It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to (...) rely solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (shrink)

This study is based on the background of how artificial intelligence technology is applied to the field of creativity and design education to improve the design vision, teaching methods, and actual design productivity of practitioners. The purpose of the research is to compare traditional design education and new design education methods combined with AI technology. Taking the Technological Pedagogical Content Knowledge technology integration model as the starting point, a comprehensive evaluation is selected for different types of research to explore the (...) animation design professional courses in design education, the content of students’ perception preferences, and the evaluation of ease of learning so as to conduct research and analyze AI technology. Design new education strategies and practice methods under the background. In the research, a comparative experimental study was conducted on 40 first-year students majoring in animation design. The results show that through online design studio project practice, with personalized project learning guidance, the learning needs of students to show a better trend, and customized learning and project practice content can enhance the learning experience and performance of students. In the future, we can further expand the scope of analysis, include more case studies, and conduct more comprehensive research, including how to deal with the expansion of the platform for students’ learning of design in situations similar to coronavirus disease 2019 that profoundly affects our lives, and how the project is applied in practice. (shrink)

Open peer commentary on the article “Radical Constructivist Structural Design Education for Large Cohorts of Chinese Learners” by Christiane M. Herr. Upshot: Herr’s radically constructivist approach to the technological aspects of architectural education also invites a critical review of the constructivist credentials of the conversational model of design studio teaching that she takes as a point of departure.

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of (...) passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall. (shrink)

In this essay I take up the later major anti-Semitic propaganda pieces, all of them released in 1940. They were produced under Goebbels explicit orders to each of the three Nazi-controlled studios to produce an anti-Semitic film. The three films produced were: The Rothschilds Share at Waterloo; Jud Suss; and The Eternal Jew. These films were much more powerful propaganda pieces in intensifying anti-Semitic feelings—those feelings of difference, disgust, and danger. For each film, I point to the scenes that (...) arouse the feelings even more profoundly than did the earlier films. The Rothschilds’ Shares at Waterloo put forward the conspiracy theory (widespread to this day) that Jewish bankers form a conspiratorial cabal bent upon world domination. Jew Suss (which was presented as historically true) pushes the narrative of Jews using money to take power, and of their boundless lust for young Christian women (hence the danger of “racial pollution”). Of all the anti-Semitic propaganda films the regime produced, the top regime figures considered this to be the most powerful—about 40% of German adults of the time saw this film. It is banned in Germany to this day. Finally, The Eternal Jew—perhaps the most infamous of the group—is presented as a truthful documentary. While this sham documentary was a comparative box office flop, it was widely used as a training film. (shrink)

Experimental and theoretical studios are reported of the current-voltage characteristics and Josephson radiations from granular Y1Ba2Cu3Oy bridges. We show that the granular structure of bridges can be understood as a series connected independent and inhomogeneous resistively shunted junction army. When we take typical values of junction critical parameters, the experimental results are well understood quantitatively.

