Journal articles on the topic 'Calouste Gulbenkian Foundation'

A recent project at the Calouste Gulbenkian Foundation has highlighted the importance of the library of private books built up by its founder. Tasks involved the identification of the items, preservation and conservation activities and bibliographic control of the collection. The most visible result is a website that provides virtual access, as well as a deeper insight, into Calouste Gulbenkian’s personal book collection. The information in the library’s catalogue has been re-organised in order to make it accessible to a wide audience with differing needs and interests.

The Calouste Gulbenkian Museum is located off the tourist paths, on the outskirts of Europe, and far away from the centre of Lisbon, in the serenity of the Santa Gertrudes Park. Its austere concrete buildings hide treasures from the collection of an extraordinary man, a millionaire of Armenian origin, an oil magnate, and an art and garden lover. The article presents the collector, the history of his collection and the museum buildings which now form an original park and museum complex run by the Calouste Gulbenkian Foundation. In 2010, the complex was entered into the register of national monuments of Portugal, thus being the first masterpiece of the 20th-century architecture to feature in this register.

The Institute's sixtieth Executive Council meeting took place at the Calouste Gulbenkian Foundation in Lisbon in September 1987 and was preceded by a Gulbenkian Foundation workshop on Social Science and Development in sub-Saharan Africa in which most of those who attended the Council meeting participated. We are very grateful to our Portuguese Executive Council member, Dr Victor de Sa Machado, and his Gulbenkian colleagues for arranging the meeting, which, through the good offices of Carlos Medeiros, was jointly organised with our Portuguese partner, CEPCEP (Centro de Estudos dos Povos e Culturas de Expressao Portuguesa). Dr Roberto Carneiro, the Minister of Education, presided at the closing ceremony at this very useful stocktaking of Africanist research which underlined the continuing international role of the International African Institute.

The importance of the Calouste Gulbenkian Foundation in the development of artistic projects and art institutions in Portugal should be seen in the context of the evolution of the political and cultural scene in this country during the 20th century. The Foundation houses two major art museums and, by developing art information resources, has helped fill cultural gaps at times when official support has been scarce. It has also played a key role in coping with the growing cultural demand of the last few decades, both in terms of art activities and art information. The Art Library and the Gulbenkian Museum are placing special emphasis on the need to integrate library and museum information resources, taking advantage of current technologies, in order to improve the services offered to users. Strategies envisaged by the Art Library demonstrate how this convergence can enhance the value of the different kinds of art resources each holds.

This paper, as result from the research project Scientific Literacy Promotion, funded by the Calouste Gulbenkian Foundation, shows, in a first moment, the heterogeneity of the textual formats that participate in the dissemination of science, widespread by the media in Portugal, starting from the analysis of the relations between corpus, genres and texts. In a second moment, the textual support, in particular the evolution from print to digital, led to a discussion of the linguistic and textual implications of this development, as well as the implications of the new hierarchies of knowledge construction

The increasing use of emergent technologies in industry, medicine, research, training and education attests to the relevance of their integration in teaching/learning approaches. Online experimentation comprises remote and virtual experimentation also supported and complemented by other online tools that incorporate necessarily the use of emergent technologies. The present work synthesizes the final outcomes of a project aiming to develop, use and disseminate Online Experimentation, funded by the Calouste Gulbenkian Foundation. Some application examples are given to illustrate the use of online experimentation on different contexts, such as secondary and higher education (STEM), lifelong learning or industrial training.

The Calouste Gulbenkian Foundation headquarters and museum complex (1959–1969) headed a fundamental role in building science in Portugal, as it contributed to the accomplishment of a Modern Movement design committed with a high level of construction quality, showing that there was more beyond Modern Movement formalism. Inaugurated in 1969, it was designed to create a pleasant environment, providing prospects from inside at various angles to the grove of trees and the surrounding land. As a mega-structure designed under a multi-disciplinary design and construction team it achieved a high level of technical excellence and comfort, whilst beautifully linking the building and garden. Located in central Lisbon, within a park with an area of 7.5 ha, occupying an area of 25.000 m2, it was designed by the architects Alberto Pessoa (1919–1985), Pedro Cid (1925–1983) and Ruy Jevis d’Athouguia (1917–2006) with the collaboration of the landscape designers Ribeiro Barreto (1924–2013) and Gonçalo Ribeiro Telles (1922–). The construction gathered an international interdisciplinary team of specialists. The most up-to-date techniques were adopted, including reinforced and pre-stressed concrete in its construction. Some figures illustrate the volume of these buildings: 150,000 m3 of excavation, 45,000 m3 of concrete, 3,200 t of steel, 100 km of power cables, 50,000 m of air conditioning pipes and 3,500 kW of installed electrical capacity. The architectural design expresses the structure. The aim of having a dominant horizontal line that guaranteed the image of a low building hugging the land and the wish to emphasize the long slabs of concrete that constituted the visible image of the built complex called for a very creative structural concept. The impact that the complex has had and the way in which it has manifested the effectiveness of its qualities, such as formal sobriety and restraint, have confirmed the close relationship between the conception process and the construction site. With its garden it has created the very image of the prestige and innovation of the Foundation itself.

