Os fãs de K-pop têm chamado a atenção da mídia internacional por conta de seu engajamento em causas políticas e sociais em diversos países. No intuito de investigar a dimensão política do ativismo desses fãs em específico, este artigo se propõe a abordar o impacto global do K-pop, tendo em vista o debate mais abrangente sobre decolonialidade. Para tanto, utilizamos como objeto de análise o recente caso do fã-clube oficial do BTS, conhecido como ARMY, que desafiou os posicionamentos do presidente (...) norte-americano Donald Trump. A partir de uma abordagem decolonial e da concepção de desobediência epistêmica, apontamos que o consumo da cultura pop sul-coreana dispõe de ferramentas que dialogam com a esfera não-ocidental e funciona fora da lógica colonial, especialmente em meio a ascensão global da boyband BTS. (shrink)

In recent years, the fascination with K-Pop music, its singers and groups, which have rapidly gained popularity in the world and in our country, increasingly attracted notice and is the subject of many studies. The daily lives and lifestyles of the people representing this musical style and groups become the focus of attention of the younger generations and are imitated by them. This fact necessitates to research K-Pop music. Studies in the world and in Turkey reveal that K-Pop has significant (...) effects on young people. This trend, supported by industrial and cultural forms, attracts the attention of young people and affects their lifestyles. It is important to research how K-Pop singers and groups with their dynamic compositions, lively dances, innocent expressions, sexless looks, unique clothing, makeup, images, gestures and facial expressions affect their young fans, as well as what their religious, national and cultural consequences are on individual and social basis. The research was conducted with a phenomenological approach and the data was collected via semi-structured interviews with 20 young people born between 2000 and 2010, who were selected by snowball sampling method. As a result of the analysis, the data were classified as two themes, namely, the interest of young people in K-Pop and the influence of K-Pop on young people. In this study, it was aimed to determine how and in which subjects K-Pop music style and group mem-bers are influential on the imagination of adolescents, and the meaning and importance of this situation in terms of religious-moral education and deve-lopment. It was observed that the participants admire K-Pop singers and groups, like their lifestyle, and view every behaviour of these people positively. Moreover, in the study, the effects of K-Pop music on emotions, behaviours and thoughts were examined and their advantages and disadvantages were evaluated in terms of religious-moral education. At the end of the study, suggestions are given for the young people to be selective about the people that they will choose as a phenomenon or an idol in terms of religious education. (shrink)

We explored the need for an ecosystem approach based on relational systems when conducting research on South Korea’s cultural industry. We used Mollard’s (2009. L’ingeniere culturelle. Paris: PUF) idea of the participants in the French cultural system as a key reference and extended it to the notion of the platform, which is the core concept of South Korea’s cultural industry ecosystem (CIE). We also utilized the idea of the “semiotic square of consumption values” from Floch to explicate each platform and (...) participant, which play a significant role in South Korea’s CIE. By defining a role rooted in the relationship and values for each subject (i.e., the production, consumption, authority, and intermediary subjects), we aimed to better understand the ecosystem of the cultural industry and focused on K-pop as a specific aspect of South Korea’s cultural sector by identifying the current identity of each participant. (shrink)

This paper explores global K-pop's negotiation and reconstruction of Korean aesthetics via the dismantling, adoption, appropriation, and transfiguring of central elements of Korean traditional culture. Recently, K-pop groups have been incorporating traditional music and dance (gugak), traditional attire (hanbok), traditional houses (hanok), and old palaces (gogung) into music videos disseminated globally over digital platforms like YouTube. In their efforts to incorporate more 'Koreanness' into their musical productions and neutralize criticisms of their use of the 'K' prefix as inauthentic and unconnected (...) to Korean aesthetics, groups like BTS and BLACKPINK are redefining 'K-heritage' for music consumers worldwide. Along with other globally consumed Hallyu productions like K-movies, K-dramas, and K-games, K-Pop is in the process of reconstructing Koreans' and the world's view of the meaning of Korean-ness. (shrink)