Independent on Sunday October 2nd One of the country's lead­ing philosophical counsellers, and chairman of the Society for Philosophy in Practice (SPP), Tim LeBon, said it typically took around six 50 ­minute sessions for a client to move from confusion to resolution. Mr LeBon, who has 'published a book on the subject, Wise Therapy, said philoso­phy was perfectly suited to this type of therapy, dealing as it does with timeless human issues such as love, purpose, happiness and emo­tional challenges. `Wise (...) Therapy, is part of a series aimed at promoting an integrative attitude as its ethos. Among all the many perspectives of psychotherapists and counselors, philosophy needs to take its place and needs to find its voice. Tim LeBon has provided an effective means by which counselors can bring philosophy into their work with clients' - APPA journal `Tim Le Bon's Wise Therapy is a comprehensible and well argued book dealing with the practical therapeutic applications of philosophical research that may well be of interest to philosophers but -- as the author himself intends -- will be of most obvious benefit to therapists and counselors, both by informing their dialogue with clients in new ways and by helping them become more informed about ways to resolve the ethical dilemmas arising within the context of their own work' - Metapsychology `A fascinating workshop for therapists and clients, backed up a thorough degree if philosophical acuity' - Journal of the Society for Existential Analysis `I strongly recommend the book for philosophers as well as practitioners, teachers, students and supervisors in counselling and psychotherapy' - Self and Society `Provides some additional and valuable arrows for the therapist's quiver' - Irvin Yalom, author of Love's Executioner `Like Aristotle, Tim LeBon examines what is said and extracts what is best from it…. There are many fascinating exercises designed to bring out and enlighten the client's values, conception of the good life, well-being, happiness, pleasure, and the proper place of reason in life…. Wise Therapy is well written and engaging. The case histories are illuminating examples of therapeutic techniques at work, the thought experiments are well designed, and the philosophical position adapted from the internal debates of the philosophers is level headed…. I recommend it highly to philosophers with an interest in counselling, and psychological counsellors with an interest in philosophy' - Jeff Mason, The Philosophers' Magazine `Tim LeBon has… authored a text which should become a staple on the philosophical counsellor's bookshelf…. Wise Therapy is a concise, well-written book…. His ability to relate philosophical concepts to counselling concerns is admirable and attests to the skill and knowledge he possesses as a working counsellor. But, by far the most important part of Tim LeBon's book to PC is the last chapter, "The Counsellor's Philosophical Toolbox"' - Craig Munns in The Examined Life ` Tim LeBon has done a good job of offering practical approaches to some of the most important and vexing issues that arise in counselling…. Tim LeBon's book contains helpful suggestions, practical information, and useful examples, and would make a good addition to the library of any counsellors willing to allow philosophy to turn mere client sessions into wise therapy' - Peter Raabe, Practical Philosophy Wise Therapy is an original and practical guide to how philosophy can benefit counselling and psychotherapy. Tim LeBon argues that therapy, informed by philosophy, can help clients make better decision and achieve emotional wisdom. He uses philosophical approaches to explore issues of right and wrong, the emotions and reasons, well-being and the meaning of life, and develops a 'counsellor's toolbox' of techniques that can help practitioners apply the wisdom of philosophy to good therapeutic practice. For counsellors who may find philosophical approaches to therapy useful, this work addresses key philosophical topics - the emotions, free will, the meaning of life and ethics. It is jargon-free where possible and assumes no previous philosophical training. From The Independent, 16th November 2004 Plato is my agony aunt It was the end of a love affair that broke her heart. Could the wisdom of the great philosophers show her how to be happy again? Claire Smith tries a novel form of therapy "The unexamined life is not worth living," Socrates said. Nor is the life you're left with after your boyfriend has left you for another woman - at least, that's how it felt in October last year when mine broke rank and went off with an art student from Cleveland, Ohio. We were over there for the opening of his new art exhibition. He'd flown over four days before me and had met her at a party. Supposedly, they "connected". The five months that followed were a roller-coaster of confusion, vitriol and despair. I knew there'd been problems in our relationship. We saw the world very differently; he delighted in the charm of the ordinary, I wanted maximum divinity. He walked; I galloped. He drank tea; I loathed the stuff. But, along the banks of the Thames, we'd made a promise to always stick together. Our love was something unique: "transcendental", I called it. And besides, we recycled. Surely a commitment to save the world would save our relationship? Alas, no. So there I was, a woman scorned. Hell truly hath no greater fury. And what made it worse was that I still believed in our transcendental love. If I wanted to change the way I was feeling, I needed to alter the way I was thinking. But how? A few bottles of wine and a sharp blow to the head might have done the trick. Fortunately, there's an older, more trusted way of turning your head on its head that counsellors are starting to use: philosophy. The idea of employing Plato as an agony aunt was begun in 1981 by the German philosopher Gerd Achenbach. Although philosophy spends a lot of its time asking real-life questions that affect real-life people - What is happiness? And is it always wrong to lie? - most of the debate goes on in ivory towers. What Achenbach and subsequent philosophers including Tim LeBon, the chairman of the UK's Society for Philosophy in Practice, wanted to do was "give practical application" to this gigantic library of great thoughts. So how does it work? Like most types of therapy, you sign up for a set of sessions. "Two would give you a new perspective on one issue; six would help you to make a major life-decision, like a career change; with 12 you can start to rethink your entire life philosophy," explains LeBon. Each session lasts 50 minutes and costs £50 - and, no, you don't have to have any previous knowledge of philosophy. "If you think of Friends, it would suit Ross and Chandler more than Joey," LeBon says. "It's for anyone who wants to make their emotions more intelligent. Or for those who have tried other kinds of therapy, and want something more cerebral." The first session begins with the patient venting off about whatever's troubling them. The rant over, the counsellor then picks out some key concepts that are crucial to the problem - in the case of heartbreak, it is love and happiness that come hurtling to the fore - and then gets the patient to define what they mean. So, what is love? What is happiness? To kick-start the patient's thinking, LeBon describes what a great philosopher had to say about it. In my case, he tells me what Plato wrote about love in his Symposium: that to stop man fighting the gods, Zeus decided to cut each human in two, so they would lose their strength. "This, then, is the source of our desire to love each other," Plato said. "Each of us is a 'matching half' of a human whole, because each was sliced like a flatfish, two out of one, and each of us is always seeking the half that matches him." This method of probing what we might think are "obvious" ideas, such as love and happiness, was devised by Socrates in the squares of Athens. "The only I thing I know is that I know nothing at all," he boasted. What Socrates showed was that although many of the thinkers of his time thought they knew what justice, happiness and goodness meant, their understanding was tied in to their personal agenda and world view, and, what's more, when pushed, their ideas often contradicted themselves. A bit like me on love. Whereas part of my understanding of love was something that gave life meaning, made it worth living and bound us together, I also believed that true love was "transcendental": that it was out of this world, and it didn't matter if the two people who loved each other couldn't get along in the day-to-day. Love was bigger than the mundane. But when it came to the next stage of the therapy, critical thinking - "to check out whether your assumptions stand up to examination" - I walked head first into a contradiction. If I think love's purpose is to make life worth living, but then say it's irrelevant to daily life, surely my two ideas of love are not compatible? As the cogs in my brain start to creak into motion, I feel myself taking a step back from my predicament: thinking about how I've been thinking. This idea I had of transcendental love might have started off as a romantic dream. But when the relationship stopped working, and I found myself feeling trapped and frustrated, I used it to justify the mechanics of a relationship that just didn't work in the daily grind. I used it to lie to myself. In the final stage, LeBon gets me to start thinking about how to go forward. "You can't change what has happened," he says. "You can't change that he's left you, or how you behaved in the relationship. So, as the Stoics did, let's work on controlling the controllables: the things that you can change." To work out what can be changed, he gets me to try out a thought experiment, a method often used in philosophy to imagine other worlds where people can have different codes of behaviour. Thought experiments shatter your preconceived ideas of how the world should be and let your imagination run wild to how the world could be. "I find Viktor Frankl very useful here, the Austrian psychiatrist and concentration-camp survivor who actually believed that everything in life happens for a purpose," LeBon says. "Suppose this break-up did happen for a reason that will work to your benefit," he suggests. "What might that be? The answer might be that you can now focus on something important that was denied in the relationship. Or - the Hollywood version - so you'll meet someone who is really right for you." Temporarily freed of any sense of responsibility for the relationship that was, and its sorry demise, the list came fast. I could now travel more; he didn't like me travelling on my own, but too often he didn't want to go anywhere, preferring to stay in his studio and make art. I'd love to meet someone with a similar sense of adventure to mine. For the first time in two years, I was being honest with myself about what I really wanted - listening to those voices that we all have inside our heads, and too often try to muzzle. So did philosophy save me? Well, I'm now dating a travel writer I have to run to keep up with. I still haven't got over the fact that my replacement came from Cleveland, Ohio. But I guess I never will. Tim LeBon can be reached by e-mail at [email protected] A FEW WORDS FROM THE WISE Compiled by Ed Caesar · "At the touch of love, everyone becomes a poet" - Plato · "There is always some madness in love. But there is also always some reason in madness" - Friedrich Nietzsche · "That man shall live as his own master and in happiness who can say each day 'I have lived'" - Horace · "The good of man is the active exercise of his soul's faculties in conformity with excellence or virtue... Moreover this activity must occupy a complete lifetime; for one swallow does not make spring, nor does one fine day; and similarly one day or a brief period of happiness does not make a man supremely blessed and happy" - Aristotle · "There is nothing on this earth more to be prized than friendship" - Thomas Aquinas · "Whatever you do... love those who love you" - Voltaire · "Happiness is not an ideal of reason but of imagination" - Immanuel Kant · "Happiness is a state of which you are unconscious. The moment you are aware that you are happy, you cease to be happy" - Jiddu Krishnamurti · "Love is an ideal thing. Marriage is a real thing" - Johann Wolfgang von Goethe I shrink, therefore I am Therapy has many answers, but some questions require the help of a philosopher, says Clint Witchalls Sunday November 21, 2004 The Observer Danny had worked in the City of London for 10 years. As a research analyst, stockbroker and fund manager, he'd made a lot of valuable contacts, earnt a lot of cash, and learnt some important business skills. However, as he approached his mid-thirties, he no longer felt good about himself or what he did for a living, and he found his colleagues cold and unfriendly. A chronic illness made him realise his mortality, and he began to reassess his priorities. Danny had been struggling with his career conundrum for nearly five years when he met David Arnaud, a philosophical counsellor. After a few soul-searching sessions, Danny arrived at a decision. Today, he teaches economics to sixth-formers, and he loves it. 'It's a much better lifestyle,' he says. Many people are turning to philosophical counsellors to get answers to questions such as: 'How do I make sense of myself?' 'What is important to me?' 'Where am I going?' These are perhaps not the sort of questions that require psychiatric intervention, but Arnaud, who recently completed the first empirical study of philosophical counselling in the UK, has found that within just five sessions the majority of clients, with important decisions to make, tend to move from a state of concern and confusion to a resolution. Modern philosophical counselling can be traced back to 1981, when the philosopher Gerd Achenbach opened the first practice near Cologne. Achenbach referred to the new discipline as 'therapy for the sane.' Today, there are hundreds of philosophical counsellors around the world, with the movement particularly strong in the US, Britain and the Netherlands. 'The dilemmas people face aren't always primarily psychological,' says Alex Howard, a philosophical counsellor from Newcastle. 'If people face problems that are social or economic, it doesn't make sense to define their problems in purely psychological terms.' Tim LeBon, a founder member of the Society for Philosophy in Practice (SPP) and author of Wise Therapy, adds: 'We are faced with far more life choices than our grandparents, yet have far fewer resources to deal with them. Our grandparents may have gone to a priest or to other family members for advice; most people don't trust these solutions any more and so want to make their own well-informed, well thought-out choices. Philosophical counselling can help these people - people in mid-life crises who are wondering how to make the most of the rest of their life. People who want to take stock of their values.' Where stressed executives might once have been prescribed a course of tranquillisers or antidepressants, they can now get a dose of Bertrand Russell instead: 'Success is too dearly purchased if all the other ingredients have been sacrificed to obtain it.' While some philosophical counsellors do recommend books for their clients to read, most sessions are about helping the client identify faulty thoughts. For example, a briefing in Aristotelian logic might show a client why their beliefs are erroneous. The person might infer that they're a screw-up because they've screwed up. The counsellor could point out that they're making an error called 'fallacy of composition' - that is, what's true of the part isn't necessarily true of the whole. In philosophical counselling, problems aren't pathologised as they are by the psychiatric profession, and the dialogue between client and counsellor is more like a meeting of equals, compared to many therapies where the client is treated like a patient and seen as someone who is, in some way, inadequate. 'Anybody can benefit from philosophical counselling,' says Howard. 'But it does require someone who is willing to take stock.' Lou Marinoff, author of international bestseller Plato Not Prozac! has done much to promote philosophical counselling. 'Some people who have stabilised their neurochemistry and validated their emotions now wish to examine or re-examine the criteria of their beliefs, the principles of their conduct, or the meaning of their lives,' he says. 'With whom shall they do this? Psychologists and psychiatrists can shed light on such issues - as can rabbis, priests, imams and gurus. Philosophers are now rejoining the ranks of helpers.' LeBon believes certain therapies (such as cognitive behavioural therapy) don't go far enough in helping their clients. 'For instance, if you are anxious about your relationship, a cognitive therapist would try to dispute your catastrophising and jump to conclusions to make you feel less anxious,' says LeBon. 'A philosophical counsellor would do this, but would also look for existential meaning in your anxiety - perhaps you really don't want to be in the relationship and that is what your anxiety is telling you.' LeBon also gives short shrift to psychoanalysts. 'There's very little evidence for the Freudian unconscious, and it's time to move on to more intellectually satisfying and helpful therapies,' he says. However, Alain de Botton, the man who popularised philosophy as self-help, isn't ready to bury psychologists and their ilk just yet. 'The truth is that psychoanalysis grew out of philosophy - it's not some completely new idea, and in fact, done properly, psychoanalysis is philosophical anyway. It may even be dangerous to the mental health of some people to suggest a philosopher rather than a properly trained analyst. The knowledge of analysts when it comes to many emotional problems is now much greater than that of most philosophers.' Guardian Unlimited © Guardian Newspapers Limited 2004. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wandering the Magnetosphere*Ingrid Koenig (bio)Navigation notes: These emergent drawings–excerpts from a visual essay–take up the complex network of impacts across physical forces entangled with bio-geo-political time. A key element for this work is a living cosmography to depict movement across time, and to visualize wandering on a planet, in the magnetosphere, and between the internal energy of Earth and the solar energy of the cosmos. Physicists say there (...) are no things, there are only relations between things.Q: Hello ancient stone - may I unfold you like a book? Do you carry a message from deep time? A: Yes, what you’re holding is not a thing, but a process. Click for larger view View full resolutionDrawing from Svalbard, Day 17 expedition, 2019[End Page 97]Drifting on a rocky planet, between the internal energy of Earth and the solar energy of the cosmos–we live within a “cosmo-tectonic circulation” —Jerome Gaillardet, geo-chemist. Click for larger view View full resolutionGeocosmic Logic[End Page 98] Click for larger view View full resolutionHow Entropy is Time (detail) Click for larger view View full resolutionMagnetic Story[End Page 99] Click for larger view View full resolutionMessage From Deep Time 3 Click for larger view View full resolutionMessage From Deep Time 1[End Page 100] Click for larger view View full resolutionLooping Matters 1 (Litli-Hrutur, Iceland) Click for larger view View full resolutionLooping Matters 2[End Page 101] Click for larger view View full resolutionMother Rock Waves (Miradalir Valley, Iceland) Click for larger view View full resolutionMother Rock in Time[End Page 102] Click for larger view View full resolutionVolcanic Logic (Miradalir Valley, Iceland) Click for larger view View full resolutionSonic Lava (Miradalir Valley, Iceland)[End Page 103] Click for larger view View full resolutionWaves Across Time (Miradalir Valley, Iceland) Click for larger view View full resolutionDisorientations[End Page 104] Click for larger view View full resolutionMessage From Deep Time 2 Click for larger view View full resolutionGravitational Thought[End Page 105] Click for larger view View full resolutionMagnetic Thought (Miradalir Valley, Iceland) Click for larger view View full resolutionDistance Ladder Collapse[End Page 106] Click for larger view View full resolutionMattering Logic 3 Click for larger view View full resolutionMattering Logic 4[End Page 107] Click for larger view View full resolutionHow We Make Time into Space Click for larger view View full resolutionHow Entropy is Time (detail 2–Svalbard)[End Page 108]Ingrid Koenig Ingrid Koenig is Associate Professor at Emily Carr University of Art + Design, Vancouver, Canada. She was the inaugural Artist in Residence (2011 to 2021) at TRIUMF, Canada’s particle accelerator center, and co-organizes processes of collaboration between artists and physicists in a project called Leaning Out of Windows. Her studio and research practices traverse the fields of physics, social history, feminist theory, and narratives of science. Her drawings explore the complex phenomena of physics and involve intuitive responses to specific sites through fieldwork in Canada’s Rocky Mountains, Germany, Iceland, Arctic Circle art + science expeditions, and through collaborations with physicists. She has received grants from the Canada Council for the Arts, the Goethe Institute, and the Social Science and Humanities Research Council. She co-edited the recently published book, Leaning Out of Windows: An Art and Physics Collaboration (Figure 1 Publishing, 2023).Footnotes* Excerpts from Wandering the Magnetosphere–drawings by Ingrid Koenig, 2019 to 2023, and ongoingCopyright © 2023 Johns Hopkins University Press and SubStance, Inc... (shrink)

