Accredited US zoos aim to support wildlife conservation and educate and influence the public and create a conservation-minded community by curating immersive multispecies experiences. In this case study, I examine how zoos may practice conservation through the frameworks of biopolitics, spectacle, affect, and mainstream conservation paradigms. To conduct this research, I interviewed 10 zoo staff from the animal, education, development, and retail departments of a Midwestern zoo. Their rhetoric about zoos and how they practice conservation suggests that zoo staff aim to generate affective responses from guests by displaying animals in managed care. These affective responses that staff hope to generate have the potential to elicit behavioral changes in the public, such as making responsible consumer choices and donating to the zoo or to other conservation organizations. I conclude that these practices are examples of mainstream (neoliberalized) modes of conservation, which is conservation that is compatible with larger capitalist structures.

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this thesis is an exploration of rational architectural forms and urban ideas. reflections of density, circulation, rhythm, pattern, and punctuation. the formal consequence of two ideas, city and spectacle, manifest in a theatre for the acrobatic performing arts. on the exterior, an autonomous construction where the architecture is a confrontation to the urban world. internally, a world where spectator and spectacle exist playfully through drawing, modeling, and collage. the project brings the structure of the city to the structure of the theatre. theatre as analogy, a city turned inward. / Master of Architecture

Yes / Purpose. A recent study suggested that updated spectacles could increase falls rate in older people. We hypothesized that this may be due to changes in spectacle magnification and this study assessed the effects of spectacle magnification on adaptive gait. Methods. Adaptive gait and visual function was measured in 10 older adults (mean age 77.1 ¿ 4.3 years) with the participants¿ optimal refractive correction and when blurred with +1.00DS, +2.00DS, -1.00DS and -2.00DS lenses. Adaptive gait measurements for the lead and trail foot included foot position before the step, toe clearance of the step edge and foot position on the step. Vision measurements included visual acuity, contrast sensitivity and stereoacuity. Results. The blur lenses led to equal decrements in visual acuity and stereoacuity for the +1.00DS and -1.00DS and the +2.00DS and -2.00DS lenses. However, they had very different effects on adaptive gait compared to the optimal correction: Positive blur lenses led to an increased distance of the feet from the step, increased vertical toe clearance and reduced distance of the lead heel position on the step. Negative lenses led to the opposite of these changes. Conclusion. The adaptive gait changes did not mirror the effects of blur on vision, but were driven by the magnification changes of the lenses. Steps appear closer and larger with positive lenses and further away and smaller with negative ones. Magnification likely explains the mobility problems some older adults have with updated spectacles and after cataract surgery. / Federation of Ophthalmic and Dispensing Opticians

Yes / This article reviews the literature on how blurred vision contributes to falls, gait, and postural control and discusses how these are influenced by spectacle correction. Falls are common and represent a very serious health risk for older people. They are not random events as studies have shown that falls are linked to a range of intrinsic and extrinsic risk factors. Vision provides a significant input to postural control in addition to providing information about the size and position of hazards and obstacles in the travel pathway and allows us to safely negotiate steps and stairs. Many studies have shown that reduced vision is a significant risk factor for falls. However, randomized controlled trials of optometric interventions and cataract surgery have not shown the expected reduction in falls rate, which may be due to magnification changes (and thus vestibuloocular reflex gain) in those participants who have large changes in refractive correction. Epidemiological studies have also shown that progressive addition lens and bifocal wearers are twice as likely to fall as non-multifocal wearers, laboratorybased studies have shown safer adaptive gait with single-vision glasses than progressive addition lenses or bifocals, and a randomized controlled trial has shown that an additional pair of distance vision single-vision glasses for outdoor use can reduce falls rate. Clinical recommendations to help optometrists prevent their frail, older patients from falling are suggested. / Grant support: Atkinson Charitable Foundation, College of Optometrists, Dunhill Medical Trust, Essilor International R&D, Federation of Ophthalmic & Dispensing Opticians, Health & Welfare Canada, Health Foundation, National Institute for Health Research, PPP Foundation, and Vicon Motion Systems Ltd.

