Basic theses of the article are the following: 1) Politics is inexplicable without relating it to the category of commonweal. 2) Acceptation of this category has some philosophical and ethical implications: it involves universalism, rationalism, personalistic character of participation. Finally, politics is defined as,,a wise endeavour after commonweal”.

Andrzej Szostek believes the new evangelization to be one of the most important tasks of the modern catholic church. He reminds as that Poland in 15th century was a very tolerant country for people of various religious denominations. The modern catholic church should base on this tradition and strive for humanity and more universal outlook. The idea of the new evangelization is an essential message involved in the Gospel.

A critically acute summary of the main theories about the 'State', from Greek antiquity to the present. The authors highlight the importance of archaeology to our knowledge of how the first States were formed and how they functioned. They also ask what conditions of social production led to the State arising as the self-interested regulator of social relationships.

A medical information commons is a networked data environment utilized for research and clinical applications. At three deliberations across the U.S., we engaged 75 adults in two-day facilitated discussions on the ethical and social issues inherent to sharing data with an MIC. Deliberants made recommendations regarding opt-in consent, transparent data policies, public representation on MIC governing boards, and strict data security and privacy protection. Community engagement is critical to earning the public's trust.

Meaningful participant engagement has been identified as a key contributor to the success of efforts to share data via a “Medical Information Commons”. We present findings from expert stakeholder interviews aimed at understanding barriers to engagement and the appropriate role of MIC participants. Although most interviewees supported engagement, they distinguished between individual versus collective forms. They also noted challenges including representation and perceived inefficiency, prompting reflection on political aspects of engagement and efficiency concerns.

Drawing on a landscape analysis of existing data-sharing initiatives, in-depth interviews with expert stakeholders, and public deliberations with community advisory panels across the U.S., we describe features of the evolving medical information commons. We identify participant-centricity and trustworthiness as the most important features of an MIC and discuss the implications for those seeking to create a sustainable, useful, and widely available collection of linked resources for research and other purposes.

A 2011 National Academies of Sciences report called for an “Information Commons” and a “Knowledge Network” to revolutionize biomedical research and clinical care. We interviewed 41 expert stakeholders to examine governance, access, data collection, and privacy in the context of a medical information commons. Stakeholders' attitudes about MICs align with the NAS vision of an Information Commons; however, differences of opinion regarding clinical use and access warrant further research to explore policy and technological solutions.

Making data broadly accessible is essential to creating a medical information commons. Transparency about data-sharing practices can cultivate trust among prospective and existing MIC participants. We present an analysis of 34 initiatives sharing DNA-derived data based on public information. We describe data-sharing practices captured, including practices related to consent, privacy and security, data access, oversight, and participant engagement. Our results reveal that data-sharing initiatives have some distance to go in achieving transparency.

The obligatory chapter -- My, how clever: what is humor and what humor is -- Joking matters -- Comedy tonight -- Killing it: humor and comedy aesthetics -- Can't you take a joke?: humor ethics -- Am I blue?: the ethics of dirty jokes -- Is that a Mic in your hand or are you just happy to see me?: comedy ethics.

The paper discusses Peano's defense and application of permanence of forms as a principle of practice. Dedicated to the memory of Mic Detlefsen.

We show that the replacement rule of the sequent calculi ${\bf G3[mic]}^= $ in [8] can be replaced by the simpler rule in which one of the principal formulae is not repeated in the premiss.

In this paper, we explore the perspectives of expert stakeholders about who owns data in a medical information commons and what rights and interests ought to be recognized when developing a governance structure for an MIC. We then examine the legitimacy of these claims based on legal and ethical analysis and explore an alternative framework for thinking about participants' rights and interests in an MIC.

The purpose of this study is to present how ancient and modern thinkers describe politics and to discuss reasons for differences seen in these definitions. In the ancient period, the identification of human being as a political entity by nature caused politics to be seen as the most supreme of all human activities. For the ancient thinkers, politics is conceptualized as a pluralist area in which the common issues are discussed by equals and also which excludes inequality. Ancient thinker Aristotle (...) says that the purpose of politics is “good life”. However, modern political thought which began with Machiavelli identified politics with the concepts of force, power and violence. Politics is defined by Machiavelli and his successors as the legitimate organization of physical violence, the distribution of power, value and resources by authority. While in the Ancient Greece violence is excluded from the public-political sphere, It has become one of the central concepts defining the political society in the modern world. While the human being was defined as a political entity (zoon politikon) in the ancient period, it is usually seen as an economic entity (homo economicus) in the modern period. For the ancients good life means a life that is dedicated to politics; nevertheless, it has been often associated with econo- mic activity by the moderns. This study argues that the main difference between the political definitions of ancients and moderns stem from differences between their perspectives about the aim of human and human life. (shrink)