Museums and galleries in the UK increasingly engage with educational and social concerns; this article refers to research to evaluate two such initiatives. Evaluation of the Museum and Gallery Education Programme Phase 2, funded by the Department for Education and Skills, ends in August 2004. The research partnership to evaluate the ‘En-vision’ pilot action research programme, established by Engage (the national association for gallery education) with support from the Calouste Gulbenkian Foundation, the Carnegie UK Trust and three Arts Council regional offices, will complete in 2005. The article explores some key methodological issues relating to evaluation in this developing field. The conclusions are not necessarily endorsed by these sponsors; they are the views of the authors alone.

Este estudo financiado pela Fundação Calouste Gulbenkian em Portugal, faz parte de um projeto monográfico mais longo, (Des)Conexões entre Portugal e o Brasil: Séculos XIX e XX (Lisboa: Colibri, 2016), que propõe uma revisão da relação entre os dois países. Com base teórica no hibridismo cultural, o ensaio segue o já bastante conhecido estudo de Homi Bhabha. No presente caso, no entanto, propõe-se pôr em destaque a relação intrínseca entre as culturas do lado de cá e de lá do Atlântico. O trabalho tem como data inicial a histórica independência do Brasil e segue alguns momentos específicos do universo cultural dos dois países que, por vezes, podem ser considerados duas faces de uma mesma moeda.*******************************************************************Portuguese and Brazilian Intellectuals: Topics for a Discussion about Cultural HibridityAbstract: This paper is part of a book-length research project financed by Calouste Gulbenkian Foundation in Portugal: (Dis)Connections between Portugal and Brasil – 19th and 20th centuries (Lisbon: Colibri, 2016). I propose the revision of the relationship between the two countries based on the theory of cultural hybridity, as Homi Bhabha puts it in his celebrated work. In the present study, however, I a highlight the intimate relationship between the two cultures from both sides of the Atlantic. My starting point is the historic moment of the Brazilian Independence, and continues through a path of encounters that are specific to the cultural universe of the two countries. I posit that, sometimes, we can regard Brazil and Portugal as “two sides of the same coin.”Keywords: cultural hybridity; Luso-Brazilian literature; cultural studies; Brazil and Portugal.

‘The People’s Art’ is a project, originally titled ‘Visual Arts and the Working Class’ and funded by the Calouste Gulbenkian Foundation, which aims to locate and document visual art produced by working class people in Britain since 1750 and especially from 1870 to the present. A lot of material, including work from the home and the workplace, ranging from paintings and photography to decorative and domestic arts of all kinds, has been located in museums (often in storerooms) and in private collections. An exhibition and an illustrated publication are planned. ‘The People’s Art’ demonstrates that the making of art can have a role in people’s lives which is too often overlooked, neglected, or denied, and which is not adequately represented in publications, exhibitions, museums, or libraries.

The ArtAfrica project was launched by the Fine Arts Department of the Calouste Gulbenkian Foundation in January 2001, as part of its policy of aiding development. Its aim is to promote and stimulate knowledge and understanding of the work of contemporary African artists, in particular those of African descent resident in the five Portuguese-speaking countries in Africa – Angola, Cape Verde, Guinea-Bissau, Mozambique, and São Tomé and Principe – but also those in communities of emigrants from the African continent in diasporas based in Portugal, Europe and elsewhere. The project’s goals are to create opportunities for dialogue, collaboration and the exchange of information, especially about those five countries, and in addition to provide a platform from which to launch widespread debate on post-colonialism in local contexts.

The first Chempor Conference held in Lisbon in 1975 under the auspices of the Calouste Gulbenkian Foundation, heralded a regular wide-ranging review of research and development in Portugal and the UK Progressively in later years the Conferences have attracted contributions from other European countries and indeed further afield. There is an increasing awareness of the problems for the environment, notably global warming, brought about by human activities. Recent predictions about the future are dire, particularly regarding food and water for a rapidly growing world population. They represent a substantial challenge to the scientific and technical fraternity. In response to that challenge it is important to keep up to date with technical developments, to meet and keep in touch with coworkers in associated fields, and to cooperate wherever possible. The papers presented at the Chempor and other conferences have made and continue to make a significant contribution to that objective of meeting the challenge.

