Computational modeling plays an important role in prediction and optimization of real systems and processes. Models usually have some parameters which should be set up to the proper value. Therefore, parameter estimation is known as an important part of the modeling and system identification. It usually refers to the process of using sampled data to estimate the optimum values of parameters. The accuracy of model can be increased by adjusting its parameters to the optimum value which need a richer dataset. (...) One simple solution for having a richer dataset is increasing the amount of data, but that can be costly and time consuming. When using data from animals or people, it is especially important to have a proper plan. There are several available methods for parameter estimation in dynamical systems; however there are some basic differences in chaotic systems due to their sensitivity to initial condition. Accordingly, in this paper, a new cost function which is proper for chaotic systems is applied to the chaotic one-dimensional map. Then the efficiency of a newly introduced intelligent method experimental design in extracting proper data is investigated. The results show the success of the proposed method. (shrink)

In the chapter “Information and Content” of their Impossible Worlds, Berto and Jago provide us with a semantic account of information in deductive reasoning such that we have an explanation for why some, but not all, logical deductions are informative. The framework Berto and Jago choose to make sense of the above-mentioned idea is a semantic interpretation of Sequent Calculus rules of inference for classical logic. I shall argue that although Berto and Jago’s idea and framework are hopeful, their definitions (...) do not capture what is intended. This is so because the definitions are solely based on the logical complexity of an argument and they fail to capture the richness of the non- logical content of that argument. Then I will suggest some amendments to address this problem. Finally, I will extend the application of the definitions to first-order logic. It shall be observed that in some classical deductions, applying contraction may lead to hiding some epistemic impossibilities. This happens when formulae which contribute different propositions to the proof get contracted at the quantified level. (shrink)

This is a contribution to the idea that some proofs in first-order logic are synthetic. Syntheticity is understood here in its classical geometrical sense. Starting from Jaakko Hintikka’s original idea and Allen Hazen’s insights, this paper develops a method to define the ‘graphical form’ of formulae in monadic and dyadic fraction of first-order logic. Then a synthetic inferential step in Natural Deduction is defined. A proof is defined as synthetic if it includes at least one synthetic inferential step. Finally, it (...) will be shown that the proposed definition is not sensitive to different ways of driving the same conclusion from the same assumptions. (shrink)

The concept of “Time” seems to play out differently at various phases of our lives: In our teens and twenties, we experience the luxury of youth; we may feel invincible or even indomitable. Generally, we feel our whole lives are ahead of us, and we “take” time to enjoy, explore and experience our world. Concurrently, our physiology also goes through the phases of childhood, adolescence, puberty and into adulthood, or the “reproductive years”; and ultimately (for women) through menopause and “ageing”, (...) or, the “non- reproductive years”. In this paper I will submit, on what I believe, is the obligation of the health care community to disseminate information early to their patients. This might ensure that the choices that people make in specific phases of their lives are educated and informed choices. Early education would be invaluable if backed up by the benefit of research that already exists, some of it presented in this paper. If this research was to be made available, say, on a patient’s first visit to a gynaecologist, (presumably in their late teens, early twenties), to start the education process, I believe many patients could benefit from it. (shrink)

Most prior research on figurative language has looked at the cognitive aspects of metaphoricity. The present research attempts at going beyond metaphor's cognitive impact and aims to view the social and discoursal aspects of metaphorical constructions in relation to people's identities and social realities. This article reports an analysis and discussion of figurative language used by Pakistani women while talking about their literacies and selfhood. The article makes two claims about figurative language: first, metaphorical constructions are cultural and therefore rooted (...) in social practices and discourses; second, figurative expressions are common to everyday talk, constrain and enable thinking processes and construct social reality. Methodologically too, the article offers an interesting departure from the traditional studies of metaphor as the data cited are `incidental' and natural, rather than elicited or experimental; the researcher `s aim was not to study figurative language but it turned out to be ubiquitous in women's everyday talk. Hence, the present data strengthen Tannen's and Carter's work that creativity and figurative language are not exclusive to literary discourse but are part of everyday discourses. (shrink)

