This chapter focuses on the construction of pueblo ‘people’ and patria ‘homeland’ in the Spanish discourse of Podemos and the party’s relation to la gente ‘the people’ between June 2016 and its second political conference, Vistalegre II (February 2017). The discursive analysis focuses on figures of speech, such as synecdoche and metaphors, followed by a narrative analysis. The data cover the General Secretary of the party, Pablo Iglesias and the head of the branch in Catalonia, Xavier Domènech. We then apply the explanatory logics developed within discourse theory (Glynos and Howarth 2007) to interpret the results of the analysis1 and we critically reflect on some observed ambiguities in the discourse of Podemos.
This book provides a series of contemporary and international policy case studies analysed through discursive methodological approaches in the traditions of critical discourse analysis, social semiotics and discourse theory. This is the first volume that connects this discursive methodology systematically to the field of critical policy analysis and will therefore be an essential book for researchers who wish to include a discursive analysis in their critical policy research.
This chapter presents Critical Policy Discourse Analysis (CPDA) which merges critical discourse analysis (CDA) with critical policy studies (CPS). CPDA engages with a discursive analysis of a policy problem, generally drawing on critical discourse analysis for its methodology, in this case Text Oriented Discourse Analysis (TODA). The research addresses the problem of complexity reduction in the process of policy-making and illustrates this with an analysis of the UN Agenda “Transforming the World, the 2030 Agenda for Sustainable Development”, which introduces the sustainable development goals (SDGs). It presents the reader with a detailed example of how to perform a TODA research. It indeed reveals mechanisms of policy reduction such as decontextualization, singularization, a limited spatio-temporal frame reduced to the timespan of the UN. It discusses the potential consequences of this for the effectivity of the SDGs and presents alternative theories and voices that do capture the complexity of real life events. The final section suggests further developments in CPDA and advocates bringing complexity to the fore.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