AbstractThis article presents the results of a study developed within the scope of the Project Health Literacy: a challenge in and for the elderly, funded by the Calouste Gulbenkian Foundation. It tried to evaluate the metric qualities of the Newest Vital Sign Test (NVS, Copyright © Pfizer Inc.) applied to elderly; evaluate the degree of health literacy of a sample of elderly Portuguese people; get to know the association between the degree of health literacy and some sociodemographic features, the general health state, and quality of life. It was conducted a quantitative study with 433 adults over 65 years of age, mostly female, and with heterogeneous levels of education. The instrument used was a battery of tests in order to assess the degree of health literacy (Newest Vital Sign), and the quality of life (WHOQOL). The NVS proved to be a reliable and sensitive to changes due to various demographic characteristics instrument. The results indicate that the majority of the participants (80%) showed a level of low health literacy, meaning that only 20% of respondents will be able to interpret and use effectively information related with health. Gender, educational attainment, age and marital status, as well as the perception of the elderly on their general health state and quality of life, proved to be variables that affect significantly the level of health literacy of participants. These results point to the urgent need to enhance health literacy in the elderly population, in general, and among the most vulnerable groups, in particular.

On April 2016, Ana Tostões interviewed Professor José-Augusto França, the Portuguese modern art researcher of reference on the contemporary era, in order to discuss the key modern structure that made the shift towards a Modern Lisbon. José-Augusto França (b. 1922, Tomar) is historian, sociologist and critic of art. He has a graduation in Historical and Philosophical Sciences (1944, Faculty of Letters, University of Lisbon), a PhD in History (1962, Paris-Sorbonne University, Une Ville des Lumères: la Lisbonne de Pombal), a diploma on Sociology of the Art (1963, L'Art et la Société Portugaise au XXè siècle) and a PhD in Letters (1969, Paris-Sorbonne University, Le Romantisme au Portugal). He is professor emeritus of the Nova University of Lisbon, where he created the first Art History masters of the country (1976). He was Director of the Portuguese Cultural Center of the Calouste Gulbenkian Foundation in Paris (1983), President of the National Academy of Fine Arts (1985) and member of the UNESCO Comité du Patrimoine Mondial. He is a reference author in the field of visual and cultural arts in Portugal, being the first one identifying and presenting modern architecture in Portugal in his Arte em Portugal no Século XX (1974). Among his works stand out studies on art in Portugal in the 19th and 20th centuries, as several volumes of essays on historical, sociological and aesthetic reflection on contemporary art issues. He has received the Medal of Honor of the City of Lisbon (1992), the Grand Officer (1991) and the Grand Cross (2006) of the Infante D. Henrique Order and the Grand Cross of the Order of Public Instruction (1992).

Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the Campanha da casa Portuguesa (Portuguese House Campaign), which provoked a great deal of controversy. The debate peaked with the Polémica da casa Portuguesa (Polemic of the Portuguese house) at the Calouste Gulbenkian Foundation in 1970, after the inauguration of the retrospective exhibition on Raul Lino. He is less known for the quality of his transversal synthesis conceived between urbanism, architecture, the decorative arts, and its underlying affirmation of an idea of the city, which we conjecture from our analysis of his narrative. This analysis concentrates on eleven case studies that encompasses architectural projects, urbanistic plans and technical advice limited to the first half of the 20th century. The broad, cross-disciplinary position of Lino was defended in the same year as the First National Architecture Congress (1948), whose proposals ratified in Portugal the orthodoxy principles of modern architecture and urban planning for the new universal man-type, established in 1933 by the International Congresses of Modern Architecture (CIAM). Quoting Aristotle, Raul Lino conceived the city as the locus of happiness, shaping forms of consensus between tradition and modernity by means of an architecture at the scale of man and in proportion to his circumstance, consistently outlining a modern possibility of continuity.