This thesis is about how deduction is analytic and, at the same time, informative. In the first two chapters I am after the question of the justification of deduction. This justification is circular in the sense that to explain how deduction works we use some basic deductive rules. However, this circularity is not trivial as not every rule can be justified circularly. Moreover, deductive rules may not need suasive justification because they are not ampliative. Deduction preserves meaning, that is, the (...) meaning of non-logical vocabulary of any theory which is developed by deductive reasoning remains unchanged. It means that deduction adds no information to what we already had in our premises. This is why deduction is analytic. -/- However, there are many ways deduction can be informative. In the next three chapters, I will pick a specific kind of deductive reasoning, namely arithmetical reasoning, and will attempt to understand the nature of information we obtain by this kind of reasoning. There is a difference between simple deductive moves such as inferring `Socrates is mortal' from `All human are mortal' and `Socrates is human', and inferring that a relation is reflexive given that it is directed, symmetric and transitive. The latter is more complicated and not as easy to prove as the former. Therefore it is informative and the proof we construct to prove it puts us in an epistemic position that we were not in before having the proof. To be more specific, I show that concepts we need to confirm the conclusion are made in the process of proving the conclusion. (shrink)

: By examining evidence from India, where quotas for women in local government were introduced in 1993, this article argues that institutional reform can disturb hegemonic discourses sufficiently to open a window of opportunity where deliberative democratic norms take root and where, in addition to the politics of recognition, the politics of redistribution also operates.

By examining evidence from India, where quotas for women in local government were introduced in 1993, this article argues that institutional reform can disturb hegemonic discourses sufficiently to open a window of opportunity where deliberative democratic norms take root and where, in addition to the politics of recognition, the politics of redistribution also operates.

By examining evidence from India, where quotas for women in local government were introduced in 1993, this article argues that institutional reform can disturb hegemonic discourses sufficiently to open a window of opportunity where deliberative democratic norms take root and where, in addition to the politics of recognition, the politics of redistribution also operates.

We sharpen Hájek’s Completeness Theorem for theories extending predicate product logic, \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\Pi\forall}$$\end{document}. By relating provability in this system to embedding properties of ordered abelian groups we construct a universal BL-chain L in the sense that a sentence is provable from \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\Pi\forall}$$\end{document} if and only if it is an L-tautology. As well we characterize the class of lexicographic sums that have this universality property.

Providing ethically competent care requires nurses to reflect not only on nursing ethics, but also on their own ethical traditions. New challenges for nurse educators over the last decade have been the increasing globalization of the nursing workforce and the internationalization of nursing education. In New Zealand, there has been a large increase in numbers of Chinese students, both international and immigrant, already acculturated with ethical and cultural values derived from Chinese Confucian moral traditions. Recently, several incidents involving Chinese nursing (...) students in morally conflicting situations have led to one nursing faculty reflecting upon how moral philosophy is taught to non-European students and the support given to Chinese students in integrating the taught curriculum into real-life clinical practice settings. This article uses a case study involving a Chinese student to reflect on the challenges for both faculty members and students when encountering situations that present ethical dilemmas. (shrink)

The article deals with the main ideas of the political philosophy of Abu Abdallah Ibn al-Azraq al-Garnati (1427-1491), a well-known Muslim statesman, supreme judge of Granada, lawyer, diplomat, supporter of Arab Muslim peripatetism, a student of the outstanding thinker of the Muslim Middle Ages Ibn Khaldun (1332-1406). In the history of the political philosophy of the Muslim East, a number of major transformations in the development of the Arab Caliphate from the Medina state of the prophet to the Sultanate in (...) the Abbasid period should be noted, which were reflected in the development of the theory of the Arab-Muslim state (caliphate). The main problem of the theory of the caliphate was connected with the question of the relationship between power and authority in the context of the moral foundations of the state. The creative heritage of Ibn al-Azraq is mainly known for his work in the genre of adab ("mirrors of princes") “Miracles on the way, or the Nature of dominion”. The treatise became a classic of the political philosophy of the Muslim Middle Ages, in which, under the influence of Aristotelian ideas, a special place was given to the moral foundations of power and the state, that is, ethics was considered as a political science. In the form of instructive parables, the rulers and heirs to the throne were explained the basics of state administration as part of their studies and education. His doctrine of the virtues can be viewed as ethical rationalism with a belief in the moral perfection of people in power and subjects of the state. Since morals are largely acquired and a person can control them, the task of purifying his own morals and curing them is entrusted to him. In addition, accordingly, it is possible and necessary to cultivate virtues in rulers, since the well-being of the state and the ummah depends on their morals. The moral foundations of power determine the strength of political authority. (shrink)

