archives@tulane.edu / 1 / Kelly Bond-Osorio

In this dissertation I explore the phenomenon that Hans Ulrich Gumbrecht calls "presence effects" as it is illuminated through encounters with performance art. In Chapter One I describe what is meant by materialities of communication and outline three heuristic features of materiality. In Chapter Two I define performance generally as a mode of action and performance art as a mode of encounter. Chapters Three, Four, and Five utilize the theoretical foundations established in Chapters One and Two to examine the work of three performance artists: Carey Young, Tim Miller and my own performance persona, Reddy the Robot. Finally, in Chapter Six I concretize the potential utility this dissertation may hold for readers interested in materiality, presence, and performance art. Ultimately I argue that tuning into presence effects (as present in performance art and otherwise) can help underscore the value of presence, rethink what limits mean, and highlight the irreducibility of the body.

Telepresence is defined as the sensation of being present at a remote robot task site while physically present at a local control station. This concept has received substantial attention in the recent past as a result of hypothesized benefits of "presence" experiences on human task performance with teleoperation systems. Human factors research, however, has made little progress in establishing a relationship between the concept of telepresence and teleoperator performance. This has been attributed to the multidimensional nature of telepresence, the lack of appropriate studies to elucidate this relationship, and the lack of a valid and reliable, objective measure of telepresence. Subjective measures (e.g., questionnaires, rating scales) are most commonly used to measure telepresence. Objective measures have been proposed, including behavioral responses to stimuli presented in virtual worlds (e.g. ducking virtual objects). Other research has suggested use of physiological measures, such as cardiovascular responses to indicate the extent of telepresence experiences in teleoperation tasks. The objective of the present study was to assess the utility of using measures of attention allocation and situation awareness (SA) to objectively describe telepresence. Attention and SA have been identified as cognitive constructs potentially underlying telepresence experiences. Participants in this study performed a virtual mine neutralization task involving remote control of a simulated robotic rover and integrated tools to locate, uncover, and dispose of mines. Subjects simultaneously completed two secondary tasks that required them to monitor for "low battery" signals associated with operation of the vehicle and controls. Subjects were divided into three groups of eight according to task difficulty, which was manipulated by varying the number, and spacing, of mines in the task environment. Performance was measured as average time to neutralize four mines. Telepresence was assessed using a "Presence" questionnaire. Situation awareness was measured using the Situation Awareness Global Assessment Technique. Attention was measured as a ratio of the number of ?low battery" signal detections to the total number of signals presented through the secondary task displays. Analysis of variance results revealed level of difficulty to significantly affect performance time and telepresence. Regression analysis revealed level of difficulty, immersive tendencies, and attention to explain significant portions of the variance in telepresence.

This thesis is an investigation in taking the architectural element "wall" and celebrating it in the design of a building. Walls are necessary elements in the urban fabric, and as such, should be celebrated. They enrich the space that they surround and enrich that which surrounds them as part of the urban fabric. The project involves first creating walls with presence, then enclosing them in a manner that reveres them, that preserves their significance and emphasizes their presence. / Master of Architecture

The subjective experience of presence is considered to be important in the treatment of anxiety disorders using virtual reality. Presence can be defined as a psychological phenomenon through which one's cognitive processes are oriented towards another world. Most of the research on presence has focused on the roles of technological factors influencing presence, while the number of studies focusing on the personality and physiological predictors are far fewer. Thus, the present study examined the relationship between various personality variables and presence, along with physiological correlates of presence when engaged in a virtual environment. The Presence Questionnaire, to determine their experience of presence, and a small battery of personality-related questionnaires were administered to 70 young adults who participated in 3 different virtual reality scenarios. Participants' physiological responses were recorded in the form of heart rate, galvanic skin levels, and galvanic skin responses were assessed as were urges to drink (craving). Data analysis showed that expectations, levels of craving, and drinking history played a significant role in the experience of presence.

