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51	Srovnání metod rozvíjející komunikativní kompetence skrze "Aktivity s využitím koní" / Comparison of methods for developing communicative competence through 'activities with the use of horses' VOTÍPKOVÁ, Martina January 2015 (has links) This thesis compares four methods of therapeutic riding to determine what communicative competence are developed in the framework of activities with the use of horses. The work includes terminology section, which are explained in terms accompanying the whole job and explains the term of use for therapeutic riding. The theoretical part introduces the social communications horses and interpersonal communication. The next section presents the specifics of interspecies communication, and its use in the development of communicative competence and follows the chapter on the development of communicative competence through activities with the use of horses. The main part describes the four methods of therapeutic riding and analytically compares the contents of individual activities with horses focused on the development of communicative competence. In conclusion summarizes the results and encourages the formation of methodology developing communicative competence in educational programs with horses.
52	Are you ready for a wet live-in? : explorations into listening Holmstedt, Janna January 2017 (has links) Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them. / <p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617</p> artistic research listening situated practices sound in art expanded art expanded scenography media ecology acousmatic orality a/orality storytelling interspecies communication more-than-human relations co-habitation sensorial estrangement posthumanism parasites play technology dolphins sonic sensibility transliteracy voice performativity new materialism Michel Serres Karen Barad John Lilly oceans wet live-in Visual Arts Bildkonst Performing Arts Scenkonst
53	Entwicklung einer Technologie zur langzeitstabilen Biologischen Reinigung schwermetallbelasteter Bergbauwässer Deusner, Christian 27 May 2004 (has links) A new technology for biotechnological treatment of mine waters with both high concentrations of heavy metals and sulphate was developed. The technology is based on the technical coupling of microbially mediated hydrolysis, fermentation and microbial sulphate reduction in a self-stabilising process. Electron donor for sulphate reduction is supplied by degradation of a solid substrate (silage). Elimination of metals is primarily achieved by sulphide precipitation within the sulphate reduction zone. The organic compounds are either supplied by elution or by hydrolysis of polymeric compounds which was named active elution. The concept was realised as a two-phase process with (active) elution in the first phase (R1) and sulphate reduction and metal elimination in the second phase (R2). With this process setup the supply of sufficient amounts of electron donor in R1, a stable and effective sulphate reduction yield as the basis of metal elimination in R2 and a stable separation of microbial processes in R1 and R2 was achieved at hydraulic retention times of 69 h in R1 and 40 h in R2. Almost complete elimination of heavy metals was achieved from wastewaters with 0.2 mM Ni2+, Cu2+, Zn2+, Fe2+ and Mn2. A structurised mathematical model describing the two-phase process was developed on the basis of literature values and tested with data from continuous experiments. Microbial processes were significantly influenced in the presence of precipitated heavy metal sulfides. The effect was dependent on both the bound metal (Ni2+ or Fe2+) and the relative distance between sediment and biomass. / Es wurde eine neuartige Technologie zur biotechnologischen Reinigung von schwermetallbelasteten, sulfathaltigen Bergbauwässern entwickelt. Die Technologie basiert auf der technischen Kopplung von mikrobiell vermittelter Hydrolyse, Fermentation und mikrobieller Sulfatreduktion in einem selbststabilisierenden Prozess, wobei aus Abbau eines festen Substanzgemisches (Silage) Elektronendonor zur Sulfatreduktion bereitgestellt wird. Die Schwermetallelimination erfolgt vorrangig durch sulfidische Fällung, die technisch einstufig mit der mikrobiellen Sulfatreduktion realisiert wurde. Die organischen Verbindungen wurden durch Elution bereitgestellt bzw. durch hydrolytischen Abbau von polymeren Verbindungen. Hierfür wurde der Begriff der ?Aktiven Elution? geprägt. Die Konzeption wurde technisch zweistufig umgesetzt. In der ersten Stufe (R1) erfolgt die (Aktive) Elution, in der zweiten Stufe (R2) erfolgen Sulfatreduktion und Schwermetallelimination. Mit der verfahrenstechnischen Umsetzung wurde die Bereitstellung einer ausreichenden Menge an Elektronendonor in R1, eine effektive und stabile Sulfatreduktionsausbeute als Bedingung der Schwermetallelimination in R2 und eine weitgehende Trennung der mikrobiellen Prozesse in R1 und R2 bei Verweilzeiten von 69 h in R1 und 40 h in R2 erreicht. Bei Behandlung von wässrigen Lösungen mit 0,2 mM Ni2+, Cu2+, Zn2+, Fe2+ und Mn2+ konnte eine nahezu vollständige Elimination der Schwermetalle aus der Lösung erreicht werden. Es wurde ein strukturiertes mathematisches Modell für den zweistufigen Prozess auf der Basis von Literaturangaben entwickelt und anhand der kontinuierlichen Laborversuche überprüft. Es wurde ein erheblicher Einfluss schwermetallsulfidischer Präzipitate auf die mikrobiellen Prozesse festgestellt. Dabei wurde dieser Einfluss in Abhängigkeit von der Art der gebundenen Metallionen (Ni2+ oder/und Fe2+) und in Abhängigkeit der relativen räumlichen Anordnung von Sediment und Biomasse festgestellt. info:eu-repo/classification/ddc/620 ddc:620
54	Whispering Bodies : The Textual Brain Bertling Wiik, Siri January 2021 (has links) During this project I’ve been exploring how we can work with things within art to change our way of relating to ourselves, other humans and our surrounding. I want to see if finding inner spaces within us can make us feel more connected to our external surrounding. I want to share the feeling of being connected with things through incorporating them inside our own bodies. I have therefore been leading participants on introspective journeys where they found rooms inside of their bodies. After that I have been translating these inner spaces into immersive performative Scenography, where visitors have been invited to engage with the things in the space with all their senses. All the bodies, things as well as visitors, have been given the possibility to interact on their own terms. I wanted to see what kind of relating this room of Whispering Bodies; the Immersive Scenography inspired and invited to, and I wished for it to be a tactile bonding with a sense of heightened empathy and listening. This text-based piece, called Whispering Bodies: The Textual Brain, is created out of a curiosity in how a reflection based in the written language can exist as a complementary work for a physical and tactile space, in this case Whispering Bodies: The Immersive Scenography. I wanted to create an experience that would have traces of the room filled with different bodies. I have been experimenting with how to use different mediums to make this happen, and this piece will be a combination of meditation, video, drawings, audio and text, and the text itself will be jumping in between genres. I want to invite you to take part in this journey with me. It will be dry, it will be poetic, it will be telling you what happened, both the factual and the fictional. If you have any questions, feel free to contact me about the work. performance object oriented ontology video participatory poetry language scenography sculpture visual art fine art interactive fluid fluidity melting inner spaces introspective workshop objects things tactility relations translation transformation interspecies communication communication agency immersive performative body bodies meditation språklighet kommunikation meditation kropp workshop performance konst fri konst scenkonst tolkning översätta förändra videokonst skulptur poesi scenografi allomslutande interaktivt performativt deltagande Performing Arts Scenkonst Visual Arts Bildkonst

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