Spectator

In 1998 the European Union (EU) launched a Common European Security and Defence Policy (CSDP). Since then, the CSDP has been the focus of a growing body of political and scholarly evaluations. While most commentators have acknowledged shortfalls in European military capabilities, many remain cautiously optimistic about the CSDP’s future. This article uses economic alliance theory to explain why EU member states have failed, so far, to create a potent common defence policy and to evaluate the policy’s future prospects. It demonstrates, through theoretical, case study-based and statistical analysis, that CSDP is more prone to collective action problems than relevant institutional alternatives, and concludes that the best option for Europeans is to refocus attention fully on cooperation within a NATO framework.
Keywords: CSDP, Economic Alliance Theory, NATO, collective action problems, burdensharing, crisis management

The question discussed in this thesis is: What does eSports tell us about how to think of spectatorship when combined with media enabling participation? First, eSports and spectatorship are theorised. Second, the history of the origins of eSports spectatorship up to the present day is discussed, revealing how practices of the participatory culture surrounding eSports have been of major influence in shaping eSports and showing how various forms of game systems, video games and technologies, such as networked gaming and video game live streaming, are of influence on spectatorship. ESports spectatorship is so intertwined with media that eSports and media cannot be studied separately. Especially the aspect of participation, which is enabled by media, is of influence on transforming spectatorship. Third, a formal analysis is conducted of two platforms that provide eSports to spectators, showing how technological qualities and the design of media influence eSports spectatorship and enable or restrict participation. ESports spectatorship entails aspects of an active audience and fan practices, but also includes active participation, and often blurs boundaries between being a spectator or a fan on one hand, and being a player, and sometimes a producer of eSports content, on the other.

The chair would be the first item of furniture that appears in the hearth of the bipedal human being who needs from time to time, to rest his legs after a broader effort of gaining verticality. If walking by all his members gave him an equilibrium for his body, walking on foot has forced him to sacrifice the two inferior members which had to support the whole weight of the body. The sitting position brought with it the sedentary itself, the statal organization and the statornicy. The man has become "home settled" and "wise". If the "liberation technologist" brings inventiveness and creation, the appearance of human social universe, movable and immovable, setting free the artist standing in forms and images of human transcendent ego, communicates with other worlds hidden to our ordinary senses, the man is a spectator in space, in the center of a vast and complex universe, in a place of nature spirits and Gods.

This new series, published in conjunction with the British Sociological Association, evaluates and reflects major developments in contemporary sociology. The books will focus on key changes in social and economic life in recent years and on the ways in which the discipline of sociology has analysed those changes. The books will reflect the state of the art in contemporary British sociology, while at the same time drawing upon comparative material to set debates in an international perspective.

Existing work on gender and the politics of television culture suggests that seemingly tough girls such as Emma Peel (The Avengers, 1961- 1969), Jaime Sommers (The Bionic Woman, 1976-1978) and Jill Monroe (Charlie’s Angels, 1976-1981) were less action chicks than they were powder puffs. After all, despite the seemingly active roles that these characters played from week to week, the strength, intellect and autonomy of these women was routinely undermined in a variety of ways, including marriage, male-rescue and masquerade. Moreover, these programs have been critiqued for emphasizing the surface appearance and sexual attractiveness of their stars as a way in which to diffuse the threat posed by second wave feminism. With these notions of feminism, feminine beauty and desirability in mind then, it is relevant to consider the ways in which representations of today’s tough girls can be understood within a wider discussion of contemporary feminism. Theorists such as Charlene Tung, Renny ...

Relatively little is known about the youth labour market in Mongolia. This paper addresses the issue by taking advantage of a recent ad hoc School to Work Transition Survey (SWTS) on young people aged 15-29 years carried out in 2006. After a period of sharp reduction in the 1990s, educational attainment is increasing, as compared to other countries in the area. Nonetheless, important constraints seem to affect the supply of education, especially in rural areas. In addition, as application of the new ILO school-towork transition classification shows, the country is unable to provide young people with a sufficient number of decent jobs. This translates into high youth unemployment in urban areas and very low productivity jobs in rural areas. Mincerian estimates confirm that human capital is an important determinant of earnings in urban, but not in rural areas.

