activity” has been considered to play a major role in the short-term maintenance of memories. Many studies since then have provided support for this view and greatly advanced our knowledge of the effects of stimulus type and modality on delay activity and its temporal dynamics. In humans, working memory has also been a subject of intense investigation using scalp and intracranial electroencephalography as well as magnetoencephalography, which provide estimates of local population activity. The published findings include reports of systematic changes (...) in signal amplitude during working memory in the theta, alpha, beta. (shrink)

In dynamical multi-agent systems, agents are controlled by protocols. In choosing a class of formal protocols, an implicit choice is made concerning the types of agents, actions and dynamics representable. This paper investigates one such choice: An intensional protocol class for agent control in dynamic epistemic logic (DEL), called ‘DEL dynamical systems’. After illustrating how such protocols may be used in formalizing and analyzing information dynamics, the types of epistemic temporal models that they may generate are characterized. This facilitates a (...) formal comparison with the only other formal protocol framework in dynamic epistemic logic, namely the extensional ‘DEL protocols’. The paper concludes with a conceptual comparison, highlighting modeling tasks where DEL dynamical systems are natural. (shrink)

This study investigates the influence of old directors on corporate social responsibility (CSR) using roughly 25,000 firm-year observations from 2001 to 2015 in the United States. We employ the widely used selection, optimization, and compensation (SOC) model from psychology to explain the CSR decisions of old directors. Our results indicate that firms with a higher percentage of old directors tend to have lower engagement in CSR activities. To address endogeneity, we adopt the difference-in-differences method and use the event of sudden (...) deaths and unexpected retirements of old directors and find that our results remain robust. Our analysis also reveals that the negative impact of old directors on CSR is more significant in firms where directors receive fewer reputational spillover benefits from CSR initiatives and/or firms exhibiting poor corporate governance. In addition, this adverse impact of old directors comes from two effects: a reduction in efforts to enhance CSR strengths and an increase in inaction to address CSR concerns. Overall, these findings suggest that the CSR decision-making process of old directors involves assessing the costs and benefits of CSR engagements, consistent with our hypothesis derived from the SOC model. (shrink)

This article seeks to explain the transformation of culture using the mechanism of evolutionary theory. Social biologists have been dealing with this issue for many years now. However, these scholars have not sufficiently allowed for the importance of factors independent of genes. They have primarily thought of culture as nothing more than the expansion of genes, as an increase in the rate of genetic adaptation. Namely, they have focused less on culture itself and more on its natural origins. Even while (...) accepting the dual inheritance model that the structure of biological genes and cultural transmission is different, this article seeksto take a step further. My aim is to show how culture that takes shape on the group level is explainable on the cultural genetic level. Seen from the point of view of culture genetics, the transformation of culture signifies the transformation in the frequency of a cultural gene. At this point, we are thus faced with the following questions: 1) Is it possible to concretize the units of culture genes? 2) What is the fundamental characteristic of a culture gene? and 3) What relationship is there between biological genes and cultural genes? This article will prove that it is indeed possible to concretize the units of culture genes, that the most substantialfundamental characteristic of a cultural gene is, as would be expected, to clone itself, and that cultural genes and biological genes exist within multiple relationships of cooperation, conflict, and reciprocity. Finally, this article will further concretize the dual inheritance model with a careful examination of its two patterns of evolutionary explanation, the reductionist on the one hand, and the non-reductionist on the other. This examination will conclude that, in terms of culture, the non-reductionist model is the most suitable. (shrink)

Diogenes, Volume 62, Issue 2, Page 3-3, May 2015.

continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)

The author presents the argument that historical objectivity is developed through diverse viewpoints, hermeneutical understanding and scientific explanation, and formalized as scientific research and historical writing.

This paper elaborates on two classical theories of “Open Society,” i.e. Henri Bergson’s and Karl Popper’s. It outlines their differences, qualities, and limits. It provides some suggestions about t...

Previous work suggests that threat-related stimuli are stored to a greater degree in working memory compared to neutral stimuli. However, most of this research has focused on stimuli with physically salient threat attributes, failing to account for how a “neutral” stimulus that has acquired threat-related associations through differential aversive conditioning influences working memory. The current study examined how differentially conditioned safe and threat stimuli are stored in working memory relative to a novel, non-associated stimuli. Participants completed a differential fear conditioning (...) task followed by a change detection task consisting of three conditions across two loads. Results revealed individuals successfully learned to distinguishing CS+ from CS– conditions during the differential aversive conditioning task. Our working memory outcomes indicated successful load manipulation effects, but no statistically significant differences in accuracy, response time, or Pashler’s K measures of working memory capacity between CS+, CS–, or N conditions. However, we observed significantly reduced RT difference scores for the CS+ compared to CS– condition, indicating greater RT differences between the CS+ and N condition vs. the CS– and N condition. These findings suggest that differentially conditioned stimuli have little impact on behavioral outcomes of working memory compared to novel stimuli that had not been associated with previous safe of aversive outcomes, at least in healthy populations. (shrink)