Dual-task paradigms encompass a broad range of approaches to measure cognitive load in instructional settings. As a common characteristic, an additional task is implemented alongside a learning task to capture the individual’s unengaged cognitive capacities during the learning process. Measures to determine these capacities are, for instance, reaction times and interval errors on the additional task, while the performance on the learning task is to be maintained. Opposite to retrospectively applied subjective ratings, the continuous assessment within a dual-task paradigm allows (...) to simultaneously monitor changes in the performance related to previously defined tasks. Following the Cognitive Load Theory, these changes in performance correspond to cognitive changes related to the establishment of permanently existing knowledge structures. Yet the current state of research indicates a clear lack of standardization of dual-task paradigms over study settings and task procedures. Typically, dual-task designs are adapted uniquely for each study, albeit with some similarities across different settings and task procedures. These similarities range from the type of modality to the frequency used for the additional task. This results in a lack of validity and comparability between studies due to arbitrarily chosen patterns of frequency without a sound scientific base, potentially confounding variables, or undecided adaptation potentials for future studies. In this paper, the lack of validity and comparability between dual-task settings will be presented, the current taxonomies compared and the future steps for a better standardization and implementation discussed. (shrink)

The provisions of United Nations’ Convention on the Elimination of All Forms of Discrimination against Women (CEDAW) provisions and the CEDAW Committee’s recommendations expand on the theoretical and practical ways in which countries can combat gender-based discrimination. In Pakistan, the digitisation of women and feminist collectives and their experience of violent misogyny on the internet accentuates the weakness of the country’s internet security mechanisms. This study utilises the human rights framework of CEDAW to assess the performance of Pakistan’s internet security (...) mechanisms, and highlights the state’s obligations towards women’s digital safety. Informed by the CEDAW’s provisions and the Committee’s contributions, this paper provides recommendations to combat gender-based violence and improve Pakistan’s internet security mechanisms. (shrink)

Ethics & International Affairs, Volume 24, Issue 4, Page 435-437, Winter 2010.

Background Moral distress is a complex and challenging issue in the nursing profession that can negatively affect the nurses’ job satisfaction and retention and the quality of patient care. This study focused on describing the resources and constraints, consequences, and interventions of moral distress in nurses. Methods In a literature review, an extensive electronic search was conducted in databases including PubMed, ISI, Scopus as well as Google Scholar search engine using the keywords including “moral distress” and “nurses” to identify resources, (...) constraints, consequences, and interventions about moral distress in nurses, from the earliest records up to 26 December 2020. The required data were extracted from 61 relevant studies by two independent reviewers. Results Resources and constraints in the occurrence of moral distress among nurses can be divided into three general categories including internal factors, clinical factors, and external factors. The consequences of moral distress on nurses and the medical system reduced moral sensitivity, development of psychological and physical health problems, and the intention to leave the profession. The potential effective interventions were the implementation of integrated communication programs, strengthening physician–nurse collaboration, nursing involvement in clinical decision-making and end-of-life issues, social support, using a resiliency bundle, interdisciplinary discussion, and promoting nurses’ ethical and communication skills. Conclusion There are a wide range of resources and constraints impacting moral distress in nurses that could lead to negative consequences. Further studies are necessary to identify, evaluate, and implement a range of potential effective interventions for the management of moral distress in nurses. (shrink)