Morality and religion: intimately wed, violently opposed, or something else? Discussion of this issue appears in pop culture, the academy, and the media―often generating radically opposed views. At one end of the spectrum are those who think that unless God exists, ethics is unfounded and the moral life is unmotivated. At the other end are those who think that religious belief is unnecessary for―and even a threat to―ethical knowledge and the moral life. -/- This volume provides an accessible, charitable discussion (...) that represents a range of views along this spectrum. The book begins with a lively debate between Paul Kurtz and William Lane Craig on the question, Is goodness without God good enough? Kurtz defends the affirmative position and Craig the negative. Following the debate are new essays by prominent scholars. These essays comment on the debate and advance the broader discussion of religion and morality. The book closes with final responses from Kurtz and Craig. (shrink)

Morality and religion: intimately wed, violently opposed, or something else? Discussion of this issue appears in pop culture, the academy, and the media—often generating radically opposed views. At one end of the spectrum are those who think that unless God exists, ethics is unfounded and the moral life is unmotivated. At the other end are those who think that religious belief is unnecessary for—and even a threat to—ethical knowledge and the moral life. -/- This volume provides an accessible, charitable discussion (...) that represents a range of views along this spectrum. The book begins with a lively debate between Paul Kurtz and William Lane Craig on the question, Is goodness without God good enough? Kurtz defends the affirmative position and Craig the negative. Following the debate are new essays by prominent scholars. These essays comment on the debate and advance the broader discussion of religion and morality. The book closes with final responses from Kurtz and Craig. (shrink)

“Recognition” has become a keyword of our time. Yet this word [recognition] runs insistently through my readings, appearing sometimes like a gremlin who pops up at the wrong place, at other times as welcomed, even as looked for and anticipated. Which places are those? Recognition demands our attention. As a “keyword,” its significance is measured in part simply by the number of times it appears across the pages of the works that occupy our desks. Claimed by political theorists, moral philosophers, (...) cultural anthropologists, legal scholars, activists, historians, and rhetoricians, recognition has become a workhorse for theorizing the ontological, epistemological.. (shrink)

Che 1-pu. Han'guk ŭi kaebyŏk -- 1. Kŭndae Han'guk konggongsŏng ŭi chŏn'gae wa t'aja waŭi yŏndae -- 2. Kŭndae Han'guk siminjŏk konggongsŏng ŭi sŏngnip -- 3. Taejonggyo pŏmt'unggusŭjuŭi wa pop'yŏnjuŭi -- Che 2-pu. Ilbon ŭi kaebyŏk -- 1. Kŭnse Ilbon sasang ŭi Sŏngin'gwan -- 2. Ilbon sinjonggyo ŭi kaebyŏk undong -- 3. Hyŏndae Ilbon ŭi saengmyŏng yŏngsŏng kwa ch'iyu yŏngsŏng -- Che 3-pu. Sirhak ŭi sigak -- 1. 19-segi sirhakcha ŭi Ilbon insik -- 2. Ch'oe Han-gi ŭi chonggyo hoet'ong sasang (...) -- 3. Han'guk, Ilbon, Chungguk e issŏsŏ 'Sinsirhangnon' pigyo -- Che 4-pu. Pigyo ŭi sigak -- 1. Ilbon esŏŭi T'oegye, Yulgok, Tasan yŏn'gu ŭi hŭrŭm -- 2. Ch'oe Han-gi wa Ilbon ŭi konggong sasangga pigyo yŏn'gu -- 3. Tongsŏyang konggongsŏng yŏn'gu wa Han'gukchŏk konggongsŏn. (shrink)