In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. STAGE NOTES AND/AS/OR TRACK CHANGES: INTRODUCTORY REMARKS AND MAGICAL THINKING ON PRINTING: AN ELECTION AND A PROVOCATION Isaac Linder “Of course most people don’t think of editing/publishing as theatre but as something boring or parasitical (vis-à-vis a ‘source’ text), a textual backwater populated by people with glasses. But I think publishing a book today is theatre, socially networked theatre…. Facebook and Flickr are our era’s administered and generic version of sixties happenings!” — Tan Lin 1 ELECTING A MASCOT: THE BARNACLE GOOSE After pitching the idea for this panel with the editorial help of my continental cohorts I became fascinated with the image of the goose—dead and roasted as it may be—and its relationship to the space of the printing press. For a long while after proposing this gathering I was seriously under the sway of delusions of grandeur, imagining that we might roast a goose (or goosefu) and, preparing a meal as one prepares a text for publication, feast in something approaching a warm and well-nourished revelry. I should note, by way of introduction, that a substantial part of my undergraduate experience involved learning to typeset and work as a devil, as typesetters mischievously call it, in a letterpress studio. This accounts in part for my fascination and helps to explain the fact that, when I began to leaf around in medieval beastiaries in lieu of being able to procure a goose, I was almost immediately struck by a fantastic monster that I hereby elect to be the mascot for our so-called para-academic practice(s) the relatively famed, but no less fabulous for it, barnacle goose. The barnacle goose is a creature that first makes its way into 12th century manuscripts with Giraldus Cambrensis in 1186. Phenomenologically speaking the monster is a tree, a tree which, when approached closer is seen to be birthing geese budding from the buds that hang like ripe fruit from its branches. As the story goes these trees were found over water; the fledgling geese, once wrested from their pods would take off in flight or fall to their watery death, where they would be transformed into driftwood. In retrospect we presume the barnacle goose was posited as a consequence of the fact that geese born in more northern regions, migrating to Ireland and western Europe at large, were never seen to give birth. And I should note that this is far from the only other animal posited to be born from trees at around this time, my other favorite being medieval accounts of Moroccan tree-climbing goats. 2 In particular I’ve thrown up the mascot of the barnacle goose and singled it out from the quires of its beatiaries because its thoroughly hybrid origins lead us to name two very real creatures we can find point to in abundance; discrete materialities of the world cobbled together in textual fancy: on the one hand, the modern day barnacle goose , a common species of goose and, on the other, goose barnacles , a particular type of crustacean with incredible feathery tendrils and—I can't help but mention—one of the largest body mass to penis size ratios of all of the animals in the kingdom. Why is this bit of genital trivia relevant? Because they’re all hermaphroditic and in rare cases have been found to reproduce just with themselves—to inseminate themselves and give birth to their kin. So I think it must be stressed, as a symbol for what we’re really here to talk about, it's not a boy’s club thing so much as a very queer thing and, I contend, para - in every perfect sense of the word... Alongside the natural world, a monstrous imaginary concatenation; Alongside the hulls of so many institutional structures, funding sources and resources, Serresian parasites in all manner of mutualist, symbiotic, or properly parasitic positions; migratory and adrift; The tree, center stage in the 21st century adaptation of Waiting for Godot that is unraveling in ateliers across the world, is a barnacle goose birthing a flurry of miscegenous texts beyond medium and genre. PROVOCATION 1: CHAOSMOSIS “Genre is obsolete.” — Ray Brassier 3 And so, here I was getting carried away in daydreams about this generative and genealogical symbol under which to think all of the diverse projects we are all involved in as architects of the dressed word, (well dressed, bespoke, mansy, butch, careless, or roguishly punk attired as those words may be), when it also dawned on me, mid-flight here from Denver, that we are, even in lieu of being able to roast geese together, very much so literalizing what was never just the metaphor of the wayzgoose—a tradition, as you know, celebrated to mark the crepuscular turn into fall—as we are poised here, tomorrow being the first official day of fall on our calendars in the US marking the seasonal change from at which point it will no longer be possible to print without the aid of candlelight. A beautiful thought, that tipped into magical thinking on account of a little quick math I was able to do to come to the conclusion that we can all be delighted to know that as we proceed into the autumn with our printing projects always ahead of us and still to be set, we will tonight be bathed not only by the artificial candlelight of our screens, but also in part by photons raining down on us at 186,282 miles per second—photons from an aspect of 9 cyg, a stereoscopic binary deep within Cygnus, the swan but not-so-distant-relative of the goose, with a distance of 572 Light years away; photons that are raining down on us, will rain down on us all winter, have been raining down on us all year, and which had their origin in the combustion cores at a center of 9 cyg 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type to the western world, inaugurating an era that stretches farther into the past and future than McLuhan could justify; the proliferation of so much ambient text; insurrectionary coups on (and re-crystallizations of) genre—perceived amidst so much ambient light—enveloping this campus, just now. So, with that thought, and perhaps a new mascot, Nico Jenkins... NOTES “ Writing as Metadata Container, An Interview with Tan Lin ,” Chris Alexander, Kristen Gallagher, Danny Snelson, Gordon Tapper, Tan Lin, Jacket 2. January 20, 2012. To explore Lin’s notion of ambient textuality, plagiarism, and parallel, cross­platform publication in the 21st century, also see Lin’s sampled novel, “ The Patio and the Index ,” Triple Canopy 14, October 24, 2011, as well as the Edit event, organized at the Kelly Writers House at the University of Pennsylvania, April, 2010 . For a fascinating and fecund exploration of medieval plant­animal hybrids in relation to media ecology, see Whitney Trettien, “ Becoming Plant: Magnifying a Microhistory of Media Circuits in Nehemiah Grew’s Anatomy of Plants (1682) .” postmedieval 3.1 (2012):97. See also the crowd­review version of the essay. “ Genre Is Obsolete .” Compléments de Multitudes . 28 (2007). (shrink)