Apart from the stylistic and cognitive studies which have already been done separately on Miller’sThe Crucible, this paper provides a new insight into the play and its system of characterization by integrating these approaches. To this end, the paper draws on Jonathan Culpeper’s cognitive stylistic theory of top-down and bottom-up processes in literary text comprehension and characterization. Based on this holistic framework, the paper takes advantage of such stylistic tools as speech acts, the Cooperative Principle and politeness theory to examine (...) features of the language used by the characters Proctor and Danforth. In this regard, the article assimilates those linguistic elements with the embedded schemata within the play. Consequently, the study reveals that Proctor’s complex characterization does not coincide with the readers’ schema and thus they form their impression of his character based on piecemeal integration. On the other hand, Danforth’s character reinforces the readers’ schema about a representative of the church discourse and thus they comprehend his character on the basis of confirmatory categorization. The paper concludes that while Proctor and Danforth have a passive existence in the text or in people’s minds, it is only in the interaction between their language and the readers’ minds that they come into existence. (shrink)

It is necessary to study the various dimensions of health and their affecting factors during the coronavirus disease-19 pandemic to identify the necessary interventions. The study aims to determine the relationship between spiritual health and happiness in medical students during the COVID-19 outbreak. In this analytical cross-sectional design study, 409 medical students were examined for the state of happiness and spiritual health and the relationship between them. Student information was collected through Web-based sampling by using standard tools from 20 April (...) to 20 June 2020. Medical students completed the demographic questionnaire as well as Oxford Happiness Questionnaire and Paloutzian and Ellison spiritual health questionnaire. The results showed that while the score of spiritual health and happiness was related to factors such as marriage, interest in a field of study, and socioeconomic status, the relationship between spiritual health and happiness was significant. This study showed that students’ happiness scores were not optimal during the COVID-19 pandemic. Due to the strong relationship between spiritual health and happiness scores, spiritual health promotion, in conjunction with other interventions, can be used to improve happiness in this group. (shrink)

BackgroundSex and gender differences are often overlooked in research design, study implementation and scientific reporting, as well as in general science communication. This oversight limits the generalizability of research findings and their applicability to clinical practice, in particular for women but also for men. This article describes the rationale for an international set of guidelines to encourage a more systematic approach to the reporting of sex and gender in research across disciplines.MethodsA panel of 13 experts representing nine countries developed the (...) guidelines through a series of teleconferences, conference presentations and a 2-day workshop. An internet survey of 716 journal editors, scientists and other members of the international publishing community was conducted as well as a literature search on sex and gender policies in scientific publishing.ResultsThe Sex and Gender Equity in Research (SAGER) guidelines are a comprehensive procedure for reporting of sex and gender information in study design, data analyses, results and interpretation of findings.ConclusionsThe SAGER guidelines are designed primarily to guide authors in preparing their manuscripts, but they are also useful for editors, as gatekeepers of science, to integrate assessment of sex and gender into all manuscripts as an integral part of the editorial process. (shrink)