The EDCTP community meets biennially to share research findings, plan new partnerships and collaborations, and discuss maximising impact from EDCTP-funded research. In 2018, the Ninth EDCTP Forum took place in Lisbon, Portugal, from 17–21 September 2018. The Lisbon meeting was the largest international conference focusing on clinical research on poverty-related infectious diseases in sub-Saharan Africa. It started with a strong commitment, from European and African EDCTP member countries, for a successor programme to EDCTP2 (2014–2024). It provided a platform for the presentation of project results and discussion of progress in clinical research and capacity strengthening in sub-Saharan Africa.The theme of the Ninth Forum was ‘Clinical research and sustainable development in sub-Saharan Africa: the impact of North-South partnerships’. This reflected not only the broader scope of a larger EDCTP research programme but also the growing awareness of the need for global cooperation to prepare for public health emergencies and strengthen health systems. The theme highlighted the impact of Europe-Africa partnerships supporting clinical research and the clinical research environment, towards achieving the sustainable development goals in sub-Saharan Africa.A central topic of the Forum was the discussion of the character and scope of an EDCTP successor programme, which should start in 2021 under the next European Framework Programme for Research and Innovation, Horizon Europe. On 17 September, a high-level meeting on this topic took place immediately before the opening of the Forum1. On 19 September, the plenary session continued this discussion through a panel of representatives of strategic partners. There was consensus on the added value of the programme for Europe and the countries in sub-Saharan Africa and political commitment to a successor programme. Poverty-related infectious diseases and a partnership approach will remain central to the programme. There was also a general awareness that all participating countries would need to engage more strongly with a successor programme, both in its governance and in their financial contributions to its objectives.The Forum hosted 550 participants from more than 50’countries. The programme consisted of keynote addresses by policy makers, research leaders, and prominent speakers from Europe and Africa in 5 plenary presentations. There were 9 symposia, 45 oral presentations in parallel sessions, and 74 electronic poster presentations. Abstracts of the plenary, oral and poster presentations are published in this supplement to BMJ Global Health.EDCTP is proud of its contribution to strengthening clinical research capacity in Africa, with more than 400 postgraduate students and 56 EDCTP fellows supported under the first EDCTP programme. The second programme developed a comprehensive fellowship scheme. More than 100 EDCTP fellows (former and current) participated in a one-day pre-conference to discuss the further development of our Alumni Network launched in 2017. The Forum also offered scholarships to many early and mid-career researchers from sub-Saharan Africa and Europe. With the support of the European Union, EDCTP member countries and sponsors, they were able to present results of their studies and meet colleagues from Africa and Europe.The Forum also provided the appropriate platform for recognising individual and team achievements through the four EDCTP 2018 Prizes. With the support of the European Union, EDCTP recognised outstanding individuals and research teams from Africa and Europe. In addition to their scientific excellence, the awardees made major contributions to the EDCTP objectives of clinical research capacity development in Africa and establishing research networks between North and South as well as within sub-Saharan Africa.Dr Pascoal Mocumbi Prize Professor Souleyman Mboup (Professor of Microbiology, University of Cheikh Anta Diop, Dakar; Head of the Bacteriology-Virology Laboratory of CHU Le Dantec, Dakar; and President of IRESSEF, Senegal) was recognised for his outstanding achievements in advancing health research and capacity development in Africa.Outstanding Research Team Prize The prize was awarded to the team of the CHAPAS (Children with HIV in Africa – Pharmacokinetics and acceptability of simple antiretroviral regimens) studies, led by Professor Diana Gibb (MRC Clinical Trials Unit, United Kingdom).Outstanding Female Scientist Prize The prize was awarded to Professor Gita Ramjee (Chief Specialist Scientist and Director of the HIV Prevention Research Unit of the South African Medical Research Council, Durban, South Africa) for her outstanding contributions to her field.Scientific Leadership Prize The prize was awarded to Professor Keertan Dheda (Head of the Centre for Lung Infection and Immunity and Head of the Division of Pulmonology at Groote Schuur Hospital and the University of Cape Town, South Africa) for his research contributions and leadership.Partnership is at the core of the EDCTP mission. In the year before the Forum, Nigeria and Ethiopia were welcomed as the newest member countries of the EDCTP Association, while Angola became an aspirant member. Partnership was also demonstrated by the many stakeholders who enriched the programme by organising scientific symposia, collaborative sessions and workshops. We thank our sponsors Novartis, Merck, the European Union, the Federal Ministry of Education and Research (Germany), the Institute of Health Carlos III (Spain), the National Alliance for Life Sciences and Health (France), the Medical Research Council (United Kingdom), the Swedish International Development Agency (Sweden), ClinaPharm (African CRO), the Deutsche Stiftung Weltbevölkerung (Germany), The Global Health Network (United Kingdom), PATH, and ScreenTB. We gratefully acknowledge the support of our partners and hosts of the Forum, the Portuguese Foundation for Science and Technology and the Calouste Gulbenkian Foundation.The tenth EDCTP Forum will take place in sub-Saharan Africa in 2020.