Hace falta valor hoy día para abordar una cuestión con tantas aristas como la de la idea de Dios. Y hacerlo desde una perspectiva que parte de la experiencia poética requiere, además de valor, una peculiar honestidad intelectual y personal. Ése es el empeño de Álvaro Pombo en su primera experiencia en el campo del ensayo. Una obra que, desde lo 'vivido y pensado en primera persona del singular', se despliega y ramifica en relecturas y reflexiones de enjundia y lucidez (...) turbadoras. 'La ficción suprema' combina erudición, lecturas y vivencias con sutileza e intensidad; pasan por estas páginas recuerdos de infancia, poemas de juventud y sospechas de madurez, deslumbramientos y desapegos temporales, pero también Rilke, Kierkegaard, Heidegger, Wallace Stevens, Santo Tomás o superhéroes de cómics. El resultado es un luminoso ejercicio de búsqueda de sí conducido por un maravilloso lenguaje y esa sorprendente capacidad para deleitar en la búsqueda de ese Dios que se nos 'sustrae' en cuanto aparece. Incluye la correspondencia entre autor y editor que dio origen al libro. Una emotiva reflexión sobre el oficio de editar, la amistad y el conocimiento"--Page 4 of cover. (shrink)

Malaysian voters made a historical decision in May 2018, ushering in what observers termed a “Malay political tsunami” by displacing the UMNO government’s decades-long rule. This paper argues that the spirit of inclusiveness played a crucial role in the first transition of power in Malaysia. Moreover, the inclusive representation of major ethnic groups in the multi-racial state by the winning Alliance Hope coalition was a key factor leading to the transition. This paper also examines the political development in Malaysia, from (...) the beginning of inclusive politics in the early stage of its independence, to the decline of inclusiveness from the 1970s to 1990s, to the collapse of the inclusive politics since 2008 when the DAP produced a major victory over the MCA in the May 2008 elections. Finally, this paper also explores the challenges of the new ruling Alliance Hope in Malaysia. Keywords : Ethno-politics, inclusiveness, UMNO, MCA, MIC, Alliance Hope. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

Regarded as a revisionist historian in the West, Patricia Crone, who wrote many books and articles on various subjects of early Islamic history, was a prolific researcher. The place and role of mawālī, in the Umayyad and Abbāsid society, has been one of the special topics she has been interested in since the very beginning of her academic life. Her works with a revisionist perspective have been faced many criticisms by colleagues, especially the western ones, because of her biased view (...) of the sources written by Muslim authors, her methodology, and her results. However, it is obvious that Crone’s studies on mawālī have positively or negatively affected the Eastern and Western academics in Islamic studies. This article’s main purpose is to reveal Crone’s views on mawālī in Isla-mic society and draw an outline without comment as much as possible. The paper consists of three parts. In the first part, Crone’s revisionist perspective and her works on mawālī have been explained. In the second part, her distinctive views on the mawālī and its origin have been discussed. Finally, in the third part, her findings of the position of mawālī in social, political, military, and economic life during the Rāshidun Caliphs, the Umayyads, and the Abbāsids have been introduced. This study, which tackles Crone’s views on mawālī, aims to encourage the further studies on this subject. (shrink)

The military-industrial complex (MIC) refers to a self-sustaining politico-economic system that perpetuates profitability in military supplies industries, de facto in multiple countries but primarily in the USA. It is made up of competing and/or collaborating entities -- the maintenance of which is on the whole financially advantageous to all concerned. The complex business objectives sought by participants are fostered in part by exalting technical possibilities but also in part by spreading fear as to dangers that are imminent and can be (...) countered only by maintaining the highest feasible level of military preparedness. (shrink)