Iranian national cinema is showing the scars of artistic persecution. The aesthetic landscape of this national cinema has become one of stark confines – both in its thematic allowances and its aesthetic possibilities. However, these confinements, both physical and technological, have not merely been passively affected by ideological constraints but have also been active in affecting ideological discourse, answering back as it does within imposed limitations. What we are seeing in contemporary Iranian cinema, I believe, is a complex movement of (...) aesthetic novelty, provoking some important questions regarding the relationship between politics and aesthetics. The relatively high-profile instance of which I am concerned here is Jafar Panahi’s This is Not a Film (2011): a work that denies its ontological category and, in turn, furthers its medial possibilities. Panahi’s confinement is an example of enforced asceticism: an asceticism of necessity, groundbreaking in its approach. So much potential arises from this “non-film” – too much to find any answers here. However, this Collision presents the perfect space for briefly outlining some of the questions emanating from a film that is “not a film”. I raise some striking similarities between what occurs with Panahi and the politico-aesthetic ideas of Jacques Rancière in order to contemplate Panahi’s use of asceticism to political effect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unsaying Life Stories:The Self-Representational Art of Shirin Neshat and GhazelAphrodite Désirée Navab (bio)What connects the two artists in Figures 1 and 2 across time and place? (See pages 40 and 41.) The protagonists seem to be so "at home" in their landscape that they do not stand out as disruptions to a cultural rhythm. They are wearing clothing that symbolizes Iran, and they are in an environment that (...) evokes Iranian art and architecture. In Figure 1, a scene in Shirin Neshat's video Soliloquy (1999), a woman stands near the kind of dome one often sees in Islamic architecture; the compatibility of the curved and the straight lines is striking. The woman is washing herself, possibly in preparation for prayer. Her hands are artistically dyed with henna. Her eyes are closed as the water runs down her face. She seems to be unaware of the camera, involved in a private moment, a purification ritual perhaps. Her clothing, her hands, and the architectural background are all consistent with familiar images of the Middle East. The woman marching in a black chador in a video still by Ghazel (Figure 2) also seems to be quite "at home." The text underneath the image says that both her grandfathers were colonels. This "bothness" is repeated by the text written underneath the image, which appears both in English and in French. She marches to the right of the frame with the straight posture and hint of pants and boots characteristic of a soldier. Like the protagonist in Neshat's video, she neither looks at the camera nor seems to care that it is there. She seems to be re-enacting a private moment of family history.At least, this is what the images say at first glance. Upon closer inspection, the viewer learns that the two protagonists are the artists themselves. They are more than conscious of the camera; they have actually directed these visual narratives. They are posing. This is one role from among many that they could have played. Both artists are native to Iran, but they are [End Page 39] acting in their own productions. They are playing a particular role. They have made the directorial decisions about camera angle and distance, about the time and place, and about the final look of the production. They make images: they are fully aware that they have pictured themselves alongside symbols of Iran. Click for larger view View full resolutionFigure 1.Shirin Neshat. Soliloquy, 1999, production still.So why are they pretending not to be conscious of the camera? The conscious decisions of the artists point to an issue that is left unsaid but whose absence says a lot. Perhaps, beneath all this effort to seem comfortable, there is discomfort as well. Are these people in fact "at home," or has home become foreign to them? Has this alienation propelled these artists to picture themselves together with readily identifiable, traditional markers of Iranian culture? Are these productions a way of re-negotiating their place with their native land, to find a voice, a space from which to speak?Culturally hybrid persons are often caught in the crossfire of prejudices. For hybrid Iranians, these prejudices are exacerbated by international political tensions that fall along three dimensions of limited visions. They include historical prejudice, where each nation dominates the other in the telling of history; cultural prejudice, stemming from mutual suspicion and ignorance; and political prejudice, as a result of inflexibility, of an unwillingness to [End Page 40] envision the other's view. Art can be a powerful means for challenging the stereotypes of mutually antagonistic nations. In autobiographical art, moreover, artists may use the "telling-self" to "unsay" what has been attributed to them through these stereotypes. By literally and metaphorically engaging the public in seeing alternative realities and histories, these artist-philosophers offer an alternative of historical collaboration, cultural knowledge, and political flexibility. Click for larger view View full resolutionFigure 2.Ghazel, Me series, 1997–2000, video still.This deconstructive approach to representation is a significant feature of the camera-based work of two contemporary Iranian women artists: Shirin Neshat (b. 1957) and Ghazel (b. 1966... (shrink)

This article argues that psychoanalytic notions of affect – including ideas of anxiety and melancholia, as well as deconstructive concepts of auto-affection – offer a feminist ethico-politics and a notion of affect as interface. Beyond the confines of the experiential and the positivist, both psychoanalysis and deconstruction provide insights into affect as a technology that understands the subject as porous. I consider works by Derek Jarman and Shirin Neshat to demonstrate the importance of the ethico-politics of affect as interface (...) in contemporary cultural production. Both artists, in the process of considering the spectacular nature of notions of feminist and queer, use images of interface as a way of delimiting the spectacular nature of being and demonstrating the singularity of the event, the desire to fix through framing, and the parergonal nature of framing. The presence of the subject is questioned even as an auto-affection is suggestive of a spectral demand of the ethico-political. In the case of Jarman’s Blue, the denial of image as face in favour of the screen as interface is interrupted by sound and voice, which gesture toward representation as impossible but necessary. In the case of Neshat, the persistence of the photographic – the highly aesthetic self-portrait as mugshot – foregrounds face as interface, as one that questions presence through the insistence of a representational apparatus. (shrink)