In this paper, we have developed an Excel package to be utilized for calculating neutrosophic data and analyze them. The use of object oriented programming techniques and concepts as they may apply to the design and development a new framework to implement neutrosophic data operations, the c# programming language, NET Framework and Microsoft Visual Studio are used to implement the neutrosophic classes. We have used Excel as it is a powerful tool that is widely accepted and used for statistical (...) analysis. Figure 1 shows Class Diagram of the implemented package. Figure 2 presents a working example of the package interface calculating the complement. Our implemented Neutrosophic package can calculate Intersection, Union, and Complement of the nuetrosophic set. Figure 3 presents our neutrosphic package capability to draw figures of presented neutrosphic set. Figure 4 presents charting of Union operation calculation, and figure 5 Intersection Operation. nuetrosophic set are characterized by its efficiency as it takes into consideration the three data items: True, Intermediate, and False. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted (...) with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

Since its founding in the nineteenth century, social anthropology has been seen as the study of exotic peoples in faraway places. But today more and more anthropologists are dedicating themselves not just to observing but to understanding and helping solve social problems wherever they occur--in international aid organizations, British TV studios, American hospitals, or racist enclaves in Eastern Europe, for example. In Exotic No More , an initiative of the Royal Anthropological Institute, some of today's most respected anthropologists demonstrate, in (...) clear, unpretentious prose, the tremendous contributions that anthropology can make to contemporary society. They cover issues ranging from fundamentalism to forced migration, child labor to crack dealing, human rights to hunger, ethnicity to environmentalism, intellectual property rights to international capitalisms. But Exotic No More is more than a litany of gloom and doom the essays also explore topics usually associated with leisure or "high" culture, including the media, visual arts, tourism, and music. Each author uses specific examples from their fieldwork to illustrate their discussions, and 62 photographs enliven the text. Throughout the book, the contributors highlight anthropology's commitment to taking people seriously on their own terms, paying close attention to what they are saying and doing, and trying to understand how they see the world and why. Sometimes this bottom-up perspective makes the strange familiar, but it can also make the familiar strange, exposing the cultural basis of seemingly "natural" behaviors and challenging us to rethink some of our most cherished ideas--about gender, "free" markets, "race," and "refugees," among many others. Contributors: William O. Beeman Philippe Bourgois John Chernoff E. Valentine Daniel Alex de Waal Judith Ennew James Fairhead Sarah Franklin Michael Gilsenan Faye Ginsburg Alma Gottlieb Christopher Hann Faye V. Harrison Richard Jenkins Melissa Leach Margaret Lock Jeremy MacClancy Jonathan Mazower Ellen Messer A. David Napier Nancy Scheper-Hughes Jane Schneider Parker Shipton Christopher B. Steiner. (shrink)

This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, â ~ethicsâ (TM) is not necessarily a subject conventionally associated with film. Film is often regarded as a form of â ~lowbrowâ (TM) popular culture, either offering bland entertainment or deliberately setting out to shock â " or, more cynically, generate box office (...) revenue â " through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically â ~ethicalâ (TM) subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorseseâ (TM)s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral â " or ethical â " code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally â ~goodâ (TM) ethical standpoints, others investigate why â ~badâ (TM) decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 84-88 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Jason Helfer University of Illinois There are two issues that struck me as essential from my consideration of Miralis'paper and the ideas of Manos Hadjidakis: Eros as a pedagogical idea and learner interactions in the music classroom. These ideas developed from (...) my interpretation of this paper, from my experiences in teacher training, and teaching in the public schools. I will examine each in turn, after a brief recapitulation of Hadjidakis' ideology.Hadjidakis' ideas were shaped through reaction against much of the work that took place within traditional musical conservatories and the larger Greek culture. They were also shaped by "his close friendships and collaborations with other poets, composers, and artists." Hadjidakis articulated his reactionary ideas not only through sound (that is, composition and performances), but also through the larger media. The cultural content of the broadcasting services in Greece leaves much to be desired although, as head of the radio Third Programme... Manos Hadjidakis brought a breath of fresh air to the stuffy studios of the broadcasting [End Page 84] organizations with talks, readings, discussion programmes-and the highly original daily program This is Lilliput.1The intended result of this work clarifies one of Hadjidakis' fundamental assumptions: one should be led to a deeper understanding of the self and others, beauty and goodness through engagement and perpetual reflection within the arts. Miralis asserts that the idea of reflection and the resultant self-knowledge and growth are qualities to which a good educator should aspire. Central to this claim is the idea of Eros.2Eros can be problematic if narrowly defined. "The name Eros has been wrongly restricted in common speech to what is really only one form of this universal desire. Just as the word "making" really means creation of any kind but has been misappropriated to one species... so the name of Eros is misappropriated to one species of passion, but really means 'any and every desire for good things and happiness.'"3 My understanding of Hadjidakis' idea of Eros is best articulated in the exchange between Socrates and Diotima in Plato's Symposium.4 Plato's idea of Eros is that the individual moves through a series of stages with the help of another until one has a "complete" and "clear" understanding of the good or beautiful.5 He makes a distinction between the good and the beautiful when Diotima asks Socrates to substitute the word "good" for the word "beautiful."6 This is not merely a change in semantic. Rather, it is a necessary transformation insofar as it emphasizes that a good thing may not be physically beautiful, but still considered good (such as the historical Socrates). The transcendence of the beautiful leading toward the "pure" good is an essential step in obtaining the Platonic understanding of Eros. "The state of mind of the philosopher who has attained knowledge of the good or of beauty is a desire to make beauty or goodness present wherever possible to a higher degree, it is not a desire to just to look at goodness or beauty. It is rather a desire to take anything that is partially good or partially beautiful and to make it more good or more beautiful."7 For Hadjidakis, the necessary quest for goodness and beauty was evident in the creation, combining, and sharing of poetry and music. This idea was not only apparent in his musical creations, but also in his work in the socio/political arena.Further, the Symposium begins as a series of speeches on the subject of love, but "Plato makes the word eros bear a burden far in excess of anything it had ever been made to bear; and the 'love' which he goes on to portray strains the language of eros almost out of recognition."8 However, love is not forgotten; rather "'Love'... is to mean not only the whole complex of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Heidi WesterlundCan hunger and satisfaction, which according to John Dewey form “the arsis and thesis of a child’s life,”1 create the rhythm and heartbeat of music education? Susan Laird shows us through her autobiographical experiences how this heartbeat was missed in her case, while the undertone of her narrative and testimonial begs a wider self-reflection upon the culture (...) of music education. Indeed, Laird’s testimonial assumes that musical hunger has something to do with professional music educators; that musical hunger and satisfaction while setting the beat for a person’s musical life are not simply biological functions—something that exists and stays no matter how and what the person is fed or where and with whom the person eats. As Dewey wrote,[t]he very tendency of the child, while hungry, to recall his previous satisfaction, and to anticipate the coming one, is the beginning of the recognition of time. It grows more definite and accurate just in the degree in which all experiences are related to each other as members of one whole.2The imaginative musical dinner table that Laird’s testimonial lays out calls for music educators to reflect upon what kind of meal is served, not only from their own perspective but also from that of their students. Yet, reconstructing the menu is demanding in a profession that struggles with the pros and cons of a tradition in which teachers have learnt to teach in the same way that they themselves have been taught, also teaching using the same order in which they have learned—only hoping to do it more effectively.Quite recently, when visiting the recording studio at the Sibelius Academy department of music education to listen to one of my student’s work with her own rock band, I was reminded by my own remembrances of the difficulty, as well as the necessity, of reconstructing traditions in music teacher education. My thoughts led me fleetingly back to the ‘70s when making arrangements, improvisations, or working in recording studios were part of my musical life, until they were overwhelmed by the then-prevalent diet of professional music studies. Although my experiences of general music education were similar to those of Laird, teachers in the specialized music school fed me with goal-directed instruction in more than one instrument, in music theory, solfege, and the history of Western [End Page 81] art music. Looking back, however, I was lucky in more ways than one: my adolescent leisure time was blessed with numerous choirs, orchestras, and gigging bands—bringing a self-organized satisfaction and motivation to all kinds of music and musical activities. Multiple diets were feeding my musical life: I obtained the strengthening vitamin drops and enjoyed my self-made smorgasbord with family and friends, none of which had been enough by themselves to lead me into the profession. Yet, when entering the university to pursue my professional music studies, I experienced events in reverse order to that which Lucy Green describes in How Popular Musicians Learn.3 As I then did not have a piano of my own, I only had the opportunity to practice what was necessary for exams and so I practically stopped playing for fun. I also realized that not all flute teachers were able to accompany their students as did my first teacher, and so I had to play my flute repertoire for most of the year only imagining how the pieces would sound as a whole with no community with whom to share the joy of music making. While watching my student working in front of the studio desk searching for the right bass sound for her own song—a song that she was performing with friends and fellow students—to give the song the final touch for her work for the pedagogy of African-American music (popular music) course, to my own surprise I suddenly felt a long-forgotten hunger and desire. I was reminded of the challenges facing teacher education in exemplifying by its own practices a music education that does not take for granted that particular subject content or official... (shrink)