Most of us, tacitly or explicitly, embrace a more or less Cartesian conception of our epistemic condition. According to such a conception, "what we have to go on" in learning about the world is, on the one hand, that which is a priori accessible to us, and, on the other, the inner experiences - visual imagery, tactile sensations, recollective episodes and so on - that pop into our Carte- sian theaters. One of the central themes of Knowledge and its Limits (...) is that this picture is fundamentally wrong. Williamson suggests that we should embrace the thesis that our body of evidence at a given time is all and only that which we know. Call this the "E=K thesis." If the E=K thesis is correct, then what we have to go on is both more and less than the Cartesian picture would suggest: more because its domain extends outwards in space, and for- wards and backwards in time; less because that which is unknown about our experiential life is excluded. In what follows, I shall identify and briefly discuss a number of themes connected to the E=K thesis. (shrink)

Most of us, tacitly or explicitly, embrace a more or less Cartesian conception of our epistemic condition. According to such a conception, “what we have to go on”in learning about the world is, on the one hand, that which is a priori accessible to us, and, on the other, the inner experiences—visual imagery, tactile sensations, recollective episodes and so on—that pop into our Cartesian theaters. One of the central themes of Knowledge and its Limits is that this picture is fundamentally (...) wrong. Williamson suggests that we should embrace the thesis that our body of evidence at a given time is all and only that which we know. Call this the “E=K thesis.”If the E=K thesis is correct, then what we have to go on is both more and less than the Cartesian picture would suggest: more because its domain extends outwards in space, and forwards and backwards in time; less because that which is unknown about our experiential life is excluded. In what follows, I shall identify and briefly discuss a number of themes connected to the E=K thesis. (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)

Scientific claims are selected in part for their ability to survive. Scientists can pursue an r-strategy of broad, easy-to-spread ideas, or a K-strategy of stress-tested, bulletproof statements. The “generalizability crisis” is an exquisite mutation that allows dull, K-strategic methodology articles to spread nearly as quickly as the fast-breeding, r-strategic memes of pop-psychology.

Trait emotional intelligence concerns our perceptions of our emotional abilities, that is, how good we believe we are in terms of understanding, regulating, and expressing emotions in order to adapt to our environment and maintain well-being. In this article, we present succinct summaries of selected findings from research on the location of trait EI in personality factor space, the biological underpinnings of the construct, indicative applications in the areas of clinical, health, social, educational, organizational, and developmental psychology, and trait EI (...) training. Findings to date suggest that individual differences in trait EI are a consistent predictor of human behavior across the life span. (shrink)

My aim is to evaluate a new realist strategy for addressing the pessimistic induction, Ludwig Fahrbach’s (Synthese 180:139–155, 2011) appeal to the exponential growth of science. Fahrbach aims to show that, given the exponential growth of science, the history of science supports realism. I argue that Fahrbach is mistaken. I aim to show that earlier generations of scientists could construct a similar argument, but one that aims to show that the theories that they accepted are likely true. The problem with (...) this is that from our perspective on the history of science we know their argument is flawed. Consequently, we should not be impressed or persuaded by Fahrbach’s argument. Fahrbach has failed to identify a difference that matters between today’s theories and past theories. But realists need to find such a difference if they are to undermine the pessimistic induction. (shrink)