Yes / Purpose: Most patients report being highly satisfied with the outcome of cataract surgery but there are variable reports regarding the impact of cataract surgery on some real-world activities, such as fall rates. We hypothesised that adaptations to changed refractive correction and visual function may cause difficulties in undertaking everyday activities for some patients and used a series of focus groups to explore this issue. Method: Qualitative methods were used to explore patients’ experiences of their vision following cataract surgery, including adaptation to vision changes and their post-surgical spectacle prescription. Twenty-six participants took part in five focus groups (Mean age = 68.2 ± 11.4 years), and the data were analysed using thematic analysis. Results: We identified three themes. ‘Changes to Vision’ explores participants’ adaptation following cataract surgery. While several had problems with tasks relying on binocular vision, few found them bothersome and they resolved following second eye surgery. Participants described a trial and error approach to solving these problems rather than applying solutions suggested by their eyecare professionals. ‘Prescription Restrictions’ describes the long-term vision problems that pre-surgery myopic patients experienced as a consequence of becoming emmetropic following surgery and thus needing spectacles for reading and other close work activities, which they did not need before surgery. Very few reported that they had the information or time to make a decision regarding their post-operative correction. ‘Information Needs’ describes participant’s responses to the post-surgical information they were given, and the unmet information need regarding when they can drive following surgery. Conclusion: The findings highlight the need for clinicians to provide information on adaptation effects, assist patients to select the refractive outcome that best suits their lifestyle, and provide clear advice about when patients can start driving again. Patients need to be provided with better guidance from clinicians and prescribing guidelines for clinicians would be beneficial, particularly for the period between first- and second-eye surgery. / Dunhill Medical Trust. Grant Number: RTF1806/53.

Au-delà des trois Psyché de Lully (ballet, 1656 ; tragi-comédie et ballet, 1671 ; tragédie en musique, 1678), apparaît, entre 1671 et 1718, sous la plume de différents auteurs, une multitude de pièces ou d’œuvres se réclamant des Psyché de Lully, alors mêmes qu’elles en divergent, parfois au point d’en récuser les fondements. L’objet de ce travail consiste donc à comprendre comment une telle situation est possible. Parallèlement à leurs spécificités respectives, les trois Psyché de Lully, mettent en œuvre un principe de création par réécriture musicale, que les successeurs de Lully vont durablement exploiter. En dépit de matériaux originels lacunaires ou discordants, les contemporains de Lully identifient chacune des Psyché comme telle, attestant qu’au-delà de leurs disparités existe un certain nombre de traits communs à l’écriture de Psyché, quel que soit son ‘genre’. Cependant, les variations apportées par les diverses réécritures, de Lully, de ses contemporains ou de ses successeurs constituent des ensembles dont on peut suivre l’évolution, ce qui signifie qu’au-delà des seules Psyché de Lully, le corpus global des réécritures fait sens. De fait on identifie en même temps qu’une dramatisation de la musique par le chant, la disparition du drame par la dramatisation même de la musique. Ce phénomène se réfracte dans la lecture du mythe et du sujet tragique en général : de symbolique et religieuse, elle se fait laïque et critique, épousant par là-même l’évolution du concept d’harmonie dans le spectacle de Cour. Ainsi les Psyché de Lully apparaissent-elles comme un laboratoire de l’histoire du spectacle de Cour. / Beyond Lully's three Psychés (a ballet in 1656 ; a tragicomedy and ballet in 1671 ; an opera in 1678) a multitude of plays or works appear between 1671 and 1718. Composed by various authors they all claim to draw their inspiration from Lully's Psychés although they differ from it or even refute its foundations. Hence, the purpose of this work is to understand how such a situation is possible. Parallel to their respective specificities, Lully's three Psychés implement a principle of creation through musical rewriting which Lully's successors will make use of for years. In spite of incomplete or conflicting original materials, Lully's contemporaries identify each of the Psychés as such, showing that beyond their disparities a certain number of common points in the writing of Psyché can be found, whatever the 'genre'. Yet the variations brought by the various rewritings, whether by Lully himself or by his contemporaries or successors, make up wholes the evolutions of which can be followed, which means that beyond Lully's Psychés the global corpus of the rewritings makes sense. De facto, as well as a dramatization of music through singing, we can identify the disappearance of drama through the actual dramatization of music. This phenomenon is refracted in the reading of the myth and the tragic subject in general : from symbolic and religious it becomes secular and critical , thus embracing the concept of harmony in court entertainment. Therefore, Lully's Psychés appear as a laboratory of the history of court entertainment.