This article investigates how talk show interviews are brought to an end. The closing process of televised talk shows is analysed and compared with Clayman's characterization of news interview closings. The study concludes that closings in both genres share features relating to the structural organization and the participants' behaviour which can be accounted for in terms of the institutional context in which the speech events take place. Nevertheless, the particular closing structure of each type of institutionally situated talk, as (...) well as its content and style, is genre-specific and shaped by the specific goal pursued in each speech event and by the relationship between the parties to the encounter. Thus, unlike news interviews, the entertainment purpose of talk show interviews ultimately justifies the complexity of the closing structure, its interpersonal content and informal style. The presence of a studio audience also influences the closing format. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 114-121 [Access article in PDF] Art as Part of Daily Life - A Cross-cultural Dialogue between Art and People If encounters with art and artists become part of daily life in a small rural community, and if aesthetic experiences are perceived by its local residents as part of their daily lives, what kinds of humanistic, cultural, and social change take place (...) in the community and in the people involved? By living together in a residential community, and by showing and sharing the process of art making, to what extent can aesthetic, cultural, and social issues and concerns expressed by artists be interpreted by local residents? These are the main issues addressed in this essay. 1 The artistic and aesthetic education provided in the community gradually opened up a dialogue not only between foreign artists as guests and Japanese spectators as hosts, but also between art and people, culture and culture, and people and people within the local community. Outline of the Project The Cultural Exchange House, situated in Yamaguchi prefecture, has accommodated about forty artists-in-residence from abroad for over ten years. The forty artists who have stayed there include painters, potters, sculptors, photographers, pianists, musicians, composers, poets, and writers. Artists are responsible for their travel and living expenses. The use of the house is provided without charge and the needs of the artists are met by volunteers. About half of the artists have been German and the rest from Britain, Belgium, United States, Holland, and Australia. Male and female artists have been nearly equally represented.Beginning with three, there are now sixteen volunteers who felt that the creation of a cultural environment, or more specifically the creation of access to the world of art was important for the community. They saw the need for the local community to provide children and adults with aesthetic experiences that could enrich their internal and external worlds. Increasing numbers of children were leaving the community to attend schools and get jobs, with little possibility of returning. The volunteers felt that one of their roles was to educate children and their parents so that they could encounter values different from their own, develop self-confidence, and take pride in the local community which had such cultural opportunities. They assumed that art could open people's minds to the world outside their existing cultural framework, and that it would be valuable to have artists from the outside world as their neighbors and friends. [End Page 114] Benefits of the Project There are already extensive formal grants available to foreign artists in cities such as Tokyo, Nagoya, and Osaka. However, the people who came to Yamaguchi said that they were especially attracted to life in a rural community; they hoped to experience the "real life" of the Japanese. Since the projectcould offer no grants for travel and other daily expenses, the communitydecided that they had little hope of attracting well-known artists. Instead, they invited younger lesser-known artists with potential, who did not mind the limited conditions and who welcomed a new cultural experience which might stimulate or broaden their approach to art. The contract stated that the artists should participate in cultural exchange programs, such as visiting schools and community centers to hold art workshops, and also, at the end of their stay, to share their experiences of the residency in the form of an exhibition or a concert. The degree to which this contract was kept varied. In general, the artists fulfilled the local people's expectations by holding workshops with children and adults, and did not mind having concerts in the town gymnasium or exhibitions at the community center. Foreign artists had an opportunity to reflect in a quiet environment and further their art. They were also stimulated by the encounter with the culture and people, and felt at home in the Cultural Exchange House.The house is relatively large with more than ten rooms; a dining room,kitchen, toilet, an outside bathroom, a separate studio space, and a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 114-121 [Access article in PDF] Art as Part of Daily Life - A Cross-cultural Dialogue between Art and People If encounters with art and artists become part of daily life in a small rural community, and if aesthetic experiences are perceived by its local residents as part of their daily lives, what kinds of humanistic, cultural, and social change take place (...) in the community and in the people involved? By living together in a residential community, and by showing and sharing the process of art making, to what extent can aesthetic, cultural, and social issues and concerns expressed by artists be interpreted by local residents? These are the main issues addressed in this essay. 1 The artistic and aesthetic education provided in the community gradually opened up a dialogue not only between foreign artists as guests and Japanese spectators as hosts, but also between art and people, culture and culture, and people and people within the local community. Outline of the Project The Cultural Exchange House, situated in Yamaguchi prefecture, has accommodated about forty artists-in-residence from abroad for over ten years. The forty artists who have stayed there include painters, potters, sculptors, photographers, pianists, musicians, composers, poets, and writers. Artists are responsible for their travel and living expenses. The use of the house is provided without charge and the needs of the artists are met by volunteers. About half of the artists have been German and the rest from Britain, Belgium, United States, Holland, and Australia. Male and female artists have been nearly equally represented.Beginning with three, there are now sixteen volunteers who felt that the creation of a cultural environment, or more specifically the creation of access to the world of art was important for the community. They saw the need for the local community to provide children and adults with aesthetic experiences that could enrich their internal and external worlds. Increasing numbers of children were leaving the community to attend schools and get jobs, with little possibility of returning. The volunteers felt that one of their roles was to educate children and their parents so that they could encounter values different from their own, develop self-confidence, and take pride in the local community which had such cultural opportunities. They assumed that art could open people's minds to the world outside their existing cultural framework, and that it would be valuable to have artists from the outside world as their neighbors and friends. [End Page 114] Benefits of the Project There are already extensive formal grants available to foreign artists in cities such as Tokyo, Nagoya, and Osaka. However, the people who came to Yamaguchi said that they were especially attracted to life in a rural community; they hoped to experience the "real life" of the Japanese. Since the projectcould offer no grants for travel and other daily expenses, the communitydecided that they had little hope of attracting well-known artists. Instead, they invited younger lesser-known artists with potential, who did not mind the limited conditions and who welcomed a new cultural experience which might stimulate or broaden their approach to art. The contract stated that the artists should participate in cultural exchange programs, such as visiting schools and community centers to hold art workshops, and also, at the end of their stay, to share their experiences of the residency in the form of an exhibition or a concert. The degree to which this contract was kept varied. In general, the artists fulfilled the local people's expectations by holding workshops with children and adults, and did not mind having concerts in the town gymnasium or exhibitions at the community center. Foreign artists had an opportunity to reflect in a quiet environment and further their art. They were also stimulated by the encounter with the culture and people, and felt at home in the Cultural Exchange House.The house is relatively large with more than ten rooms; a dining room,kitchen, toilet, an outside bathroom, a separate studio space, and a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Psychodramatic Psychotherapy for Schizophrenic IndividualsJohn Nolte, MD, PhD (bio)As a long-time student, practitioner, trainer, author and advocate of J. L. Moreno, MD,’s works and specifically the psychodramatic method, I am always appreciative of efforts, like Chapy’s, to commend and advocate for psychodrama. This is especially so because for a time, Moreno and psychodrama were heavily criticized, even maligned in the mental health professions. At the same time, considering how (...) poorly Moreno and his methods have been understood as well as the difficulty of accessing his original material, I feel an obligation to set the record straight when confronted with incomplete, inadequate, or sometimes incompetent expositions of Moreno’s psychodrama.Chapy’s article recommends psychodrama as a treatment method for schizophrenic people by calling upon existentialist and phenomenological concepts. Psychodrama, he proposes, opens up existence by allowing “schizophrenic patients to incorporate the experience of an ‘absolutely other.’”There are major flaws in Chapy’s presentation. His “clinical illustration,” the presentation of a psychodrama with a schizophrenic patient, while it may be considered psychodrama under the broadest definition of the term, hardly fulfills the requirements of a psychotherapeutic psychodrama. We must question the competence of the psychodramatist in Chapy’s example. Chapy’s description of the drama itself falls short of being an adequate account of a psychodrama, failing to convey the emotional intensity and realness which a well directed and reported psychodrama achieves. We do not learn, for example, if Damien’s perception of his father is introduced through role reversal with the father, a standard psychodramatic technique which is done in order to give the auxiliary ego taking that role an understanding how Damien experiences his father. We do not know if role reversals are made throughout the drama so that Damien can experience how he is perceived by father, can feel the force of his confrontation in the role of father, and is required to reply as his father to his confrontation. We are given little information about the psychodramatic techniques employed by the director other than the scene setting of the studio in which the psychodramatic [End Page 227] encounter takes place, and the soliloquy in which Damien expresses his worry and hopes for the outcome of the confrontation. It should be clear in the description of the drama whether the father’s statements in the drama were produced by Damien in role reversal, or by the auxiliary ego playing the role. There is a difference and it is significant. Although we are told that Damien “evokes a systematic relationship between him and his father” during the psychodrama, we do not see how this happens. Every psychodrama is an existential experience and its description should fully communicate its meaning and emotion.A more serious problem, however, is that this drama does not deal with Damien’s psychosis. Although Damien may be diagnosed as schizophrenic, his disorder is obviously in remission or controlled by psychotropic drugs. The drama reveals none of the hallucinations, delusions, or disorder characteristic of schizophrenic disorders. It could be psychodrama of any young man with a complaint about his father.The notion that people with schizophrenia can be successfully treated by psychodrama is not new. Moreno began developing psychodramatic psychotherapy at his Beacon Hill Sanitarium, established in 1936. He and psychodrama gained some fame because of his success in treating schizophrenic patients at a time when schizophrenic individuals were considered incapable of benefitting from psychotherapy. Moreno’s approach to the treatment of schizophrenic patients was much more robust than the psychodrama described by Chapy. During a psychotic attack, the individual’s perception of the world and self are distorted in ways that made action and interaction in the world of conventional reality impossible. Additionally, the psychotic episode makes the psychotic person incapable of being comprehended by anyone else, including the psychiatrist. Moreno’s solution was to make the chaotic, bewildering, sometimes violent and always terrifying inner world visible and tangible in the surplus reality of the psychodramatic stage. In moments of lucidity following the psychotic episode, he asked his schizophrenic patients to reenact their psychotic experiences. The result was that, “In this imaginary reality on the psychodramatic stage, the... (shrink)