The Danish theologian-philosopher K. E. Løgstrup is second in reputation in his homeland only to Søren Kierkegaard. He is best known outside Europe for his _The Ethical Demand_, first published in Danish in 1956 and published in an expanded English translation in 1997. _Beyond the Ethical Demand_ contains excerpts, translated into English for the first time, from the numerous books and essays Løgstrup continued to write throughout his life. In the first essay, he engages the critical response to _The Ethical (...) Demand,_ clarifying, elaborating, or defending his original positions. In the next three essays, he extends his contention that human ethics “demands” that we are concerned for the other by introducing the crucial concept of “sovereign expressions of life.” Like Levinas, Løgstrup saw in the phenomenon of “the other” the ground for his ethics. In his later works he developed this concept of “the sovereign expressions of life,” spontaneous phenomena such as trust, mercy, and sincerity that are inherently other-regarding. The last two essays connect his ethics with political life. Interest in Løgstrup in the English-speaking academic community continues to grow, and these important original sources will be essential tools for scholars exploring the further implications of his ethics and phenomenology. “K. E. Løgstrup’s work undoubtedly made in his time an original contribution to the field of moral philosophy and philosophy of religion. This translation makes extracts from his later publications on moral philosophy accessible to an English-speaking audience. I am again impressed by the depth of his ideas, which are certainly not outdated and still relevant for contemporary debates in moral philosophy.” —_Bert Musschenga, Vrije Universiteit, Amsterdam _ “Making a large part of Knud Løgstrup’s legacy accessible to the English-speaking public is an event of enormous cultural, philosophical and political importance—and we are all in debt to his disciple, Kies van Kooten Niekerk, and the University Press of Notre Dame, for making it happen. Løgstrup, alongside few other giants of 20th Century ethical thought, like Emmanuel Levinas or Hans Jonas, anticipated and articulated all the major challenges and urgent tasks with which the coming century is likely to confront the moral self. Our ethical discourse was all the poorer so far for being barred access to his findings and proposition. This will no longer be the case.” —_Zygmunt Bauman, emeritus, University of Leeds_ “The publication of an English translation of Knut Eljert Løgstrup's later works in ethics provides a wider readership with the opportunity to better understand his important contribution to ethics in the second half of the last century. With his notion of the _Sovereign Expressions of Life_ Løgstrup articulates his rejection of moral atomism that has become influential in recent times. The introduction and annotation by Kees van Kooten Niekerk are very helpful to see how Løgstrup's thought developed beyond _The Ethical Demand.” —__Hans S. Reinders, Vrije Universiteit, Amsterdam_. (shrink)

Devitt has developed an interesting defense of realism against the threats posed by the Pessimistic Induction and the Argument from Unconceived Alternatives. Devitt argues that the best explanation for the success of our current theories, and the fact that they are superior to the theories they replaced, is that they were developed and tested with the aid of better methods than the methods used to develop and test the many theories that were discarded earlier in the history of science. It (...) is no surprise that theories developed earlier in the history of science needed to be replaced. But our current theories are different, having been developed and tested with the aid of these more recently developed superior methods. I critically analyze Devitt’s defense of realism. I argue that recent developments in methodology cannot support the claims Devitt makes. I present an argument I call the “Argument from Unconceived Methods.” Given the history of science, it seems likely that scientists will continue to develop new methods in the future. And some of these methods will enable scientists to generate data that cannot be reconciled with the currently accepted theories. Consequently, it seems that our current best theories are not immune from being replaced in the future by radically different theories. (shrink)

I evaluate the extent to which we could learn something about how we should be conducting collaborative research in science from the research on groupthink. I argue that Solomon has set us in the wrong direction, failing to recognize that the consensus in scientific specialties is not the result of deliberation. But the attention to the structure of problem-solving that has emerged in the groupthink research conducted by psychologists can help us see when deliberation could lead to problems for a (...) research team. I argue that whenever we need to generate alternative solutions or proposals, groupthink is a genuine threat, and research teams would be wise to allow individuals opportunities to work alone. But the benefits of team work emerge when scientists seek to evaluate the various proposals generated, and determine a course of action. Then the group is less prone is groupthink, and the interaction of group members can be an epistemic asset. (shrink)

Machiavellianism has tremendous influence on modern business communities, especially in the U.S.A. and European countries. Businessmen today, it is said, prefer to follow the directions of pragmatism and expediency rather than the dictates of individual conscience.In principles and practices, Indian management by and large follows the Western line. Therefore, the question arises whether Machiavellian influences are perceptibly high on Indian managers. This question is more relevant in the light of a few surveys conducted on the ethical attitudes of Indian managers. (...) These identified a clear contrast between their expressed behaviour and wanted attitudes. The present study on the attitudes of managers from the major cities of India concludes that Niccolo Machiavelli inspires and influences Indian managers, but has not become the final determinant in their decision-making. (shrink)

PART The Early Wittgenstein Half of what I say is meaningless. I say it so that the other half may reach you. Kahlil Gibran My work consists of two parts ...

