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Neurokiné (Público)

Público·14 miembros

26 : 10 Puppets VS 100 Puppets



In order for a choice to be considered valid, infants had to (a) look first at both puppets; (b) perform a visually guided reach; and (c) show a preference for only one puppet within 40 s. In case infants failed to look at both puppets, E3 slightly wiggled the puppets and repeated the hiding-revealing procedure one more time. Since no information about the time limit for producing a manual choice was provided by Hamlin & Wynn [7], we arbitrarily selected a 40-s limit. This upper limit was sufficient for most infants to produce a choice. Excluding those who did not try to reach for either puppet (n = 7), the remaining infants took on average 9.58 s to express their choice (SD = 7.13). The choice was independently coded offline by E1, E2, and a third coder blind to the identity of the puppets. The inter-coder agreement was 100%.




26 : 10 Puppets VS 100 Puppets


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For a contact between the infant and a puppet to count as a choice, the infant had first to look at one puppet, and then reach for this puppet while still looking at it. Thus, touching one or both puppets without looking at them did not count as a choice. Conversely, if infants looked at one puppet and then reached for both while continuing to look at the same puppet, this counted as a choice. If infants did not make a choice within 60 seconds, E3 pulled back the puppets. She then repeated the choice procedure from the moment she pulled the puppets from behind her back. Infants who produced no choice after 60 additional seconds during this second attempt were coded as making no choice. The choice was independently coded offline by E1, E2, and by a third coder blind to the identity of the puppets. The inter-coder agreement was 100%.


PETER SCHUMANN: Right, and we took two or three hundred puppets to that demo. And we worked on the outskirts of the speeches that were being delivered at that time, and asked people to join us. We had about 15 friends who would choreograph a group of 30 or 40 people into particular movements with these puppets. And we walked around on the outskirt doing these practices. And when the march started, we headed together. We could pull all of that together and could do this big street dance.


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Unlike in other countries, "in the United States people have the impression that puppets are for children," said Jane Marie Law, Cornell associate professor of Japanese religion and local expert in Awaji Puppet Theater.


Yet for many, such as the Japanese, puppets are used in religious rites of appeasement and blessing, Law said at a press conference Feb. 12 at the A.D. White House, held prior to the Awaji Puppet Theater performances in Cornell's Bailey and Barnes Halls, Feb. 24-25.


The puppets are used in performances, she said, that include "sex, transgression and violence"; some puppets depict hermaphrodites, prostitutes, wounded and lacerated individuals, alcoholics and the diseased. The puppets, Law said, were sometimes used to represent demons or be possessed by demons, and "had a history of being tied to the afterlife and bringing back the dead."


New York, NY, July 15, 2021 (GLOBE NEWSWIRE) -- Museum of the City of New York announces the opening of the exhibition Puppets of New York, examining how puppetry has impacted New York City and scanning the tremendous influence the city has had on this artform all over the world. Opening on August 13, 2021, the exhibition features more than 100 puppets spanning New York City history, from theater, television, and street life, including Lamb Chop, Sesame Street, Avenue Q and Lion King on Broadway, avantgarde theater, parades, and more. Puppets of New York is also part of the partner programming for the International Puppet Fringe Festival (August 11-16, 2021), and is complemented by a companion exhibition downtown at The Clemente Soto Vélez Cultural and Educational Center. 041b061a72


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