The so-called new economy based on the global network of digitalized communication was welcomed as a platform of innovations and as a vehicle of advancement of democracy. The concept of virtuality captures the essence of the new economy: efficiency and free access. In practice, the new economy has developed into an heterogenic entity dominated by practices such as propagation of trust and commitment to standards and standard-like technological solutions; entrenchment of locally strategic subsystems; surveillance of unwanted behavior. Five empirical cases (...) within the present field of opposing forces serve as fuel for reflection: football hooliganism, sand-boxing, digital vulnerability of nuclear technology, sensitivity of studio projects, and streamlining academic computing. The main argument of the article is that a historic re-materialization is taking place within the new economy. This means cognitive as well as material divisions. Incommensurability in science is comparable with product incompatibility from the point of view of their implications to the users of knowledge and computers. Hype and banal attached to the new media are related to two ways of assessing social capital: as a means of peaceful functionality or a condition for cultural conflicts. The paper ends in proposing that there is a re-materialization of the virtual now taking place especially on the meta-level of the system. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Poems on MemoryAlessio ZanelliMICROCHIMERISMI feel them,the way I feel the stardust seeping through my skin.I feel them in the light and in the dark,in absolute silence and in deafening noise,in peaceful days and in gloomy days,while awake and while asleep.They whisper to me who I am,where I came from and where I'm headed.They uphold mewhen my body falters or my mind breaks down.I feel them loud and cleareven (...) though turmoil surrounds me,and I wonder whether she can feel them in turn,wherever she is now.And if our swapped cells don't do the job,I'm sure we'll join anewas waves afloat in spacetime,liminal ripples invisibly entwinedthat eternally propagate within the whole,within the cosmic womb astir with zillions more. [End Page 465]TIMEHanging on in quiet desperation—Roger Waters1They were right. We would get to know the hoax.They had ridden the carousel before.The swallows have always been returning,only fewer with every passing year,though they have never really gone away.Now they speak to me in dreams, one by one.The time has come. To regret time. And all.We are drops off the stalactites of time,settling the concretions of memory.And the sun burns on. Up and down around. [End Page 466]WHIFFSLight has no edge, darkness has no center, both have shape.They visit with me briefly, quick life whiffs,between a misty trip into nowhere and the next.They speak a few words, terse phrases,neat like scratches of diamond over limestone,in a forgotten lively voice,from a time long before they left.I gather nothing, mostly, no real sense.I retrieve a very distant memory, every so often,as if arising from yesterday.They hardly show themselves while speaking,and when they do I can but have a fleeting glance.Their face shines upon an invisible body,illuminates the whole ambience,belongs in an older past,not the last I have known with them.It is a face from youth,one I am allowed to recall only when they appear.Why do they come if they cannot stay?How is it they take the long way around?What do they mean?Maybe youth is the message.Maybe they just want me to thinkI have been young, we all have, together.There could be more I miss, I must still realize.I may do one day, or never, but it is already enough.A few words and a face.A darting glow.Whiffs.Edge has light, center has darkness, both have no shape.Cremona, ItalyAlessio ZanelliCremona, ItalyFootnotes1. Pink Floyd, "Time," by Roger Waters, on The Dark Side of the Moon, Abbey Road Studios, originally released 1973.Copyright © 2023 Johns Hopkins University Press... (shrink)

In this paper, we have developed an Excel package to be utilized for calculating neutrosophic data and analyze them. The use of object oriented programming techniques and concepts as they may apply to the design and development a new framework to implement neutrosophic data operations, the c# programming language, NET Framework and Microsoft Visual Studio are used to implement the neutrosophic classes. We have used Excel as it is a powerful tool that is widely accepted and used for statistical (...) analysis. Figure 1 shows Class Diagram of the implemented package. Figure 2 presents a working example of the package interface calculating the complement. Our implemented Neutrosophic package can calculate Intersection, Union, and Complement of the neutrosophic set. Figure 3 presents our neutrosophic package capability to draw figures of presented neutrosophic set. Figure 4 presents charting of Union operation calculation, and figure 5 Intersection Operation. neutrosophic set are characterized by its efficiency as it takes into consideration the three data items: True, Intermediate, and False. -/- . (shrink)

Fertile grounds for theoretical inquiry can be found in the oddest corners. Contemporary television programming provides viewers with several talk shows of the grotesque, as I will call them, in which the aim of each episode is to put some monstrous human phenomenon on display with the help of a host and a participating studio audience. In this paper I will try to support the unlikely claim that these talk shows, which include The Jerry Springer Show and Sally Jesse (...) Raphael (among others), provide remarkably fruitful foci for theoretical attention. My plan is to give a reading of the ideological structure of talk shows of the grotesque. In particular, my interest lies in a relatively recent strand of ideological theory that has treated questions concerning the nature and reproduction of ideology as serious ontological questions: questions that go to the heart of our philosophical understanding of subjectivity, autonomy, and the metaphysics of belief and other intentional attitudes. Here I take the work of Louis Althusser, Judith Butler, and Slavoj i ek as paradigmatic and seminal representatives of this type of theorizing. My eye, in this paper, will be turned toward showing how the contemporary talk show of the grotesque provides us with a case study through which we can productively interrogate this new theoretical turn in our understanding of ideology. After spending a substantial amount of time laying down some theoretical groundwork, during which I take a selective and usurious tour through recent theories of ideology, performativity, and the constitution of subjectivity, I will analyze the talk show phenomenon by dividing it into four levels of participatory activity: those of the host, the guests, the studio audience, and the television audience. I will argue.. (shrink)

Explains how to set up a digital photography studio, improve picture-taking techniques, edit images, use Photoshop and Photoshop Elements, restore photographs, and print and distribute digital images.

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Photography began almost 150 years ago with the nearly simultaneous invention of two types of photographic processes, the daguerreotype and the Talbotype or calotype. On January 7, 1839, Louis Daguerre announced his discovery of a way to reproduce images on coated copper plate. Shortly thereafter, on January 31, William Talbot explained how shadows of objects could be chemically recorded on salted paper sensitized with silver nitrate. With the advent of photography, the people, architecture, and natural beauty of Chester County, Pennsylvania, (...) made worthy subject matter for many professional and amateur photographers. Photographers in Chester County, many of whom were also skilled artisans and craftsmen, were fortunate in that they lived near Philadelphia, a center of photographic activity. The first photographers in the county were itinerant tradesmen who traveled from place to place, taking photographs, portraits mainly, for a fee. Later, as photography developed and became more widely known, many photographers opened their own studios. Reflected Light: A Century of Photography in Chester County offers an overview of the development of the photographic medium and traces the progress of photography by examining the work of ten Chester County photographers. In the text by Pamela Powell and in striking photographs of the county and its people, the story of photography in its earliest years is deftly told. (shrink)

The aim of the study is to develop theoretic and methodological recommendations and practical activities for the positive social, managerial, organizational and economic development of historical and cultural tourist destinations. In theoretical terms: the role of historical and cultural tourist destination in the development of the region has been established; the historical and cultural tourist destinations have been identified; the author’s classification of historical and cultural tourist destinations has been developed basing tourist visiting activeness; the author’s methodological approach to the (...) diagnosis and creating tools for development of historical and cultural tourist destinations, comprehensively taking into account resource and factor components, has been presented. In practical terms: variations of the activities aimed at the positive development of historical and cultural tourist destinations have been proposed; the description of measures aimed at the creation of a historical and cultural complex on the example of the designed historical and cultural complex “Stara Samar” has been given. The results of the study are applicable for a wide range of historical and cultural tourist attractions: territories, landscapes and elements of landscapes, historical settlements, parks, film studios, historical and cultural heritage sites, history and culture monuments, burial sites, places of worship, sites of social cultural infrastructure. The author’s recommendations provide obtaining commercial results and ensuring a social and cultural effect for businessmen, managers, local communities in the management of existing or in the creation of new historical and cultural tourist destinations. (shrink)