The foundations of Afro-European relations were laid in the first one hundred or so years of contact, the period from the 1440s to at least the 1550s during which Portuguese activities in Guinea proceeded without grossly damaging interference from other European powers. From 1482 up to the final disaster of capture by the Dutch in 1637, the fort of Sáo Jorge da Mina was the principal base for official Portuguese activities, ‘Mina’ being the conduit for the most extensive sea-export of gold. Despite its economic value to the crown, and its international status as the symbol of the Portuguese claim to sovereignty over Guinea and monopoly of the sea-export trade of western Africa, the fort had probably less lasting influence on early Afro-European relations than had the less heralded, and even more poorly recorded, activities of private Portuguese traders in western Guinea. Nevertheless, the history of the fort, when Portuguese, deserves close attention, and these two volumes by Joseph Bato'ora Ballong-wen-Mewuda represent a brave attempt to provide an analytical account.

In this paper, proposes a reflection about the research (auto)biographical fundamentals and its possible contributions to human formation. As a starting point, is claimed the revision of the dominant paradigm in the name for another understanding about the subject of education. The discussion is directed to the recognition of the complexity, before denied, as an intrinsic element to human life. Then, the (auto)biographical investigation cannot dispense the notion of subject immersed in the complexity that accompanies the temporality and historicity of the human race. In methodological terms, it is a theoretical essay that seeks to reinvigorate the perennial conceptual discussions from the field of educational foundations, offering movements and reflections on the (auto)biographical research immersed in epistemological questions of the field in thesis. With this, it extends the understanding horizon of the existentiality of the subject, a multiple lateralities creature: physical, sensitive, emotions, actions, affectivities, conscious attention, cognition and imagination. And it presents, finally, the (auto)biographical Method as synthesis of a concept of Formation.ResumoNeste artigo, propõe-se a reflexão sobre os fundamentos da pesquisa (auto)biográfica e as suas possíveis contribuições à formação humana. Como ponto de partida, reivindica-se a revisão do paradigma dominante em nome de outra compreensão de sujeito da educação. A discussão encaminha-se ao reconhecimento da complexidade, anteriormente negada, como elemento intrínseco à vida humana. Logo, a pesquisa (auto)biográfica não pode prescindir da noção de sujeito imerso na complexidade que acompanha a temporalidade e a historicidade do gênero humano. Em termos metodológicos, trata-se de um ensaio teórico que busca revigorar as perenes discussões conceituais, desde o campo dos fundamentos da educação, oferecendo movimentos e reflexões sobre a pesquisa (auto)biográfica imersa em questões epistemológicas do campo em tese. Com isto, amplia o horizonte compreensivo sobre a existencialidade do sujeito, ser de múltiplas lateralidades: físico, sensível, de emoções, ações, afetividades, atenção consciente, cognição e imaginação. E apresenta, por fim, o Método (auto)biográfico como síntese de um conceito de Formação.ResumenEn esto artículo, se propone la reflexión sobre los fundamentos de la investigación (auto)biográfica y sus posibles contribuciones a la formación humana. Como punto de partida, se reivindica la revisión del paradigma dominante en nombre de otra comprensión de sujeto de la educación. La discusión se encamina al reconocimiento de la complexidad, anteriormente negada, como elemento intrínseco a la vida humana. Luego, la investigación (auto)biográfica no puede prescindir de la noción de sujeto inmerso en la complexidad que acompaña la temporalidad e historicidad del género humano. En términos metodológicos, se trata de un ensayo teórico que busca robustecer las perennes discusiones conceptuales desde el campo de los fundamentos de la educación, ofreciendo movimientos y reflexiones sobre la investigación (auto)biográfica inmersa en cuestiones epistemológicas del campo en tesis. Con esto, amplia el horizonte comprensivo sobre la existencialidad del sujeto, ser de múltiples lateralidades: físico, sensible, de emociones, acciones, afectividades, atención consciente, cognición e imaginación. Y presenta, por fin, el Método (auto)biográfico como síntesis de un concepto de Formación.Palavras-chave: Método (auto)biográfico, Formação humana, Complexidade.Keywords: (Auto)biographical method, Human formation. 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Belo Horizonte: Autêntica, 1999.e3129095