The study reported in this thesis investigates the phenomenon of ‘presence' in teaching. Past research suggests that the relationship between the teacher and student is the “keystone in student achievement, motivation and engagement and in their capacity to trust what they know” (Midgley et al, 1989; Pianta, 1999; Roeser et al, 2000; cited in Rodgers & Raider-Roth, 2006: 266). Despite this, a comprehensive review of the literature has revealed that the notion of ‘presence', offering a holistic, relational, situated and dynamic lens through which to explore the essential elements of classroom interaction, has been strangely neglected to date in the educational research domain (Kornelsen, 2006; Meijer et al 2009; Rodgers & Raider-Roth, 2006). Moreover, in many teaching milieus, despite there being so little clarity about what the notion of 'presence' means in teaching terms, it appears as an observational criterion in both initial and developmental teacher education programmes, where it can be used to make judgements about teachers at different stages of their careers. Contextualised within an ESOL (English for Speakers of Other Languages) school over a nine month period on site, this phenomenological study employs individual and focus group interviews with teachers, teacher educators and students, alongside classroom observations and post-observation discussions. Findings generated by the study offer a new depth of understanding about the multi-dimensionality and complexity inherent in the notion of 'presence' in teaching and allow a critical interrogation of the ways in which it is currently being used in a school context. This highlights the potential power it has as a pedagogic construct and reveals a paradoxical duality, intrinsic to the ways in which it was construed; making it more suitable for developmental than assessment purposes. In short, this study offers a valuable holistic and existential contribution to understanding the nature of teaching, by augmenting the ways in which teachers and teaching have been construed to date. In addition, by illuminating the inherent ambiguity and paradoxes in the complex, dynamic and multi-layered meaning of ‘Presence in Teaching’, the findings have strong implications for teaching practice, teacher education programmes and in particular for the practice of teacher observation in respect of observer awareness, understanding and development; all of which are discussed in the final chapter of the thesis.

This thesis document seeks to find a common thread between three of my plays; The Tides of Aberdeen, The Death of Beth, and Highway Play, written during my MFA program at The University of Texas at Austin. Each play deals with the theme of disappearance in a different way. The lens with which I will examine each play can be defined as “the presence of absence”. I define the presence of absence as having three necessary elements; a liminal space, a palpable void and an unseen tension. The essay also deals with the presence of absence in The Walls by Griselda Gambaro. By defining the presence of absence and how it works in each of my plays I hope to develop a rewriting strategy that incorporates structuring a plot. Also included in this thesis document are the three plays I examine in my thesis, The Tides of Aberdeen, The Death of Beth and Highway Play. / text

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ABSTRACT In this thesis, it is argued that the performance of three plays written by Daniel David Moses: Brébeuf's Ghost, The Indian Medicine Shows and Almighty Voice and his Wife function as healing ceremonies. This healing - so necessary after the cultural genocide wrought upon First Nations peoples by the Canadian government's attempts to legislate and educate them out of existence - is brought about through Moses' examination of the dichotic underpinnings of euro-western notions of absence and presence and how this dichotomy leads to conflict between the euro-western concept of disease as a purely physical phenomena and the indigenous view of disease as being the physical manifestation of spiritual imbalance, of not living in accord with the land. The link Heidegger makes between absence and the essence of things - an example of this being his assertion that the essence of a wine jug "does not lie at all in the material of which it consists, but in the void that holds" ("The Thing" 169) - is representative of the viewpoint of the euro-western characters of the play, most of whom base their understanding of the world and the things in it on their perception of voids. For both euro-western and native characters in these plays, physical and psychological disease is linked to the idea of absence. Disease, as a social construct, is argued as a manifestation of the physical and spiritual voids created by a preoccupation with absence. The euro-western relationship to 'things' and commodities to fill the absence of 'self' is. I argue that the performance of the text is a type of ceremony designed to physically manifest the spiritual, akin to such rituals as the Hopi katina ceremony and the Navajo red ant ceremony, whose aims are to restore the wellness of an individual and, thus, the group. It is the performance of absence which is the key to understanding the works' healing value.

ABSTRACT In this thesis, it is argued that the performance of three plays written by Daniel David Moses: Brébeuf's Ghost, The Indian Medicine Shows and Almighty Voice and his Wife function as healing ceremonies. This healing - so necessary after the cultural genocide wrought upon First Nations peoples by the Canadian government's attempts to legislate and educate them out of existence - is brought about through Moses' examination of the dichotic underpinnings of euro-western notions of absence and presence and how this dichotomy leads to conflict between the euro-western concept of disease as a purely physical phenomena and the indigenous view of disease as being the physical manifestation of spiritual imbalance, of not living in accord with the land. The link Heidegger makes between absence and the essence of things - an example of this being his assertion that the essence of a wine jug "does not lie at all in the material of which it consists, but in the void that holds" ("The Thing" 169) - is representative of the viewpoint of the euro-western characters of the play, most of whom base their understanding of the world and the things in it on their perception of voids. For both euro-western and native characters in these plays, physical and psychological disease is linked to the idea of absence. Disease, as a social construct, is argued as a manifestation of the physical and spiritual voids created by a preoccupation with absence. The euro-western relationship to 'things' and commodities to fill the absence of 'self' is. I argue that the performance of the text is a type of ceremony designed to physically manifest the spiritual, akin to such rituals as the Hopi katina ceremony and the Navajo red ant ceremony, whose aims are to restore the wellness of an individual and, thus, the group. It is the performance of absence which is the key to understanding the works' healing value.