In contemporary scientific discourse, interest in memory problems has increased significantly. This trend, in our opinion, is due to a number of factors, among which one of the leading places is «democratization» of history. This process began to a large extent under the influence of a violent wave of emancipation of peoples and ethnic groups, which began at the end of the twentieth century. It actualized the need to rethink the past and revive a large part of the cultural heritage (...) of a number of ethnic and ethno-regional communities.Growth of attention to memory studios was facilitated by globalization. Itsliberal-oriented universalist intentions led to the erosion of the foundations of national identity without deprecating sociality as such. The fluidity and rapid change in social standards that have become a logical consequence of this process have shown the urgent need to find those ideological landmarks that can provide certainty at least on a daily basis. Here, a person feels the need for group consolidation, which is perceived directly through participation in social practices. Such practices reproduce the identity of the group and at the same time broadcast a historically formed and established system of group values. The revival of local forms of identity, which takes place under the influence of globalization in the conditions of the rapidity of social standards, can be regarded as a completely positive phenomenon. Meanwhile, in cases of politicization of collective memories, such local groups can significantly undermine the stable development of national states. The purpose of the study is to reveal the value of collective memories in the process of forming and preserving group identity.The task of the paper was to identify the universal foundations of human sociality and to reveal the importance of collective memories in the process of formation and preservation of group identity. Methods. The methodological basis of the study was the multidisciplinary approach, which was combined with the principles of objectivity and impartiality. The basic place in the process of scientific understanding of the role of memory in the process of formation and preservation of group identity was played by general scientific principles and methods, namely: the principles of historical and logical unity, objectivity, integrity and comprehensiveness. Also were used such general scientific methods as analysis and synthesis, induction, analogy, retrospective,comparison, etc. Along with the mentioned methods were widely used methods of cultural, social and categorical analysis, as well as the principles of philosophical hermeneutics. Results In the course of the study, M. Halbwachs’es implicit conclusion about the key role of collective memories in the process of formation of collective identity was refuted, some aspects of collective memory theory developed by him were specified. In particular, the provision on the decisive role of collective memory in the process of formation of group identity was revised and the importance of social friendship in the process of formation of the social community was shown, the persistence and moral significance of which is determined by common memories.Memories provide the appearance of images that become the status of collective identity symbols, which contain behavioral patterns and moral teachings for members of the community. Common memories can be transmitted through direct communication that covers a limited social space, or to be executed in a ritual and/or text. Due to rites or texts reinterpretations, a significant part of the memorization that is important for the collective identity can remain unchanged for a long time. (shrink)

This paper examines two realisations of the television talk show in North America: The Oprah Winfrey Show and Dr. Phil, looking specifically at how they function within the sub-genre of ‘therapeutic talk show’ in keeping with Livingstone and Lunt’s (1994) classification of talk shows. Talk shows are defined by Ilie (2001) as “semi-institutional discourse” having features of a given setting (TV studio), topic- and goal-oriented talk, high degree of topic control, as well as restrictions on time and turn-taking. Theorists (...) examining this sub-genre of therapeutic talk show have argued that it provides a valuable means by which stories otherwise unrecognized have a forum, or that values of truth and honesty can be conveyed (Livingstone & Lunt 1994; Masciarotte 1991; Carbaugh 1988). However, theorists such as Abt and Seesholtz (1994) view therapeutic talk shows as potentially demeaning to guests who appear on them as well as a means by which suffering can be trivialized. Through an examination and analysis of requests for information, both direct and indirect, which are the principal features of all interviews, I look at how Oprah Winfrey and Dr. Phil problematize the narratives told by their guests. Both hosts rely heavily on one type of request, B-Event assertions functioning as indirect requests for information, to provoke specific response. My findings indicate that these talk shows do not in fact provide a forum for talk that would otherwise not be considered as suggested by Livingstone and Lunt (1994). Both Oprah Winfrey and Dr. Phil appropriate the stories provided by their guests; they also participate in their own overarching meta-narrative whereby as ‘heroes’ they solve their guests’ problems within a given time frame. Guests’ narrative responses share more with the speech act of confession than with free self-expression. The speech act of confession encouraged by these therapeutic talk shows serves in turn to reinforce conservatively-held values on the part of the at-home audience for whom such confession is also entertainment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mary J. Reichling (March 29, 1941–July 4, 2023)Barbara KennisonIn the early morning hour on July 4, 2023, Mary died from cancer at the age of 82. On July 8, 2023, her family, professional colleagues, former students, and friends gathered in Holy Family Chapel, Nazareth, Michigan to celebrate her life and legacy. In this sacred space, several in attendance offered expressions regarding Mary’s impact on their life professionally and personally. (...) Reflecting on the words in the music served to provide comfort and solace as did the choir and instrumental interludes. Monsignor Michael Hazard celebrated the mass of Christian Burial.Mary was born on March 28, 1941, in Detroit, Michigan, the oldest child of Clarence and Evangeline Reichling. As a young child, she aspired to becoming a physician and was quickly discouraged by others as this was viewed as a profession for men, not women. Her father, recognizing her talent and interest in music, continued to support her as she pursued her music studies, giving her a high level of confidence and skill in piano performance while still in high school.Her teaching career was launched after completing her undergraduate degree from Nazareth College, Kalamazoo, Michigan, August 5, 1966, her Masters in Music Education from Indiana University in 1969, and a Doctor of Music Education from Indiana University in 1991. [End Page 89]Her initial teaching began at Nazareth College, addressing the academic needs of students holding an interest in music and music education. Mary also provided private lessons to young children, teens, and adults. On several occasions I had the opportunity to observe her work with children and young people and was fascinated by her depth of understanding in addressing not only the musical learning needs of her private students as well as the social and psychological issues that had an impact on their musical abilities.An event stands out in my mind. Two adults, well known to the Kalamazoo community, Father John Grathwohl, Pastor, St Thomas Moore Student Parish, Western Michigan University and Evan LeDuc, Kalamazoo’s City Manager, decided to take violin lessons with Mary as their instructor. They appeared at her studio door, dressed like Dan Aykroyd and John Belushi in the film, The Blues Brothers, as they were wearing long oversized trench coats, black overshoes, black felt crumpled hats, and dark sunglasses, carrying their violin cases, and looking unshaven and disheveled. Mary, seeing them, lost her composure and began to laugh uncontrollably as the two stood there in stoic silence. Regaining her composure, she directed them to their respective chairs in front of music stands, had them take out their violins, and the lesson began. Not only was she respected by these two men but also by all the children and young people in her academic care.Having completed her undergraduate and graduate studies, Mary maintained an intense interest in learning, especially in philosophy and neuroscience with a focus on concepts such as thought, imagination, emotion, movement, space, and time. She was fascinated by the relationship between the performer and the audience, with respect to emotion, images, and imagination. Research for her doctoral dissertation, which she titled, “Images of Imagination: A Philosophical Study of Imagination in Music with Application to Music Education,” is reflective of her interest and research in the neuroscience field. Mary was awarded the Dean’s Dissertation Prize, Indiana University and awarded first place in 1991 Outstanding Dissertation in Music Education, national competition sponsored by the Council for Research in Music Education.In 1991, Mary accepted a position in the Department of Music, University of Louisiana, Lafayette where she taught undergraduate and graduate students. She served as advisor to graduate students in the music education concentration as well as serving on students’ dissertation committees. Her commitment to students was exemplified by her availability, in spite of other commitments to the University and music community beyond the university. The fruits of her professorial activity were evident in graduating students obtaining teaching positions in Lafayette, Vermillion, and Iberia parishes.In an effort to promote the music program and recruit students, she maintained a strong connection with area music teachers. This relationship served to [End Page 90] foster and facilitate high school students... (shrink)

The urban poise is dependent on a particular notion of urban planning: a myriad of actions that can adjust civic life in many places to provoke it towards greater self-esteem. Urban planning is not consecrated by a drawing in the shape of a plan alone, but it must respect the elevation of the stance of an urban spectacle as seen from the sidewalk. The coercion of civic indicators is reappraised by delighting in the figurative stance of the informant city. Small (...) things are done in the city within its existing urban structure so that an edge is applied to what already exists. City blocks might be fractionally altered, holes in the skyline reamed out smooth, and points located strategically so that they can carry their attendant responsibilities. The method is marginally parasitic, for it exists by requiring something else to exist that it cannot readily harbor.Ten points and places of vulnerability have been chosen in the city that poke at its underbelly. Whilst the poises are given names and specific sites, their viability could be felt equally in a different city using changed names. The Appliance House franchises its intention to various matters of civic consequence, ranging from the weather to shopping to the monumental respect for the dead. Each poise is considered integrally related to the wholeness of the city. If any of the Poises becomes disassociated from the city or from other Poises, the prime tenet of urban existence will have been ignored: the over-exertion of one component of urban life will take place at the expense of somebody else. Ben Nicholson is studio professor of architecture at the Illinois Institute of Technology. His Appliance House will be published later this year. (shrink)

