining relationships of genuine, holistic caring. These relationships were foundational for personal, mental, and emotional growth of dancers. Through these relationships, individual identities found the support to thrive within collective communities. Given the influx of educational pedagogies that attempt to depersonalize, depoliticize, and de-emotionalize the education through the implementation of tracking systems, standardized tests, and culturally inaccessible curriculums, these stories suggest alternate forms of learning that may account for students’ entire well-being. While this project is very much about reclaiming historical pasts, it is also about re-envisioning educational possibilities, discovering inner potentials and building collective communities that recognize and rejoice in those potentials. Through this study, a deeper understanding of the functions of movement and dance will strengthen platforms that push arts education and ethnic studies to greater educationalist agendas.