Terrorism, as an institution, targets human rights and democratic states have the right to defend themselves, their citizens and values against terrorism. In a sense, terrorism advantage of the free environment created by the general respect for human rights. However, it would be a grave mistake if the measures taken by the state against terrorism violate human rights themselves. Any democratic state which resort to such measures would be in seIf-denial, and this wouId eventual1y Iead to destroction of the state's own social structure. Therefore, states, in their fight against terrorism, should act in accordance with human rights and should never sacrifice the principles of democratic role and the role of law.

Between March and April 2006, al-Qaida spoke up a number of times, with audio-visual announcements from its leaders (Bin Laden, Zarqawi and Zawahiri) and, probably, with the bomb attacks in the Sinai. 1 This profusion of messages, explicit and close together in time ...

Over 25 years ago, Susan Strange urged IR scholars to include multinational corporations in their analysis. Within IR and IPE discussions, this was either mostly ignored or reflected in an empirically and methodologically unsatisfactory way. We reiterate Strange's call by sketching a fine-grained theoretical and empirical approach that includes both states and corporations as juxtaposed actors that interact in transnational networks inherent to the contemporary international political economy. This realistic, juxtaposed, actorand relations-centred perspective on state and corporate power in the global system is empirically illustrated by the example of the transnationalisation of state ownership.

... Its "community" nature makes the Atlantic Alliance work even at a time when its rationale ... Furthermore, the Alliance is incrementally contributing to Afghanistan's stabilisation, just north of the Gulf ... countries included in the GCC, as well as individual countries such as Yemen, Iraq ...

Since 2006, several Arab countries have rather suddenly manifested a renewed interest in civilian nuclear energy. For some, like Egypt, this is the resuscitation of an old interest; for others, however, most notably the member of the Gulf Cooperation Council (GCC), 1 interest in civilian nuclear energy represents a clear reversal of a previously held position.

The article delivers the author’s reflections on relations among the text (speech and secondary), the performing body, performers and spectators in postdramatic theatre and performance, based on Erica Fischer-Lichte’s model of a doubled performing body (phenomenal and semiotic). The author elaborates a typology of performing bodily relations: a) divisional / semi-sensual, b) substitutional / fully sensual, and c) identical / auto-sensual bodily relations upon three different criteria: a) who is the main producer of sensations, b) how many senses are involved, and c) what is the nature of the spatial relationship between the performers and the spectators. Three examples are given as an illustration of the above typology: Dani Ploeger’s Biotope, Via Negativa’s Would Would Not and Janez Janša’s The Wailing Wall.

... Its "community" nature makes the Atlantic Alliance work even at a time when its rationale ... Furthermore, the Alliance is incrementally contributing to Afghanistan's stabilisation, just north of the Gulf ... countries included in the GCC, as well as individual countries such as Yemen, Iraq ...

In this essay I examine the tension among the varying levels of global mobility associated with multiple spectral bodies that haunt the textual, intertextual and production spaces of the film, Shutter (2008), a Hollywood/Japanese remake of a popular Thai movie with the same title. I identify three types of spectral incarnations that are invoked or generated by the film: the Asian ghost figure in the narrative, the textual body of the Thai film that served as its source material, and Thai laborers that produced this earlier version. I argue that these spectralized forms of labor are materially present in the textual body of the film, and are perceptible to those who cultivate a “spectral vision” via uncanny effects created

If the introduction of the digital in the moving image production does not alter the cinematographic device, neither transform or change any of the essential features of the cinema, then the production of digital moving image will not affect the cinema essence. Otherwise, if any of the essential features of cinema is superseded, enabled by the digital features of the moving image, it should named as cinematic experiences, which are defined as moving image production, digitally mediated, potentially requiring an action and that looks for its essence in the consciousness of movement and visual rhythms