This book presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostami's films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work. Crossing the divide between analytic and continental philosophy, he draws on Ludwig Wittgenstein, Stanley Cavell, John McDowell, Alice Crary, Noël Carroll, Giorgio Agamben and Martin Heidegger, bringing out the thinking at work in Kiarostami's later films: Taste of Cherry, The Wind Will Carry (...) Us, ABC Africa, Ten, Five, Shirin, Certified Copy, and Like Someone in Love"--Back cover. (shrink)

This volume consists of thirteen essays by eminent scholars, each focusing on different aspects of the Khamsa, a collection of five long poems written by the Persian poet Nizami of Ganja. The cycle’s heroes, Khosrow and Shirin, Leili and Majnun, and Iskandar, have become household names all over the Islamic world. Considering the work from such perspectives as art history, comparative literature, science, philosophy, and mysticism, the contributors revive and challenge traditional views on the poet and his work. Appropriate (...) for both specialists and anyone interested in the movement of ideas through the medieval world, _Nizami_ is a major contribution to the study of one of the most important figures in classical Persian literature. (shrink)

El viaje espiritual al «espacio verde» es un recorrido por el significado simbólico del color verde, el color litúrgico y espiritual del Islam, tomando como punto de partida la obra de dos artistas iraníes contemporáneos: Suhrâb Sepehrî y Shirin Neshat. Desde las antiguas religiones del Oriente Próximo hasta el Islam, el verde es el color del firmamento espiritual, el de los vergeles del Paraíso, la tierra del más allá. El jardín verdeante que alcanza el alma difunta (dên) en el (...) mazdeísmo, el verdor de la tierra de Xvarnah en el zoroastrismo, o el ascenso del alma (gryw) al Paraíso de Luz en el maniqueísmo, son ideas que retoman los grandes poetas persas (Nizâmî, Rûmî, Hâfiz) para hablar de la resurrección y de la entrada en el mundo del alma. En el sufismo la luz verde tipifica la cumbre del crecimiento espiritual, el jardín eterno (al-Kubrà, al-Simnânî); es el «Mar Verde» que constituye el indicio del resplandor de la vida eterna (Ibn al-‘Arabî); es el color de la perfección absoluta (‘Irâqî) y de la resurrección (al-Tirmidhî), el color del prado donde brota la Fuente de la Vida eterna (Suhrawardî, Ibn al-‘Arabî, Rûmî), etc. Es, en definitiva, lo que Nizâmî llama «el precioso jardín esmeralda», Rûmî el verdadero «vergel» y Hâfiz el «jardín de la visión». (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)

Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin (...) and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film, whose anti-cinema stance in announced in its own title; and The Mirror, another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre in The Story of the Last Chrysanthemums, and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing. (shrink)

This year there was a noticeable presence at the New York Film Festival, whether intentionally or not, of films reflecting back on the past, both real and imagined. A second wave of millennial summing up, more profound than that forced by the media in the year 2000, these films, at their best, seek with courage and compassion to understand the larger forces at work in the troubled 20th century. At their worst, they stand as work riddled by self-deluding cliches in (...) collusion with our own worst impulses. Among the number of 'films of remembrance' shown, those that demand to be discussed because they best exemplify the ongoing struggle to make cinema responsive to the needs of filmgoing audiences to know reality 'again for the first time' (pace T. S. Eliot) are, in a rough order of importance: _S21: The Khmer Rouge Killing Machine_ (Dir. Rithy Pan); _The Fog of War_ (Dir. Errol Morris); _Dogville_ (Dir. Lars von Trier); _Mayor of the Sunset Strip_ (Dir. George Hickenlooper); _Bright Leaves_ (Dir. Ross McElwee); and _The Best of Youth_ (Dir. Marco Tullio Giordana). Alas, among the NYFF 2003 films of memory and summation, it is also necessary to discuss _Mystic River_ (Dir. Clint Eastwood), but only because of its inexplicable media notoriety, a sad testimony to a Dubya phenomenon in things cinematic. This is one hanging chad. Among the festival films not informed by this core trend, but eminently worthy of mention, are: _PTU_ (Dir. Johnnie To); _Free Radicals_ (Dir. Barbara Albert); _Crimson Gold_ (Dir. Jafar Panahi); and _Raja_ (Dir. Jacques Doillon), though, unhappily, it would strain this portmanteau overview to talk in detail about more than the first two. (shrink)