This paper evaluates a recent method proposed by Jeremy Gwiazda for calculating the value of gambles that fail to have expected values in the standard sense. I show that Gwiazda’s method fails to give answers for many gambles that do have standardly defined expected values. However, a slight modification of his method (based on the mathematical notion of the ‘Cauchy principal value’ of an integral), is in fact a proper extension of both his method and the method of ‘weak expectations’. (...) I show that this method gives an appropriate value when the ‘tails’ of the gambles that are eliminated in the truncation are ‘stable’, but that the value is not appropriate when the tails are not stable. I do not attempt to give an argument for the use of this method, but just note that it is more general than Gwiazda’s method, and is mathematically quite natural. (shrink)

Taking the critique of writing in the Phaedrus as a starting point, where Socrates argues that a book cannot choose its reader nor can it defend itself against misinterpretation, Reading Plato offers solutions to the problems of interpreting the Platonic dialogues. Thomas A. Slez'ak pursuasively argues that the dialogues are designed to stimulate philosophical inquiry and to elevate philosophy to the realm of oral dialectic.

In the present study, using event-related functional magnetic resonance imaging, we investigated a group of participants on a grammaticality classification task after they had been exposed to well-formed consonant strings generated from an artificial regular grammar. We used an implicit acquisition paradigm in which the participants were exposed to positive examples. The objective of this studywas to investigate whether brain regions related to language processing overlap with the brain regions activated by the grammaticality classification task used in the present study. (...) Recent meta-analyses of functional neuroimaging studies indicate that syntactic processing is related to the left inferior frontal gyrus (Brodmann's areas 44 and 45) or Broca's region. In the present study, we observed that artificial grammaticality violations activated Broca's region in all participants. This observation lends some support to the suggestions that artificial grammar learning represents a model for investigating aspects of language learning in infants [TICS 4 (2000) 178] and adults [Proceedings of the National Academy of Sciences of United States of America 99 (2002) 529]. (shrink)

We examine the sub-field of philosophy of science using a new method developed in information science, Referenced Publication Years Spectroscopy (RPYS). RPYS allows us to identify peak years in citations in a field, which promises to help scholars identify the key contributions to a field, and revolutionary discoveries in a field. We discovered that philosophy of science, a sub-field in the humanities, differs significantly from other fields examined with this method. Books play a more important role in philosophy of science (...) than in the sciences. Further, Einstein’s famous 1905 papers created a citation peak in the philosophy of science literature. But rather than being a contribution to the philosophy of science, their importance lies in the fact that they are revolutionary contributions to physics with important implications for philosophy of science. (shrink)

E.J. Lowe claims that quantum physics provides examples of ontic indeterminacy, of vagueness in the world. Any such claim must confront the Evans-Salmon argument to the effect that the notion of ontic indeterminacy is simply incoherent (Evans 1978, Salmon 1981: 243-46). Lowe argues that a standard version of the Evans-Salmon argument fails quite generally (Lowe 1994). Harold Noonan (1995) has outlined a non-standard version of the argument, but Lowe argues that this non-standard version fails for specifically quantum mechanical reasons (Lowe (...) 1997). He claims that it is perfectly coherent to suppose that his quantum case is an example of ontic indeterminacy. In this paper, I raise some objections to Lowe's claim. (shrink)

I examine the citation patterns to a revolutionary scientific paper, Hess’ “History of Ocean Basins”, which played a significant role in the plate tectonics revolution in the geosciences. I test two predictions made by the geoscientist Menard (in Science: growth and change. Harvard University Press, Cambridge, 1971): (1) that the peak year of citations for Hess’ article will be 1968; and (2) that the rate of citations to the article will then reach some lower level, continuing on accumulating citations at (...) some regular but unimpressive rate. Drawing on data covering the period from 1962 to 2019, I show that Menard was close with respect to the first prediction. But I also show that things are less clear with respect to the second prediction. I explain why the data are less clear with respect to the second prediction. (shrink)

In the target article, Kirby (2014) explores conditions under which gestational surrogacy in developing countries (in this case India) may (or may not) be considered as exploitative. The author pro...