Melting ice is an important source and artistic tool for construction of meaning in certain instances of performing art. Author analyses the next five performances: Francis Alÿs's poetic intervention into the urban space of Mexico City, Paradox of Praxis I, displayed frozen casts of Marc Quinn's self-portraits Self I-IV, Heather Cassils's performance Teresias, Allan Kaprow's happening Fluids and Janez Janša's performing installation The Wailing Wall. They all feature a close spatial and sensual relationship between ice and the performing body, be that either the performer or the spectator, or both. The paper accentuates the relationship between the human body and ice in the above-mentioned artistic phenomena upon criteria of perception (touch), the body (hand), ice (as a material carrier of symbolic transformation), human agency (labour), time (duration) and the performer–spectator relationship (the spectator’s participation in art) using the above-mentioned works as illustrations. The first two performances illustrate the divisional/semi-sensual relationship between artwork and the spectator. The next two examples are illustrations of substitutional/fully sensual relation between art and spectator. Finally, the last one is an illustration of identical/auto-sensual type of relation between art and spectator. Author claims that the physical relationship between ice and the human body and thus the production of the sensations and sensuality of coldness can be an important precondition for construction of the so-called spectActor.

Cette thèse procède d’un travail réflexif en lien constant avec une création chorégraphique. Elle est la parole d’un artiste-chercheur qui ne pense pas sans œuvre ni sans les œuvres d’autres artistes. Toutes explorent la thématique des figures marginales dans le champ chorégraphique, et permettent de construire une poétique singulière adossée sur les esthétiques esquissées par certaines des œuvres des chorégraphes brésiliens Luiz de Abreu, Marcelo Evelin, Núcleo do Dirceu et Micheline Torres. En partant de Ciel, premier solo que je signe en tant que chorégraphe en 2012, et en m’orientant vers un réseau poétique des œuvres avec lesquelles une certaine proximité thématique me semble féconde, j’enquête sur ce qui fabrique la sensation de reconnaître un marginal qui danse. Les récits que j’en fais sont construits à partir de mes propres expériences de spectateur et consolidés par mon parcours d’artiste chorégraphique. La traversée critique, analytique, fictionnelle des œuvres constitue ...

If the introduction of the digital into moving image production does not alter the cinematographic device, nor change any of the essential features of the cinema, then the production of digital moving images will not affect the essence of cinema. If any of the essential features of cinema are, in fact, superseded by the digital features of the moving image, they should be named as cinematic experiences, which are defined as moving image production, digitally mediated, that looks for its essence in the consciousness of movement and visual rhythms.

Abstract:
this essay has as its mains objective to construct a bridge between the theories of Domique Wolton and Pierre Bourdieu about television through an comparative analysis of the works Internet, e Depois?, by Wolton, and Sobre a Televisão, by Bourdieu. This analysis will be guided by the precepts estabilished by Guy Debord in his 1968 book, Sociedade do Espetáculo.

Resumo:
Este ensaio preconiza aproximar as visões sobre televisão de Domique Wolton e Pierre Bourdieu através de uma análise comparativa das obras Internet, e Depois?, de D. Wolton, e Sobre a Televisão, de P. Bourdieu, calcada nos conceitos de espetacularização e espetáculo de Guy Debord.

Resumen:
El presente artículo pretende indagar en el papel que desempeñó la televisión en relación con los diferentes aparatos de visión que han ido configurando la historia de las imágenes. Se centrará principalmente en los mecanismos de recepción, comparándolos con las condiciones perceptivas de sus predecesores, a saber, aquellos que forman parte de lo ha venido en denominarse imagen mecánica. El objetivo que persiguen estas indagaciones es plantear hasta qué punto la televisión supuso la continuación o el perfeccionamiento de dispositivos ópticos anteriores, siempre en conexión con el modo en que el observador se ha relacionado con ellos.

