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It is largely accepted in the relevant literature that successful learning of one or more non-native languages is affected by a number of factors that are independent of the target language(s) per se; these factors include the age of acquisition (AoA) of the target language(s), the type and amount of formal instruction the learners have received, as well as the amount of language use that the learners demonstrate. Recent experimental evidence suggests that one crucial factor for efficient native-like performance in the non-native language is the amount of naturalistic exposure, or immersion, that the learners receive to that language. This can be broadly defined as the degree to which language learners use their non-native language outside the classroom and for their day-to-day activities, and usually presupposes that the learners live in an environment where their non-native language is exclusively or mostly used. Existing literature has suggested that linguistic immersion can be beneficial for lexical and semantic acquisition in a non-native language, as well as for non-native morphological and syntactic processing. More recent evidence has also suggested that naturalistic learning of a non-native language can also have an impact on the patterns of brain activity underlying language processing, as well as on the structure of brain regions that are involved, expressed as changes in the grey matter structure. This Research Topic brings together studies on the effects of learning and speaking a non-native language in a naturalistic environment. These include more efficient or “native-like” processing in behavioural tasks tapping on language (lexicon, morphology, syntax), as well as changes in the brain structure and function, as revealed by neuroimaging studies.

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Luc Allen

A study of Los Angeles-based photographer Jeremy Paige, known as Eatenbyflowers. This document examines his deliberate opacity, strategic withdrawal from the traditional art world, and the inversion of visibility and influence that defines his practice. His work engages satirical and existential themes—humor, mortality, religion, and the fraught relationship between the watcher and the watched—while consistently refusing the title of “photographer.” Includes critical text by Luc Allen.

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In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.Despite its many hiatuses, the Garters archive has grown more fertile, thanks in part to its endurance in imaginary/speculative realms. Currently, the Garters are remobilizing as a “crime art collective,” with cells operating in cities most in need of “crime-art,” while also re-asserting itself as an ongoing “transmedia” project. This present archive is a small fraction of the decade’s worth of Garter experiments, epistles, stories and communiqués. In a political epoch when risk and anxiety seem to predicate our every move, and when being poor, different, “unskilled” or “a failure” (as judged by the demigods of Profit, Fear, Reason & Security) means that you are essentially criminalized, then it becomes imperative for art (wedded to theory and style) to celebrate its own “criminal,” “dangerous” and “unassimiliable” nature. So let the Garters initiate you into the mysteries that are already yours, once you rid yourself of fear, anxiety and the need to be respectable.

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Regione Lombardia Rif. 3113 - concorso pubblico per esami, a n. 10 posti nell’Area dei Collaboratori - settore amministrativo, per le esigenze delle strutture di questo Ateneo, riservato esclusivamente ai soggetti disabili di cui all’art.1 della Legge 68/99, iscritti negli appositi elenchi di cui all’art. 8 della medesima legge in possesso dello stato di disoccupazione - Emilia Romagna - Alma Mater Studiorum - Universita’ di Bologna PDF

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Reze Becker/Khoa

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