resumo Esse artigo investiga a leitura que Shaftesbury fez de Marco Aurélio, a fim de comparar a visão estóica da individual ida de e da ide nt ida de pessoal com o conceito lockia no de “self” e, de ma ne i ra mais ge ral, com os mo dos pelos quais a filosofia mo de rna entendeu o si-me s mo. A ênfase recai sobre a conexão int r í nseca ent re sistema e s u b j e (...) t i v ida de no estoicismo imperial. Discute-se a re s i s t ê nc ia de autores cont e m p o r âneos em aceitar a descrição da alma ra c io nal dos estóicos como um “self”. Também se discute a aplicação que Mic hel Foucault fez do seu conceito de “subjetivação” à id é ia estóica de “si-me s mo ”. palavras-chave Estoicismo; self; identidade pessoal; Shaftesbury; Marco Aurélio; Foucault. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. 197 Ashwini Tambe Reckoning with the Silences of #MeToo The past six months have been an important time for US feminism. For women’s studies professors, it’s been heartening to find the world outside our classrooms taking up conversations about sex and power that we’ve been having for decades. In this piece, I will reflect on three questions: What (...) is going on? Why is it happening now? And what forms of feminism have been overlooked in the coverage of the #MeToo movement? I spend the longest time on the third question, because I’m concerned about how #MeToo has advanced a version of public feminism that is, in some ways, out of step with currents in academic feminism. What’s going on? Although feminists have long championed public speak-outs for survivors of sexual violence—whether in Take Back the Night open mics since the 1980s or the workshops also called “MeToo” that Tarana Burke started in Alabama in 2007—the viral force of the hashtag #MeToo in mid-October 2017 took most people by surprise. Within the first twenty-four hours, it had been retweeted half a million times. According to Facebook, nearly 50 percent of US users are friends with someone who posted a message about experiences of assault or harassment. #MeToo was by no means just a US phenomenon: Facebook and Twitter feeds in various parts of the world, notably Sweden, India, and Japan, were rocked for days by this hashtag. Then came the slew of powerful cis-men, largely in the US 198 News and Views media and entertainment industries, who were forced to swiftly resign after allegations of sexual misconduct. This toppling continues and has expanded beyond the media to other industries where reputations matter: politics, music, architecture, and, somewhat belatedly, higher education. In an important way, the ground beneath us has shifted. #MeToo has tilted public sympathy in favor of survivors by changing the default response to belief, rather than suspicion; the hashtag has revealed how widespread sexual coercion is. Why Now? We need to theorize, on a cultural scale, why this movement against sexual harassment and violence in the United States has happened now rather than, say, three years ago, when Bill Cosby was accused by multiple women, or after Roger Ailes, CEO of Fox News, was deposed. #MeToo’s impact may seem sudden, but it is a part of a groundswell in women’s activism since the November 2016 elections. The Women’s March was the largest globally coordinated public gathering in history. The 3-million strong Facebook group Pantsuit Nation saw hundreds of thousands of posts about experiences of misogyny. Unprecedented numbers of women are running for US political office this year. The signature affective note running through this political moment is a fierce rage about the election of Donald Trump. Trump’s impunity, I suggest, serves as a trigger provoking the fury at the heart of #MeToo. There are many reasons to find fault with Trump, but it is distinctly galling that he faced no consequences after acknowledging being a sexual predator. For victims of sexual trauma, it is already painful to watch perpetrators roam free because of how high the burdens of proof are in legal cases. When a person such as Trump is grandly affirmed by an election, it retraumatizes victims. Right after the election, therapists and counseling centers were flooded with patients seeking help with processing past events. The ballast provided by women’s feverish organizing and the instant power of social media has facilitated a collective emboldening. Trump has made the comeuppance of all powerful men feel more urgent. But from the inception of #MeToo, I have also watched its racial and class politics with some wariness: whose pain was being centered, I wondered? A colleague recently asked aloud: is #MeToo a white women’s movement? Another wondered, is this a moral panic? These questions News and Views 199 underline the importance of feminist insights that are overlooked in dominant coverage of the movement. What’s Left Out? Critical race feminism offers important insights when exploring the question of whether this is a white... (shrink)

In transfinite arithmetic 2n is defined as the cardinality of the family of all subsets of some set v with cardinality n. However, in the arithmetic of recursive equivalence types 2N is defined as the RET of the family of all finite subsets of some set v of nonnegative integers with RET N. Suppose v is a nonempty set. S is a class over v, if S consists of finite subsets of v and has v as its union. Such a (...) class is an intersecting class over v, if every two members of S have a nonempty intersection. An IC over v is called a maximal IC , if it is not properly included in any IC over v. It is known and readily proved that every MIC over a finite set v of cardinality n ≥ 1 has cardinality 2n-1. In order to generalize this result we introduce the notion of an ω-MIC over v. This is an effective analogue ot the notion of an MIC over v such that a class over a finite set v is an ω-MIC iff it is an MIC. We then prove that every ω-MIC over an isolated set v of RET N ≥ 1 has RET 2N-1. This is a generalization, for while there only are χ0 finite sets, there are ϰ isolated sets, where c denotes the cardinality of the continuum, namely all the finite sets and the c immune sets. MSC: 03D50. (shrink)

