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Three key concepts will make up the pillars of this paper: second, foreign and heritage languages. Whenever appropriate “additional language” will be used as an umbrella term. A study of the domains of language use will be applied to these three different sociolinguistic contexts. To date, there are not many empirical studies on the domains of language and, more specifically, among young learners in different areal contexts, as it is the case of this study. The target language of this study is Portuguese as an additional language: a second language in Cape Verde, a heritage language in the Portuguese-speaking community of Switzerland, and a de facto foreign language in Macao. The main purpose of this paper is to identify to what extent language policies promote the language use among young learners and their language choice. In order to do so, we will identify the domains of language use of Portuguese by primary school children in these three different contexts, while we have a look into the different layers according to which the policy-making is organized within the three sociolinguistic contexts. A questionnaire considering three selected domains of language use adapted to young learners, namely private, public and educational, was ministered to 591 pupils. The findings that emerge from this study show three different models based on the three fore-mentioned domains of language use: the II-model for a foreign language, the V-model for the heritage language and the X-model for the second language.
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In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of a post-digital creation cycle applied to fashion artefacts.
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At EA/CITAR (School of Arts/Research Centre in Science and Technology of the Arts), sound has always assumed a fundamental role, both in academic research and curricular offer, featuring a Master Program in Sound Design and a Doctoral Program Specialization in Computer Music. This paper presents an overview of some recent artistic/research projects undertaken by students and researchers at this institution, which stimulate the user/listener awareness for the acoustic phenomenon. Furthermore, we describe three pedagogical practices, stemming from Soundscape and Film Sound studies, which aim at training students to avoid the devious influence of sight on the assessment of soundscapes.
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This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.
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The study builts on Bateman and Schmidt’s (2011) and Tseng’s (2009) research on film as a form of “cinematographic document,” and continues their efforts to construct a semiotic mode of film. The author recognizes the complexity of undertaking research in the domain of semiotic discourse. This study argues that as film analysis is about ways of seeing and synthesizing different cinematic styles, strategies; learnt cinematic conventions and reflective viewing is imperative. The interaction of robust multimodal resources, well-defined analytic units, based on dependable models, and conducted through a discursive process should align to produce fruitful filmic discourse. The study premised on the assumption that film is more than a “self-enclosed signification system” but a crucial “cultural practice” that “reflect and inflect culture.” Taken together, this view underscores the importance and interactivity of cinema, culture and society. To this end, the study contributes to filmic meaning making, the New Hong Kong Cinema, and finally, the present study invariably serves as a form of “social document” or “cultural artifacts” in its exploration of Hong Kong ever changing identity, culture and moods.
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Sounding Architecture, is the first collaborative teaching development between Department of Architecture and Department of Music at the University of Hong Kong (HKU), introduced in Fall 2016. In this paper we present critical observations about the studio after a final public presentation of all projects. The Review was conducted with demonstrations by groups of students supervised by different Lecturer, in each case focusing on a different strategy to create a connection between Sound, Music, Acoustics, Space and Architectural Design. There was an assumption that the core working process would have to include the design of a new musical instrument, which in some cases became the final deliverable of the Studio and in other cases a step in a process that leads to a different outcome (such as an architectural Design, a performance or social experiment). One other relevant aspect was that Digital technology was used in the design and fabrication of the physical instruments' prototypes, but in very few cases, it was used in the actual generation or enhancement of sound, with the instruments relying almost exclusively in acoustic and mechanical sound.
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In a context of a new transnational division of labour, temporary international labour mobility is on the rise in Europe. In particular, recent decades have seen considerably more women seeking work experience abroad. Observers have been concerned with how such mobility is related to individualization, and in particular how it may challenge collective institutions, communities and families. The aim of this study is to explore such issues among women and men with international work experience. Using data from European Social Survey, the paper investigates previously mobile workers in terms of their current working and living conditions. Across genders, we consider different forms of individualization that may be associated with transnational labour mobility. While both women and men with transnational work experience generally feature strong strategic individualization, this is most pronounced among men. Hence, men's mobility is among other things associated with increased autonomy in working life, while – in contrast to women – it does not seem to hamper their integration in the sphere of social reproduction.
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This article presents an insight into one of the regions with the fastest-growing economy, heavily based on an entertainment, gaming and tourism industry, and that is urgently looking for a sustainable model that articulates with complementary sectors within the cultural and creative industries – Macao. Macao is facing a major economic and social challenge; it has grown as a vulnerable economy relying almost exclusively on gaming revenues. Alternative activities to diversify the economy are urgently required to answer the competition risks haunting this industry. The cultural and creative industries could be a complementary activity – a vehicle for economic diversification. However, current public and private stakeholders for the cultural and creative sector might have been neglecting the unique cultural and heritage ecosystem of the territory, focusing on isolate opportunities and overlooking an inclusive and robust strategy. A sustainable model that attends to the local conditions and its people is required for alternative activities to become a meaningful sector for the social and economic development of Macao.
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