Keynote Presentations

Keynote/Ομιλία στο 1ο Πανελλήνιο Συνέδριο Γραφικών Τεχνών, 1 έως 8 Ιουλίου 2018, στο Πανεπιστήμιο Ιωαννίνων, Συνδιοργανωτές: Μουσείο Τυπογραφίας και Τεχνολογίας Γραφικών Τεχνών Πανεπιστημίου Ιωαννίνων, Πανελλήνια Ένωση Πτυχιούχων Τεχνολογίας Γραφικών Τεχνών (HELGRAMED), Σωματείο Επαγγελματιών Μεταξοτυπών Ελλάδος (Σ.Ε.Μ.Ε). Υποστήριξη: Σχολή Καλών Τεχνών Πανεπιστημίου Ιωαννίνων.

Performances and performance cultures are often seen in our discipline as indicative of the political unconscious in the way they shape dramatizations of collective myths and identities. Yet they are also so much entangled with the present political agendas, the arts (and education) decrees and legislation, the support by local communities and audiences, and the general social and political climates in which they operate, respond to and aim to influence. In Turkey, for over a decade, politics and theatre are increasingly at odds with each other in a general climate that seeks to restrict freedom of speech and expression as well as the public representation and visibility of (political) identities that go beyond the homogeneity of an 'ethnically' Turkish nationhood and a (Sunni) Muslim denomination or cultural background. Moreover, right before the previous general elections and even more so after the failed coup attempt, the role of the state as a primary actor in identity politics has taken a nationalistic turn. Despite its ethnically diverse history and social reality, the homogeneous Turkish nation as predicated by the state leaves formally and publicly no space for cultural pluralism. Theatre and aesthetic protest take up an important social role in contesting mainstream notions of citizenship and in creating a space for plurality. In this keynote, I propose to do four things: 1. I will first focus on the current political climate in Turkey and look at its implications for the artist's response-ability (Lehmann 2006). 2. I will move on to reintroduce Turkey's protest culture after the Gezi uprisings and discuss how performativity in protest actions has the potential to be called a 'structure of feeling' (Williams 1977) with a wider history in political performance history. 3. I will unpack similarities and differences with protests and theatre cultures in the 1950s and 1980s. However, it must be said that my rereading of Turkey's history of aesthetic protest and the role of the artist within it will only reveal a very disparate story. 4. I will return to today's Turkey and pose some critical questions regarding the term ‘Gezi spirit’. I will conclude with the question whether or not the Gezi spirit is (or should be kept) alive and what it left us – as academics – to make sense of what is happening around us today.

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This paper reports on the evaluation of an English experiment which, for the first time, moved statutory social work support for children and young people in out-of-home care from the public to the private or independent sector. Five social work practices (SWPs), independent or semi-independent of local government, were established and evaluated using a matched control design with integrated process evaluation. Social work teams in the public sector, selected to correspond to key characteristics of the SWP sites, provided control sites. While most SWPs were perceived to be accessible and user-friendly organizations, children's and young people's accounts showed no differences between pilots and control sites in terms of workers' accessibility and responsiveness. Perceptions of SWP staff's decision-making were mixed. SWP staff reported spending more time in direct face-to-face work with children and families but this was attributed to reduced caseload size and a tight remit which excluded child protection work rather than to decreased bureaucracy. SWP staff morale was generally found to be high in terms of depersonalization and social support, reflecting an emphasis on staff supervision in these organizations. However, this was offset by slightly higher job insecurity which reflected the precariousness of employment in the independent as opposed to state sector. Staff retention varied between the SWPs, but although children and young people in the pilots were more likely to retain their key worker than those in control sites, they experienced disruption in the move into SWPs and back to public services when SWP contracts were not renewed. While some SWPs succeeded in reducing placement change rates for children and young people, a policy of switching placement providers to achieve flexibility and savings increased placement change rates in some SWPs. SWPs did not achieve financial independence from the local authority commissioners with only one assuming full responsibility for managing the placement budget. Payment by results was not used consistently. None of the commissioners interviewed considered that the SWP model had resulted in savings. The study highlighted the interdependence of public and private sectors. As small organizations, most of the SWPs succeeded in offering an accessible and personalized service, and public services should consider reorganizing to achieve similar outcomes. However, this evaluation found that contracted-out organizations struggled to provide children in out-of home care with the consistency and continuity they require.

This paper reports on the evaluation of an English experiment which, for the first time, moved statutory social work support for children and young people in out-of-home care from the public to the private or independent sector. Five social work practices (SWPs), independent or semi-independent of local government, were established and evaluated using a matched control design with integrated process evaluation. Social work teams in the public sector, selected to correspond to key characteristics of the SWP sites, provided control sites. While most SWPs were perceived to be accessible and user-friendly organizations, children's and young people's accounts showed no differences between pilots and control sites in terms of workers' accessibility and responsiveness. Perceptions of SWP staff's decision-making were mixed. SWP staff reported spending more time in direct face-to-face work with children and families but this was attributed to reduced caseload size and a tight remit which excluded child protection work rather than to decreased bureaucracy. SWP staff morale was generally found to be high in terms of depersonalization and social support, reflecting an emphasis on staff supervision in these organizations. However, this was offset by slightly higher job insecurity which reflected the precariousness of employment in the independent as opposed to state sector. Staff retention varied between the SWPs, but although children and young people in the pilots were more likely to retain their key worker than those in control sites, they experienced disruption in the move into SWPs and back to public services when SWP contracts were not renewed. While some SWPs succeeded in reducing placement change rates for children and young people, a policy of switching placement providers to achieve flexibility and savings increased placement change rates in some SWPs. SWPs did not achieve financial independence from the local authority commissioners with only one assuming full responsibility for managing the placement budget. Payment by results was not used consistently. None of the commissioners interviewed considered that the SWP model had resulted in savings. The study highlighted the interdependence of public and private sectors. As small organizations, most of the SWPs succeeded in offering an accessible and personalized service, and public services should consider reorganizing to achieve similar outcomes. However, this evaluation found that contracted-out organizations struggled to provide children in out-of home care with the consistency and continuity they require.

Un ebook necesario para mejorar la elaboración y exposición de presentaciones en áreas científicas y médicas. Explica los errores consuetudinarios en las presentaciones actuales, la orientación correcta que debe darse a cada conferencia, la organización de ideas, el diseño de las diapositivas y cómo hablar en público. Incluye también información sobre dispositivos técnicos y trucos para salir del paso ante incidencias.

You can embed a photo into a slide’s background in PowerPoint by clicking Format Background on the Design tab. Select ‘Picture or texture fill’ then choose to insert a picture from a file, the clipboard or online. Once done, you can adjust its transparency, type (tiled or stretched) and position on-screen. Like what you see? Click ‘Apply to All’ to apply the background to all your slides.