This article questions the current situation for vocational acting training (VAT) in the UK. It aims to provide an update on the report into burgeoning provision of acting training (and the attempt to address subsequent high rates of actor unemployment) that was originally undertaken by the Calouste Gulbenkian Foundation (CGF, 1975) in their publication entitled Going on the Stage . The article will suggest that the continued proliferation of VAT offered at tertiary level, allied to the dearth of career opportunities for graduates, means that the current training offer is not entirely fit for purpose. It will further propose that VAT requires a widening of the curriculum offer in order to provide meaningful vocational workplace readiness for course graduates at a time when, as Malcolm Sinclair, president of the British actors' union, Equity, acknowledges, 'there are too many actors and too few jobs' (in Clark, 2014a: 17). To address the question of VAT and employability in the UK, this article will reconsider the three questions initially posed in Going on the Stage (CGF, 1975: 7). These were: why is drama training necessary, to what extent do the present arrangements fall short of the ideal, and what should VAT entail? By re-posing these questions, this article will present the contemporary context of VAT, review the status of progression rates into employment, and propose a case for curriculum extension in light of the findings.

Song dedications are among commercial radio’s most enduring formats. Yet those very few studies which address music radio rarely consider its role within a consumer economy. As John Patrick noted when analysing ABC broadcaster Christopher Lawrence’s popular (and commercially exploited) Swoon genre as a form of nostalgic Utopianism, many music analysts view music listening as constructing a cultural space of other times and places, when romantic love held sway, when the certainties of religion vanquished doubt, and when authentic folk culture gave a sense of belonging to traditional ways of thinking and feeling (133). This “emotional, largely imaginary” space is explicity constructed outside the pragmatic focus and urgent stylings of commercial sponsorship. Patrick cites Flinn on the capacity of music to seemingly transcend social institutions and discourses. But here I will argue that commercial music-radio practice clearly operates within them. More significantly, it does so by very virtue of this capacity for offering transcendence: Music ... has the peculiar ability to ameliorate the social existence it allegedly overrides, and offers in one form or another the sense of something better. Music extends an impression of perfection and integrity in an otherwise imperfect, unintegrated world (Flinn). This study suggests that it is precisely this lack of any perceived connectedness into the social discourses of the day which marks music as available for the occupancy of individual desires, and which targets its various genres for integration into selected sets of social practice. What we do while listening to the radio… Willis (1990), investigating music as a key element of the “symbolic cultural creativity and informal artistry in people’s lives”, discovered multiple appropriations, creolisings and re-accentuations within social use of broadcast music (85). His empirical work provides accounts of the various uses made of broadcast music, including the audio-taping of new music tracks; planned social listening to particular shows or DJs, often combined with extended phone-call discussions with friends; the use of broadcast music as company in periods of social isolation, or its use in structuring daily living or working routines; the preparation of personal master-mixes and exchange of taped compilations or transcribed song lyrics. To these should be added more contemporary updates: digital sound-bite downloading and re-editing via Internet broadcasts; the burning of personally tailored CDs; MP3 collection-building through web-exchange, and the construction of a personalised virtual sensorium for asserting private space in public through the use of the Sony Walkman or Discplayer (Hosokawa, Chambers, Bull). The capacity music broadcast gives for personal engagement within various music sub-cultures needs further work at exactly this active-reception level. Nor has the activity of broadcasters in constructing technologies of reciprocity around mediated intimacy been fully explored. The social formational power, over 75 years, of the song-dedication formula, in compensating what Thompson described as the “non-reciprocal intimacy” of electronic media, is incalculable. Instead of opening spaces for “free association” working pre-discursively on the “physicality of the listening experience”, music-radio talk has been operating to structure those exact spaces: to create regulated activity, and interactivity, where none has been thought to exist. Fixing a self to a favourite track: music and memory From the 1930s to the 1960s, vastly popular “music request programs” encouraged radio listeners to write in to presenters, not only selecting a favourite music play, but describing in detail the social relation mediated for them by the music and lyrics, and the uniquely individualised expressive weight it was claimed was carried – ironically yet significantly, a reference often immediately generalised by the attachment of several other requestors to the particular track. More recently, Richard Mercer’s evening program of Lovesong dedications on Sydney’s MIX 106.5 connected this drive towards social identity work with the escalating sexual-emotional