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I. Am I sitting in a room? »Raum und Zeit gibt es also nicht an sich.«1 I.1 LEBE DEINEN R AUM! Mit der Zeit gehen, sich zeitgenössisch geben, unzeitgemäße Betrach- tungen anstellen, zeitlos sein oder das Zeitliche segnen – all diese wohl- bekannten Formulierungen sind letztlich weit mehr als leichtfertige Redewendungen; sie zeugen von einer kulturellen Auseinandersetzung, welche nicht erst seit Augustinus dominiert wird durch eine Zentralstel- lung der Kategorie Zeit.2 Die Zeit bzw. deren fortschreitendes Vergehen erscheint dem Vergänglichen naturgemäß von

»Sitting at a Crossroad« methodisch einholen Intersektionalität in der Perspektive der Biografieforschung ELISABETH TUIDER »Intersectionality refers to the interaction between gender, race, and other categories of difference in individual lives, social practices, institutional arrangements, and cultural ideologies and the outcomes of these interactions in terms of power.«1 Seitdem die US-amerikanische Feministin und Juristin Kimberlé Crenshaw »Intersektionalität« als Terminus technicus in die feministische Diskussion gebracht hat und dieser

Zur Psychologie des Sitzens am Ort der Psychiatrie
Series: KörperKulturen

1 3 4 p l u g g e d o u t Dave Tompkins POP. Kultur und Kritik ◆ Heft 2 Frühling 2013 ◆ S . 134-137 ◆ © transcript T he head of Chi-Ali is spinning. In fact, the entire chair of Chi-Ali is spin-ning. When the room stops, »the Native Son« finds himself sitting in Calliope Studios in Manhattan in 1991. One of the Beatnuts, perhaps Psycho Les, stands in front of him, holding a 40-ounce of malt liquor that’ll put a hurting on tomorrow. All of fifteen, Chi-Ali will remember that Les had gi- ven him a swig, and maybe a puff – Beatnuts being Beatnuts, after all

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sitting in psychiatry. First, I will briefly outline some aspects that have shaped the long-lasting cultural and historical dimensions significant to the use and relevance of the chair object. Based on the findings of a qualitative study I conducted in a Swiss psychiatric acute day clinic (Landsteiner 2017), I will show how patients and staff perceive the chair at the site of psychiatry and how their movements, communication, and perceptions are structured by the practice of sitting – also in (experimental) demarcation to other postures like lying or standing

Disaster memorial altar. 22. Standing in front of the stage looking at the crowd of people united in their desire for Park Geun‑hye’s resignation. 23. Call for counter protestors to confront protestors in front of the Blue House. Thematic analysis: Next to 1. Walking next to Mun Jae‑in. 2. Sitting on the steps of the Hyundai Automotive building next to the Starbucks. 3. Surprised that the person next to you is a Park Geun‑hye supporter. 4. Person sitting next to them talking about Lee Eun‑mi. 5. Writers group meeting next to the Lee Sun‑shin Statue. 6. Volunteers

group expressed. It could be argued that the “time wasted” and “time valued” exist in a parallel relationship and are at the core of the experiences of ITC non-(use) among older people inter- viewed for this project. Internet and sitting in front of a computer have often been described as a “time thief” (tidstjuv in Swedish). This term reappeared several times in the context of discussions about negative aspects of digital technologies. This is what Gunilla, Inger, & Ludde address in the extract below: Gunilla: It takes a lot of time to sit in front of a computer

participant observation can do. Since it is stretched over time and can be done in multiple sittings, it allows the interviewer to establish a rapport with the interviewee (like in ethnographic interviews), while at the same time being “less intrusive”. Through this method, it is possible to construct the life worlds of interviewees and look for categories specific to a culture. In this method, the inter‑ viewer lets the interviewee speak at length around the topic of research. It also has advantages over guided questionnaire, as it puts the interviewee at ease and

– Kunstwerke sollten nicht den transpor- tablen, mobilen Waren gleichen, die auf dem Markt kursieren, sondern sich auf einen spezifischen Ort beziehen und diese Bezugnahme ausgestalten (mit Ort ist der physikalische Ort genauso gemeint wie der institutionelle). Vor diesem Hintergrund kann man bestimmte Musik-bezogene Positio- nen als konzeptuell einstufen. Zuallererst wäre Alvin Lucier zu nennen, des- sen Arbeiten zu einem Großteil ortsspezifisch sind: Man denke nur an seine bekannteste Arbeit »I am sitting in a room«, in der die jeweilige spezifische Raumakustik die

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