Cette thèse envisage la critique de la « société du Spectacle » (concept forgé dans l’essai éponyme de Guy Debord) telle qu’elle procède dans des œuvres du théâtre expérimental et sur les scènes de la performance au cours des années 2000 à Berlin, Londres et Paris. Les pièces étudiées recyclent des références empruntées aux médias de masse, souvent assimilés à des machines à aliéner le public. Le corpus regroupe aussi bien des auteurs et des metteurs en scène que des collectifs : Martin Crimp, David Ayala, Joël Jouanneau, Falk Richter, René Pollesch, Tom Kühnel, Katie Mitchell, le Collectif MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad et Superamas. L’approche pluridisciplinaire traite à la fois des composants dramaturgiques et des considérants sociologiques de la représentation. D’une part, ce travail étudie la structuration des réseaux dans lesquels les artistes se rencontrent ou coopèrent. D’autre part, nous examinons tant l’organisation des différents éléments scéniques, parmi lesquels les caméras et les écrans tiennent une place importante, que la corporéité des interprètes ainsi que les modes de réception des spectateurs, entre autres par la mise en place d’une enquête. En trans-contextualisant leurs sources, les artistes instaurent des écarts et creusent de la distance à travers divers procédés : l’incorporation littérale, la citation, la parodie et le pastiche, mais aussi l’ironie et le ton cool fun. La dimension critique de ces œuvres ne s’exerce pas de manière frontale et n’est souvent pas même revendiquée. Loin de la rejeter en bloc, les auteurs et interprètes affectionnent certains objets de la culture des médias de masse. Pour mettre en branle leur fonction critique, ils se situent au cœur même de la « société du Spectacle » et de l’esprit du temps. Ainsi cette critique s’est déplacée de l’extérieur à l’intérieur du champ. Leur démarche mêlant le sérieux au ludique dénote une volonté de ne pas se désolidariser des spectateurs face auxquels ils veulent s’inscrire sur un pied d’égalité pour rendre le dialogue et parfois l’interaction possibles. / This thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible.

Entre 1916 et 1928, un certain nombre de films muets américains expérimentent les formes complexes d’un assemblage ostensiblement articulé entre un ou des récits situés dans le passé (historique, antique ou biblique) et un récit situé à l’époque moderne. Nous avons appelé cet assemblage le « Spectacle des Siècles », suivant la formule publicitaire rencontrée sur l’affiche d’un de ces films, Noah’s Ark (M. Curtiz, 1928). Les films du Spectacle des Siècles ne se confondent pas avec les films historiques ou bibliques également mis en scène dans le cinéma muet, et qui supposent une action unique et une diégèse centrée autour de la période reconstituée. Les films étudiés font dialoguer passés et présents en relatant une multiplicité d’époques, de décors, d’actions et de personnages. Cette recherche se propose de mettre en lumière outre la variété des contenus, les diverses solutions d’assemblage élaborées par ces films pour aboutir à l’harmonie d’une œuvre cohérente. Les formes originales imaginées par les cinéastes font apparaître les multiples passages, transferts et métamorphoses de ces parallèles entre le passé et le présent, l’ancien et le nouveau. Elles interrogent ce que les films ont à dire sur leur siècle, en instaurant un présent démultiplié et orienté vers de nouvelles promesses. Ainsi les films du Spectacle des Siècles donnent à lire un moment de l’histoire du cinéma muet américain qui connut une brève période d’activité. / Between 1916 and 1928, some American silent films are in search of putting together one or several stories set in the past (historical, ancient, biblical) and one story set in the modern times, thus displaying complex cinematic forms conspicuously articulated. We called this assembling the « Spectacle of the Ages », according to the advertising formula encountered on the poster of one of these films, Noah’s Ark (M. Curtiz, 1928). The films of the Spectacle of the Ages are not to be confused with biblical or historical films – also produced in silent cinema – which assume a single action and a diegesis focused on the reenacted period. The films we are to sudy here confront the past with the present, by telling multiple ages, sets, actions and characters. Beyond the variety of these stories, this research aims to highlight the various assembling solutions created by the filmmakers to achieve a coherent and harmoniously shaped work of art. These cinematic forms show various passages, translations, metamorphosis of the parallels between the past and the present, the old and the new, thus revealing something of their Age and of a promising future. We perceive in the Spectacle of the Ages a short-lived moment in the history of American silent cinema.