Business ethicists should examine not only business practices but whether a particular type of business is even prima facie ethical. To illustrate how this might be done I here examine the contemporary U.S. defense industry. In the past the U.S. military has engaged in missions that arguably satisfied the just war self-defense rationale, thereby implying that its suppliers of equipment and services were ethical as well. Some recent U.S. military missions, however, arguably fail the self-defense rationale. At issue, then, is (...) whether a business supporting these latter missions may not be circumstantially unethical. No it is not, say defense industry advocates, for two principal reasons. For one, this business benefits society at large in numerous ways. And, for another, the organizer of these military missions is a superpower which by its very nature is not subject to the ethical constraints of the self-defense rationale. I dispute both reasons, argue against the second, and conclude that the U.S. military-industrial complex (MIC) is circumstantially unethical. (shrink)

Juros, H. Die "Objektschwäche" der Moraltheologie.--Nossol, A. Christsein als radikale Proexistenz.--Styczen', T. Personaler Glaube im Spannungsfeld von religiöser Autorität und Gewissensautonomie.--Piegsa, J. Die "Sache Jesu" und die Reformmarxisten.--Szostek, A. Zur gegenwärtigen Diskussion über den Utilitarismus.--Pryszmont, J. Die Wiederherstellung der gefallenen menschlichen Natur.--Theiner, J. Gedanken zur Sündenlehre Abaelards in seinem Werk "Ethica seu Scito teipsum".--Sikorski, T. Die Aporie des gemeinschaftlichen Lebens.--Kleber, K.-H. Der Christ und die Armut.--Wojtyła, K. Die menschliche Person im Kontext der ehelichen Hingabe und Elternschaft.--Tischner, J. Überlegungen zur (...) Arbeitsethik.--Zeimentz, H. Toleranz-Freiheit-Wahrheit. (shrink)

An open question in the semantics of modality is what relations there are among different modal flavours. In this article, we consider the thorny issue of whether ascribing to an agent the obligation to φ implies that it is possible for the agent to φ. Traditionally, this issue has been interpreted as whether ‘ought’ implies ‘can’. But another linguistic interpretation is available as well, namely, whether ‘must’ implies ‘can’ (MIC). We show that ‘must’ does imply ‘can’ via a convergent argument. (...) The first strand of the argument is theoretical: it consists in proving MIC from a well-established theory of modality in natural language, i.e., that proposed by Kratzer. The second strand is empirical: we present novel acceptability judgment studies showing that MIC predicts and explains the linguistic behaviour of native English speakers. (shrink)

We explore how principles predicting the success of a medical information commons advantaged or disadvantaged three MIC initiatives in three Canadian provinces. Our MIC case examples demonstrate that practices and policies to promote access to and use of health information can help improve individual healthcare and inform a learning health system. MICs were constrained by heterogenous health information protection laws across jurisdictions and risk-averse institutional cultures. A networked approach to MICs would unlock even more potential for national and international data (...) collaborations to improve health and healthcare. (shrink)