confessionalism of Australian radio talk. Mercer’s format: extended play of the staple love ballads of the “easy listening” mode – carefully selected to highlight the sexual arousal elements of the breathy female performer or the husky-voiced male balladeer – operated from the centre of the newly reciprocal expression of intimacy, made possible by the live call-in capacity of contemporary radio. Listener-callers can now model their identification techniques directly – or so it is made to appear. In fact, the emotional expressiveness and the centrality of the equation between direct listener-caller comment and emotional-interpretive link into music tracks remains problematic, for a number of reasons. How to construct loving sincerity – through the precision of digital editing Firstly, the apparent spontaneity and direct interface which underlie radio’s “live call-in” relations as a discourse of authenticity, are today heavily, if not obviously, compromised, by the production techniques used to guarantee the focus on caller concerns. This is phone-in but not talkback radio – a distinction not made often enough, in either professional production literature or academic analysis of radio practice. While talkback is relatively raw radio, centring on live-to-air talk-relations between callers and hosts (and thus fostering the highly confrontational hosting persona of the “shock-jock”), phone-in radio seeks briefer, more focused comment on topics pre-selected, constantly monitored and re-themed by both host and call-screening staff, who choose which caller comments get to air, and in which order. Lovesong dedications not only follows this more restrictive practice, but intensifies its commodification of the resultant calls, by a consistent top-and-tail editing of caller contributions before broadcast. This acts to heighten the expressiveness of each segment, and to insert the program ident. into the pivotal “bridge” position between caller-voice and music play. The host is thus able to present to listeners a tautly emotional sequence of seemingly spontaneous sentimental expression; but to his sponsors, a talk-flow which interpolates the show’s name fluently into the core of the fused private/public moment. With all the hesitations, over-explanations, initial embarrassment and on-air inexperience of the average caller cut away, what remains looks like this: Host: Hello Carly - I believe you want to dedicate a lovesong to Damien? Caller: Yes that’s right ... it’s our anniversary? Host: How many years ... Caller: Well actually it’s just our first! Host: And you’ve had a great first year together? Caller: Sure have: I love you more than ever Damien ... Host: And Damien: here’s Carly’s Lovesong dedication to you. The perversity of the practice lies in the way the host’s “prompt” cues, with their invitational suspensions, actually direct the caller contributions, not only to their moment of “personalised” emotion, but to the powerful agency of the program itself, always positioned between caller and dedicatee. Further: the fluency of the talk exchange, and especially its expert segue into the music track, conceal the fact that calls are very often being held before broadcast. Between the average call and its broadcast, a listener-caller’s phoned-in experiences and expressed feelings – even their peak-moment of address to their loved one – may be digitally edited, to remove awkward hesitations and intensify the emotionality. A 24-hour call line operates, highly promoted in other programming, allowing selection and sequencing of requests around music availability – including station play-rotation regimes. Even calls received during broadcast can be delayed, edited, and clustered around the – actually quite limited – availability of music tracks (some callers have reported being offered a playlist of only three tracks through which to “personally address” their loved one). Sincerity is fabricated, at the very moment of promoting its authenticity, and absorbed into the “seamless” flow of MIX106.5’s “easy listening” format. “Schmalzy like Oprah: almost Sleepless in Seattle” The Lovesong dedications host – busy elsewhere – plays a very restrained on-air role: often only three dedications per half-hour of programming. While back-to-back music play dominates, Mercer’s vocal performance marks the show with notably atypical radio qualities. The tone is low and subdued, without ranging into the close-in microphone huskiness of the “late-night listening” mode, which usually performs intimacy. Mercer is closer to the “serious music” style of ABC Classic FM announcers, with the male voice remaining in a medium-to-light vocal range. This is tenor rather baritone, with a clear suppression of its stressing, to produce a restrained authority, rather than a DJ exuberant enthusiasm (Montgomery) or an unassailable certainty (Goffman). Mercer and his interstate colleagues use a normal conversational level, with no electronic enhancement into “fullness of tone” as employed by both DJs and talk hosts to amplify their authority. In contrast, the Lovesong dedications voice is carefully, if naturally, dampened in tone – by which I mean as a result of physical voice-production control, rather than by sound-mixing in the broadcast console. Not only is the pitch slightly subdued and intonations compressed rather than stretched, as in the familiar DJ hype, but the dominant intonation is a very unusual terminal rise/slow fall. This provides a male host’s speech with an interestingly tentative note, which deflects or at least suspends power. Under-toned rather than over-toned, it invites sympathetic