This anthology, with a foreword by Steve Dixon, professor at LASALLE College of the Arts, brings together the writings of artists and interviews with directors and performers working with digital technology. It offers 65 contributions grouped into seven parts devoted to time, space, dramaturgy, actor, spectator, device, and creative process. The texts were mainly conceived between 2014 and 2017 and were written, in most cases, exclusively for this book. Each part is preceded by a theoretical context that is intended to sketch a topography of the major transformations affecting the paradigm under analysis. The present contributions deal with the major changes affecting the theatre, transforming it into a digital stage, as well as its transition to the post-digital era. These are first-hand accounts, on the spot, coming from the experience of the stage and therefore relatively rare to find and little archived. It is a unique collection on the market because it deals specifically with theatre and its hybrid forms. It is a rich source of information for researchers, PhD students and also students. The book supports courses on digital performance in universities, art schools and theatre schools.

ABSTRACT The political language of radical nationalism, combined with the logic of justice as non-domination, has become hegemonic in the Hungarian press. The structural position and related discursive traditions of the country form the background against which migratory processes and their interpretations are examined in this article, making the analysis revealing also in regional terms. In the Hungarian case, alternative narrative frames and justice logics are linked to migration collapse in the face of a nationalist ‘freedom fight’ and efforts to create and preserve an ethnically and culturally homogenous nation – and Europe.

In recent years, Oman has been recognised as a key mediator in the Gulf and the wider Middle East. The successful completion of the 2015 Iran nuclear deal, in particular, firmly cemented its reputation as a peacemaker. To fully understand Omani mediation practices in the region, Muscat’s mediation must be placed within the context of the Sultanate’s wider foreign policy, and all known mediations must be assembled in one place in order to develop a typology to better understand forms and patterns. Ultimately, mediation both serves and is enabled by the Sultanate’s foreign policy. This was not an inevitable outcome. Over the course of Qaboos’ reign, Oman has developed into an ‘Interlocutor State’, in which the practice of mediation has become an important tool in furthering the central goals of preserving Oman’s independent foreign policy, and thus ultimately the Sultanate’s sovereignty and security itself.

... 1998, during his meeting with President Bill Clinton in the White House, Rugova attacked Fatos Nano and expressed himself in favour of Ber-isha's return to power in Albania.12 In September 1998, after the assassination of Albanian opposition deputy Azem Hajdari, armed ...

This research arises from the debate related to the nature of the cinema being closely linked and defined by its film support, according to which its permanence in time would be in danger as a result of the introduction of the digital. Also discusses if new forms of digitally mediated moving image, such as interactive CD-ROM's, art installations and net art can be considered new forms of cinema.
With this purpose, the cinema historical background were studied in order to determine his origin and identify the essential in the cinematographic experience. The cinema is found to be born with the cinematograph, and this invention, along with the notions of industrialization and entertainment, is what defines its nature. It is concluded in this study that if the introduction of the digital does not alter the cinematographic device (production, distribution and exhibition), neither transform or change any of the essential features of the cinema (to be index or trace of reality, the projection of moving images, the fact of being a spectator, the fascination for the big screen, the dark room, the immobility and the desire to tell), then the production of digital moving image will not affect  the cinema essence.
Otherwise, the state of simulation will be passing to exploration, enabled by the digital features of the moving image and we will have to stop talking about cinema to make ways for the cinematic experiences concept proposed in this research, defined as moving image production, digitally mediated, potentially requiring action seeking its essence in the awareness of movement and visual rhythms. Its birth is determined in 1963 with the "Exposition of Music - Electronic Television" of Nam Jun Paik.
As a part of the study the characteristics of digital moving images were identified which are the foundation of cinematic experiences: no longer index or trace of reality; allows to simulate reality by mathematics; is in potency to be continuously; open creative possibilities in dialogue with the machine; blur the notion of authorship; its immateriality does not imply nor guarantee its durability in time; it's a numerical representation; can be produced, recognized and indexed by automated processes; its variability which is intrinsic allows it to be interactive; be able to permeate the cultural layer.
In the aesthetics of cinematic experiences, camera is not more needed as a main production device of the moving image; the Renaissance frame and the dark room are exceeded as the ideal projection place of these images; notions of narrative, mounting and framing are no longer primordial; and spectators can become spectators-actors involving in the visual proposal or interacting with digital characters.
The digital modify effectively the way the moving images are produced, to the point of rethinking the "illusion of movement" that cinematograph instituted more than one hundred years ago.