Algis Mickiinas savo straipsnyje svarsto moder- niojo mokslo ir filosofijos ivykdytq tikroves "su- skliaudimo" judesi, leidusi semiotikams ir dekonst- rukcininkarns teigti kalbq arba diskursq esant pirmi- ne ir svarbiausia galios forma, pasirei3banEia visose 2mogiSkojo patyrimo ir praktikos srityse. Autoriaus tikslas - analizuojant 3i "suskliaudimq" atverti ypa- tingas struktiiras, "kurios niekam nepriklauso ir yra niekur neaptinkamos, ta&au yra esmingiausiy miisy modemiojo hojimo modalumy pamatas". Autorius teigia, jog wenamasis pasaulis - morfologiSkai kon- stituoty ir intuityviai suvokiarny ivykiy ir objekty pa- saulis - (...) yra suskliaudiiamas mokslinio skepsio, o pa- grindu laikoma transcendentine ir homogeniika tik- rove neatsiveria pojiiEiams. Teorinio-metodologinio formalizmo konstitucija, stokojanti intuityvaus as- pekto, neturi vertikalaus matmens ir tegali biiti arti- kuliuota horizontaliai, nuosekliavienalaypte progre-sija, remiantis savo paEios vidinemis taisyklemis. Ji neturi jokio biitino rySio su transcendentine homo- geni3ka tikrove; Sis rySys - arbitralus ir lemia tai, jog tikrovei primetami atsitiktinai parinkti forrnaliai kon- stituoti metodai. Sitoks arbitralus teorinio-metodo- loginio formalizmo ir w e n a m o pasaulio rySys Mic- kiinui leidiia interpretuoti modernyji progresq kaip autoreferentiSkq, subjekto n e t u ~ t j reiskini, kaip ar- bitraly riby nepaisymq, ir moderniqjq galiq kaip de- centralizuotq atsakomybq, kaip "galiq be priehties", kuriq palaiko ir maitina beribes formaliy ir materia- liy konstrukcijy galimybb. 'Ibks visur i3plitqs bet kobo veiksmo arbitralumo ir riby nebuvimo pojiitis ir yra, anot autoriaus, niidienos humanizmo krizes esme. Raktiniai ZodZiai: fenomenologija, swkliaudi- mas, gyvenamasis pasaulis, teorinis-metodologinis f o m l ~. (shrink)

The last 20 years have seen a staggering growth in the practice of off-shoring clinical research to low-and middle-income countries (LICs and MICs), a growth that has been matched by the neoliberal policies adopted by host countries towards attracting trials to their shores. A recurring concern in this context is the charge of exploitation, linked to various aspects of off-shoring. In this paper, I examine Alan Wertheimer's approach and offer an alternative view of understanding exploitation in this context. I will (...) suggest that the justification for the enterprise of research is largely dependent on its integration within a health system from which participants regularly benefit and I argue that an attention to a principle of reciprocity will enable us to better recognize and address exploitation in international research. (shrink)

Whether the discursive ethic is accepted or rejected by the public, is determined especially by its universality claims and by its stressing the rationality developed in the light of Kantian tradition. The author reflects on the possibilities of the ethical discourse in the process of the creation of moral standards, which takes place in the frame of social dyna_mics, under the various forms of social and power-pressure, where the basic integrating moments are human communication and rational capacity. Although realizing the (...) possible objections, the author sees the ethical discourse as offering us a possibility to understand the sense of the established moral standards and to accept them entirely, so that they become a part of our moral attitudes. (shrink)

The Malnutrition-Inflammation Score was initially proposed to evaluate malnutrition-inflammation complex syndrome in end-stage renal disease patients. Although MICS should be routinely evaluated to reduce the hospitalization and mortality rate of ESRD patients, the inconvenience of the MIS might limit its use. Cerebral complications in ESRD, possibly induced by MICS, were previously assessed by using spectral electroencephalography via the delta/theta ratio and microstate analysis. Correspondingly, EEG could be used to directly assess MICS in ESRD patients, but the relationships among MICS and (...) these EEG features remain inconclusive. Thus, we aimed to investigate the delta/theta ratio and microstates in ESRD patients with high and low risks of MICS. We also attempted to identify the correlation among the MIS, delta/theta ratio, and microstate parameters, which might clarify their relationships. To achieve these objectives, a total of forty-six ESRD subjects were willingly recruited. We collected their blood samples, MIS, and EEGs after receiving written informed consent. Sixteen women and seven men were allocated to low risk group. Additionally, high risk group contains 15 women and 8 men. Here, we discovered that delta/theta ratio and most microstate parameters were significantly different between subject groups. We also found that the delta/theta ratio was not correlated with MIS but was strongly with the average microstate duration ; hence, we suggested that the average microstate duration might serve as an alternative encephalopathy biomarker. Coincidentally, we noticed positive correlations for most parameters of microstates A and B and stronger negative correlations for all microstate C parameters. These findings unveiled a novel EEG biomarker, the MIC index, that could efficiently distinguish ESRD patients at high and low risk of MICS when utilized as a feature in a binary logistic regression model. We expected that the average microstate duration and MIC index might potentially contribute to monitor ESRD patients in the future. (shrink)