listening and increased attentiveness, while its suppression of the sorts of powerful masculine authoritativeness more common in male broadcasting (see Hutchby) cues listeners for conversational participation on their own terms, rather than on those dictated by the host. This structured tonal diffidence in the Lovesong hosts’ self-effacing vocality acts as an invitation to self-direction: a pathway to participation. No surprise then that its careful constructedness has been read as the exact opposite: sincerity. What is more surprising is that it has been read as sexually alluring – given its quite marked deviation from norms of high masculinity in relation to vocalisation. Other attempts to render a desirable masculinity at the level of voice have tended to the over-produced baritones of the traditional matinee idol: the “swoon” voice of lush-toned actorly excess, with deep pitch, slow pace, fruity vowels, and long glides – the vocal equivalent of TV comedy’s “Fabio” as kitsch or camped hyper-masculinity. This vocal problem in radio hosting is also endemic to operatic performance, where male vocal range is read as age. Patriarchy reserves deep voices for authority, therefore also reserving the most powerful roles for “older” characters, performed as baritone and base. Lovesong dedications are far more suitably presented by a male host whose vocality matches the sexually-active age profile suited to romantic seduction – and this calls for the tenor voice of a Richard Mercer. The Daily Telegraph’s Sandra Lee (1998) was among many who succumbed to that “mellifluous voice which drips with genuine sincerity, yes genuine, not that contrived radio fakeness, and is soothing enough to make you believe he really care”. Even when Mercer actually shifted in a phone conversation with Lee from his ordinary voice to “The Loooooovvvvve God with a voice so smooth it could be butter”, she remained a believer. No surprise, then, that as the format is franchised from state to state on the commercial networks, much the same vocalisations are reproduced. The host’s performance formula and the callers’ sentimental witness are both safely encoded as “sincere sentimental expressiveness” – while actually audio-processed and digitally edited to produce those qualities. Here, as elsewhere, Lee’s loathed “contrived radio fakeness” continues to work unseen and unexamined, producing in the service of its own commercial imperatives a surprising yet vastly popular reputation for sentimental expressiveness among “ordinary” Australians. Where music-radio analyst Barnard (2002) considers music-request shows as a cynical commercial device for “establishing a link with the audience” (124) – a key requirement of the sponsorship system of commercial broadcasting from its origins to the current day – Lee’s tabloid populism endorses every detail of Lovesong dedications’ techniques for acting upon and reproducing the lush romanticism it sets out to evoke. Between the two views the cultural work of this programming: the mediation and commodification of interpersonal emotional expressiveness in the homes, workplaces, bedrooms and parked cars of listener-callers around the nation, goes unnoticed. Works Cited Barnard, Stephen. Studying radio. London: Arnold, 2002. Barnard, Stephen. On the radio: Music radio in Britain. Milton Keynes: Open University Press, 1989. Bull, M. “The dialectics of walking: Walkman use and the reconstruction of the site of experience.” Consuming culture: power and resistance. Eds. J. Hearn and S. Roseneil, Basingstoke: Macmillan Press, 1999. 199-220. Chambers, I. “A miniature history of the Walkman.” New formations, 11 (1990): 1-4. Flinn, C. Strains of Utopia. New Jersey: Princeton University Press, 1992. Goffman, Erving. Forms of talk. Oxford: Basil Blackwell, 1981. Hosokawa, S. “The Walkman effect.” Popular music, 4 (1984):165-180. Hutchby, Ian. Confrontation talk: Arguments, asymmetries and power on talk radio. New Jersey: Lawrence Erlbaum, 1996. Lee, Sandra. “When Love God comes to town.” The Daily Telegraph, 30 November 1998: 10. Montgomery, M. “DJ talk.” Media, culture and society, 8.4 (1986): 421-440. Patrick, John. “Swooning on ABC Classic FM.” Australian Journal of Communication (1998) 25.1: 127-138. Thompson, John B. The media and modernity: A social theory of the media. Cambridge: Polity Press, 1995. Willis, Paul. Common culture. Milton Keynes: Open University Press, 1990. Willis, Paul. Moving culture – an inquiry into the cultural activities of young people. London: Calouste Gulbenkian Foundation, 1990. Links http://acnielsen.com/ For information on commercial radio ratings Useful site for watching music radio trends http://www.radioandrecords.com/ Ever wondered where radio presenters get that never-ending supply of historical trivia? Now their secrets can be Yours. http://www.jocksjournal.com/ APRA The Australian Performing Rights Association monitors Australian music content on radio – here’s how they do it. http://www.apra.com.au/Dist/DisRad.htm Two Internet broadcast sites offering online music streaming with an Australian bias. http://www.ozchannel.com.au/village-cgi-... http://www.thebasement.com.au/ FARB: The Federation of Australian Radio Broadcasters – a useful site for the organisation of commercial radio within Australia. http://www.commercialradio.com.au/index.cfm Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Cook, Jackie. "Lovesong Dedications" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/lovesongdedications.php>. APA Style Cook, J., (2002, Nov 20). Lovesong Dedications. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/lovesongdedications.html