The approaches and policies toward Turkey of international and regional players cannot alone be expected to fundamentally alter the political Zeitgeist and operational principles of its political system. In fact the opposite is true: underlying Turkey's foreign policy formulations and recalibrations is a domestic power struggle to redefine the real parameters of Turkish politics. The primary focus of this struggle in the last two years has centred on the still ongoing historic court case known as Ergenekon that is altering the status quo framework and understanding of Turkish politics. 1 Engaged in this struggle are, on the one hand, the secular establishment, led by the military 2 and, on the other, the ruling Justice and Development Party (AKP), a pragmatic conservative offspring of the banned Islamist party. 3 The first part of this article examines the need for the West to refocus its understanding of Turkey on the correct variables of domestic politics so as to recalibrate its policies towards the new Turkey that is emerging. The second part elaborates on the significance of the recent Ergenekon affair to understand more thoroughly the relevance of the ''military factor'' in Turkish politics.

The success of the integration process of the new EU Member States is reflected by their nominal and real convergence performance. These tendencies are of special importance considering further enlargement of the Eurozone. The financial and economic crisis of 2008 has resulted, however, in a fundamentally new situation as regards these issues. The paper considers the experiences gained in real convergence, the catch-up processes and their future prospects. As for nominal convergence, only those factors were analysed which affect real convergence directly. In particular, the analysis focuses on the sustainability of the convergence processes. The possible trends of longer term growth and convergence processes are presented based on a qualitative analysis representing the supply side approach. 3 The analysis is aimed at revealing potentialnot insignificant-risks and threats.

The role of the nation state in security cannot be examined independently of the general role of the nation state today. Indeed, with the end of the Cold War and the" return of history", security has once again become a global concept in which the specifically technical-...

Museums are a useful source for access to audiovisual heritage—a heritage that is largely unavailable due to restrictions by corporate archives that tend to insulate their assets from the general public and academics. Yet television or broadcasting museums provide access not only to programs from television’s past but also to historical and contemporary artifacts. The potential for such museums to be places of discourse, education, and the shaping of memory is underlined by the connections between television as a mass medium and everyday life, culture, and history. At the same time, television museums have to struggle with the same problems as audiovisual archives: the obsolescence of tape formats, cost-intensive equipment, and the inevitability of digitization. Although there are overlaps with the tasks of archives and libraries, museums selectively collect and curate for the general public. The primary reason for the formation of television museums—the extensive loss of programmin...

Han ten Br Han ten Broeke oeke "I'm an idealist without illusions", zei John F. Kennedy. [1] Die uitspraak drukt de essentie uit van een realistisch buitenlands beleid zoals dat door Nederland gevoerd zou moeten worden. Een buitenlands beleid waarin de wereld zoals die is en niet zoals die zou moeten zijn, centraal staat. De 19de-eeuwse Duitse politicus August Ludwig von Rochau formuleerde Realpolitik minder prozaïsch, maar trof in wezen dezelfde kern: Han ten Broeke (VVD) over realistisch buitenlandbeleid: Youtube (https://youtu.be/ MhBpq1iQbGg) Een realistisch buitenlands beleid wordt gedreven door de overtuiging dat machtspolitiek en pragmatisme in de internationale betrekkingen meer opleveren dan een morele beschouwing van de internationale verhoudingen. [2] Daarbij hoort ook het besef dat het maken van zogenoemde 'vuile handen' soms onvermijdelijk is (bekend als het 'dirty hands-problem').

The political language of radical nationalism, combined with the logic of justice as non-domination, has become hegemonic in the Hungarian press. The structural position and related discursive traditions of the country form the background against which migratory processes and their interpretations are examined in this article, making the analysis revealing also in regional terms. In the Hungarian case, alternative narrative frames and justice logics are linked to migration collapse in the face of a nationalist ‘freedom fight’ and efforts to create and preserve an ethnically and culturally homogenous nation – and Europe.