Understanding how recorded and amplified stage musics contribute towards producing the Anthropocene necessitates attending to complex transnational flows of material, capital and labor, and how they coalesce into technological objects. This is complicated by the wide array of sites, practices and knowledges involved during various stages of the production process, from initial resource extraction, to smelting, component manufacturing, technology assembly, and distribution. To develop a suitable technological ethics, and to understand what happens to environments and to human, animal and plant (...) lifeworlds, requires one to resist abstraction and undertake a global accounting of resource ecologies with recourse to planetary-scale political economy. Towards this goal, I provide a partial account of an early 2000s mic preamp, a mundane but nonetheless fetishised recording studio technological object. I focus on two metals, tin and tantalum, that are primarily extracted for electronics manufacturing, and two building blocks of electronics, solder and capacitors, which are essential for making contemporary electronics. (shrink)

Background: Increasing resistance of Pseudomonas aeruginosa to ciprofloxacin in ICU/burn units has created a problem in the treatment of infections caused by this microorganism. -/- Methods: Fifty P. aeruginosa strains were isolated from burn patients hospitalized in the Kerman Hospital during May 1999-April 2000 and were tested for in-vitro sensitivity to different antibiotics by disc diffusion breakpoint assay. The isolates were subjected to minimum inhibitory concentration (MIC) test by agar dilution method. Existence of the plasmids was also investigated in the (...) isolates. -/- Results: Thirty-four patients infected with ciprofloxacin strains showed MIC of 8 mg/ml [p<0.001]. Sixteen patients were infected with sensitive strains exhibiting MIC range of 0.0125-0.125 ± 0.033 mg/ml. The isolates were also also resistant to other antibiotics [p<0.001]. Plasmid isolation and agarose gel electrophoresis (0.7%) revealed three plasmid bands in strains 8 and 16, and one band in strain 35. -/- Conclusion: The emergence of ciprofloxacin resistance of P. aeruginosa in burn patients is alarming since this antibiotic has only recently been introduced onto the market in Iran. One important observation was that some isolates exhibited cross resistance to other antibiotics. Furthermore, some strains were carriers of plasmids which might have acted as the potential source of acquired resistance in the hospital setting. -/- . (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This study concerns the ideas of one particular philosopher, Henri Bergson, whose views of time, intuition, and creativity have had a significant impact on art, literature, and the humanities, both in his time and in our own. Although it is generally recognized that Bergson's ideas have significantly impacted the arts and the humanities, it has not been recognized how they have also had a creative influence on the sciences as well. Nor has it been realized that this was one of (...) his most basic contentions. Bergson's conception of intuition--his fundamental insight into reality--was not limited to fugitive insights into human existence. By realizing previously unsuspected possibilities for research and discovery, his endeavors were also meant to make possible new advances in the sciences. If it enabled his cousin by marriage, Marcel Proust, to explore human memory in depth, it also inspired psychologists like Daniel Schachter to use Bergson's ideas to make real contributions to contemporary memory science. If his notion of creative evolution brought many thinkers to a belief in human creative freedom, it brought others (notably Alexis Carrel and Pierre Lecomte de Noüy) to a scientific study of biological time. Among his successful speculations was the theory of the Big Bang cosmology. 'Getting Bergson Straight' shows many points at which Bergson's ideas anticipated future developments in the sciences. This was seen clearly by the Nobel Prize-winning physicist Luis de Broglie who viewed Bergson's physics as presaging quantum physics. Thus, the text is well situated for arts, humanities, social science, and natural science classrooms studying creative thinking and/or intellectual history. (shrink)

A growing body of literature has engaged with mass incarceration as a public health problem. This article reviews some of that literature, illustrating why and how bioethicists can and should engage with the problem of mass incarceration as a remediable cause of health inequities. “Mass incarceration” refers to a phenomenon that emerged in the United States fifty years ago: imprisoning a vastly larger proportion of the population than peer countries do, with a greatly disproportionate number of incarcerated people being members (...) of marginalized racial and ethnic groups. Bioethicists have long engaged with questions of health justice for incarcerated people, including consent issues for those participating in research and access to health care. This article provides an overview of the individual and public health impacts of mass incarceration. The article argues that mass incarceration is a bioethics issue that should be addressed in medical education, identifies opportunities for bioethicists to guide hospitals’ interactions with law enforcement officials, and calls on bioethicists to be in conversation with medical and nursing students and health care professionals about these groups’ advocacy efforts concerning structural racism, police violence, and mass incarceration. (shrink)