Welcome to the world of cutting-edge math, physics, and neuroscience, where the search for the ultimate vacuum, the point of nothingness, ground zero of theory, has rendered the universe deep, rich, and juicy. "Modern physics has animated the void," says K. C. Cole in her entrancing journey into the heart of Nothing. Every time scientists and mathematicians think they have reached the ultimate void, new stuff appears: a black hole, an undulating string, an additional dimension of space or time, repulsive (...) anti-gravity, universes that breed like bunnies. Cole's exploration at the edge of everything is as animated and exciting as the void itself. Take Cole's hand on this adventure into the unknown, and you'll come back informed, amused, and excited. (shrink)

This paper raises the questions: 'What do we expect from nursing ethics?' and 'Is the literature of nursing ethics any different from that of medical ethics?' It is suggested that rather than develop nursing ethics as a separate field writers in nursing ethics should take a lead in making the patient the central focus of health care ethics. The case is made for empirical work in health care ethics and it is suggested that a good way of setting about this (...) is to ask practising nurses about the real ethical problems they encounter. (shrink)

In earlier work (Glüer, K. and P. Pagin. 2006. Proper names and relational modality. Linguistics & Philosophy 29: 507–35; Glüer, K. and P. Pagin. 2008. Relational modality. Journal of Logic, Language and Information 17: 307–22), we developed a semantics for (metaphysical) modal operators that accommodates Kripkean intuitions about proper names in modal contexts even if names are not rigid designators. Graeme Forbes (2011. The problem of factives for sense theories. Analysis 71: 654–62.) criticizes our proposal. He argues that our semantics (...) predicts readings for certain natural language sentences which these simply do not have. These sentences contain mixed contexts involving factive attitude verbs. We argue that the readings our semantics predicts do indeed exist, even if it might take a little work to bring them out. Moreover, denying their existence would have some rather unattractive consequences. (shrink)

This collection by a distinguished group of philosophers, psychologists, and physiologists reflects an interdisciplinary approach to the central question of cognitive science: how do we model the mind? Among the topics explored are the relationships (theoretical, reductive, and explanatory) between philosophy, psychology, computer science, and physiology; what should be asked of models in science generally, and in cognitive science in particular; whether theoretical models must make essential reference to objects in the environment; whether there are human competences that are resistant, (...) in principle, to modelling; whether simulated thinking and intentionality are really thinking and intentionality; how semantics can be generated from syntactics; the meaning of the terms "representations" and "modelling;" whether the nature of the "hardware" matters; and whether computer models of humans are "dehumanizing." Contributors include Donald Davidson, Daniel C. Dennett, Margaret A. Boden, Adam Morton, Dennis Noble, T. Poggio, Colin Blakemore, K.V. Wilkes, P.N. Johnson-Laird, and Jonathan St. B.T. Evans. (shrink)

Context: Metaphysics of perception explores fundamental questions regarding the structure and status of the perceived world or appearance(s. By virtue of perception, the apparent world comes to existence. This, however, does not mean that the apparent world is a projection of mind, that it exists “in the head.” Implications: PL-metaphysics reconciles realism with constructivism. As such, it might be considered either an alternative to constructivism or an improvement and completion of this position. Constructivist content: The article refers to non-Cartesian movements (...) in contemporary philosophy, including radical constructivism, enactive and embodied cognition. Keywords: Perception, metaphysics, radical constructivism, realism, appearance, Jerzy Perzanowski, Plato, Gottfried Willhelm Leibniz, Ernst von Glasersfeld. (shrink)