Riassunto : L’ effetto nocebo è l’effetto psicobiologico dovuto al contesto psicosociale negativo che accompagna una terapia. Dal momento che lo studio dell’ anticipazione dolorifica prende in considerazione la fase temporale della “attesa dell’iperalgesia”, e considerando che – proprio come il nocebo – è possibile elicitarla con il solo uso di verbalizzazioni negative, questo modello può permettere di studiare la risposta nocebo. Ad oggi infatti non si dispone di dati univoci circa le aree coinvolte in questi processi e circa (...) il ruolo cognitivo da queste ricoperto. Abbiamo condotto una meta-analisi su studi fMRI di anticipazione dolorifica su cui applicare un modello di connettività meta-analitica su due regioni di interesse: la corteccia cingolata e l’insula anteriori, le cui attivazioni sembrerebbero correlano ai domini comportamentali dell’azione, dell’emozione e della percezione. I risultati avvalorano l’ipotesi dell’esistenza di un sistema supramodale altamente distribuito, attivato dall’anticipazione del dolore, e, infine, volto all’elaborazione delle informazioni e all’auto-regolazione delle risposte adattive all’ambiente. Parole chiave : Placebo; Nocebo; Dolore; Correlati neurali; Comportamento umano Placebo Analgesia, Pain Anticipation, and the Possible Neural Correlates of Nocebo Effect: The nocebo effect is a psychobiological effect that occurs when a negative psychosocial context that accompanies a therapy. Since the study of pain anticipation takes into account the temporal phase of the “expectation of hyperalgesia”, and considering that it is possible to stimulate such anticipatory processes merely through the use of negative verbalizations, this model is appropriate for studying the nocebo response. To date, there are no univocal data about the brain areas involved in these processes or their cognitive roles. We conducted a meta-analysis on pain anticipation fMRI studies. We then applied a meta-analytic connectivity model to activations in the anterior cingulate cortex and the anterior insula, which correlate with the behavioral domains of action, emotion and perception. Our results support the hypothesis that there is a highly-distributed supramodal system, activated by pain anticipation, for processing information that enhances the self-regulation of adaptive responses to the environment. Keywords : Placebo; Nocebo; Pain; Neural Correlates; Human Behaviour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing or act (...) and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

This series celebrates the Bodleian Library's acquisition of Tom Phillips's archive of over 50,000 photographic postcards dating from the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Each title in this series is thematically assembled and designed by the artist, the covers featuring a linked painting specially created for each title from Tom Phillips's signature work, A Humument.Fantasy Travel shows people sitting proudly (...) and playfully in studio mock-ups of aeroplanes, cars, speedboats and hot air balloons. Such modes of transport were beyond the dreams of the average person in the early twentieth century but the photographic studios allowed them to indulge wild flights of fancy and take away the resulting postcards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Role of Glass in Interior Architecture:Aesthetics, Community, and PrivacyMatthew Ziff (bio)Design education seeks to infuse students with knowledge, skills, and attitudes, regarding the design of the built environment. In the areas of knowledge and attitude, sophistication and competence are developed through both practice (largely carried out in the design studio environment), and engagement with critical analysis (largely carried out in seminar classes and traditional lecture format class (...) environments). For design students the world of design is both to be known and understood, and to be created, at their own studio desk. In order to both know and create design, students often behave like nocturnal predators, seeking what is necessary in a mode that is often unobserved, and then returning to digest their catch, to produce responsive and synthetic work. One arena in which design students find rich fields of information is that of material characteristics. Materials used in the design and construction of the built environment form a significant portion of the skeleton of a designer's body of knowledge, skills, and attitudes toward design. A current hotbed of material character and application is that of the world of glass. This essay is an exploration of some of the issues that the architectural uses of glass raise from the point of view of design student exploration.Materials evoke physical and psychological responses. Human beings are complex creatures and an individual's response to specific material applications can be unpredictable. Even so, it is reasonable to expect that there are shared attitudes that form the basis for responses to the physical character of the built environment. From delight, to confusion, materials used in the architecture of things large and small, from buildings to fountain pens, contain literal meaning, or expression of method, as well as possible symbolic and cultural meaning. The contemporary use of glass, particularly in interior architecture, presents a vivid arena for emotional and intellectual stimulation and response. [End Page 10]Glass planes that are sheer, opaque, translucent, colorful, brittle, imposing in mass, irregular in surface texture, flawlessly smooth, deformed through casting or by application of pressure and heat, are being used to create spaces that convey ambiguous relationships between private experience and public display. What is an ambiguous relationship? It is one to which a reasonable response is a high degree of uncertainty regarding the course of action one might take, or in the degree of understanding of the context one can develop. To know that the stair in the train station leads to track 4 is a condition that can be created by the use of unambiguous design; a visual connection from where one has to make a choice of paths to follow to the destination, track 4, creates a clear understanding of where track 4 is to be found. If track 4 can be seen from the position at which a choice is required, then certainty, clarity, is possible, if not probable. Visual connection is exactly what clear glass allows, and provides, yet ambiguity results because of the physical, hard barrier, transparency aside. "I can see track 4, but I cannot get there". The clarity provided by being able to see through glass, or even by being able to see light coming through translucent glass, is not sufficient to offset the uncertainty, or the mixed message, of not being able to get there, to touch what we can see.Glass in interiors offers a tactile and sensory titillation; the excitement of knowing that with a single swing of a hammer, or an umbrella handle, the beautiful sheet of curved frosted lemon ice colored tempered glass can be shattered into fragments.Windows have long been the predominant interior and exterior architectural element in which glass has played a major role. The glass used in Windows on the World, the famous restaurant atop the World Trade Center, destroyed during its collapse, and the glass used in a simple double hung window in a one story ranch house each share architectural duties of providing view from inside to outside, light transmission from outside to inside, heat gain, and acoustical isolation. Human eyes are sometimes described as "windows to the soul," which suggests the ability to... (shrink)

Focusing on the aesthetic representation of trauma, George Smith outlines the nexus points between poetics and hermeneutics and shows how a particular kind of thinker, the artist-philosopher, practices interpretation in an entirely different way from traditional hermeneutics. Taking a transhistorical and global view, Smith engages artists, writers, and thinkers from Western and non-Western periods, regions, and cultures. Thus we see that poetic hermeneutics reconstitutes philosophy and art as hybridizations of art and science, the artist and the philosopher, subject and object. (...) In turn, the artist-philosopher's poetic-hermeneutic reconstitution of philosophy and art is meant to transform human consciousness. This book will be of interest to artists and scholars working in studio practice, art history, aesthetics, philosophy, cultural studies, history of ideas, history of consciousness, psychoanalytic studies, myth studies, and literary studies, and creative writing. (shrink)

Prompting this book is the paradox of belonging. What pushes the author to write are art's questions. Rather than take the route of writing, artists in academia could opt for the studio, teaching students, and occasionally indulge in conferences and symposia. However, beyond such rituals, writing art's questions remains akin to art's acts of belonging. In these lessons of belonging this is done through art's paradox. Belonging is a matter of art because art belongs to the aporia that (...) writes it. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), which (...) characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

Master macro techniques and capture brilliant up-closephotos Macro photography uses specialty lenses and advanced digitalcameras to capture stunning up-close images. This book helps youunderstand the nuances of macro techniques so you can take uniqueand remarkable close-up digital photos. Equipment recommendations,helpful tips, and coverage of specialized elements that areexclusive to macro photography all aim to make you more savvy andcomfortable with macro and close-up techniques. In addition, theeasy-to-follow steps and suggested exercises go a long way to makeyou more familiar with (...) your camera's capabilities so that you cantake fantastic photos. Introduces the techniques of macro photography and explores howto capture stunning close-up digital photos Reviews using macro lenses, extension tubes, reversing rings,and other camera equipment and accessories Shares tips for exposure and lighting techniques in the macroformat Addresses depth of field, working distance, and framing whenshooting Covers where to find subjects to shoot and setting up yourmacro studio With full-color examples and technique comparisons, this fun andfriendly book presents step-by-step guidance for taking yourclose-up photography skills to the next level. (shrink)

Riassunto: L’esperienza cosciente sembra essere un soggetto di studio elusivo per la ricerca neuroscientifica. Tuttavia, da un punto di vista operazionale e neurocognitivo, l’esperienza cosciente può essere vista come una collezione di eventi inseriti in una cornice bidimensionale. Una dimensione è relativa al livello di vigilanza o grado di veglia, l’altra dimensione è relativa ai contenuti esperienziali, gli oggetti della nostra consapevolezza fenomenica. A dispetto della variabilità di queste due dimensioni, il senso di unità cosciente sembra essere di norma (...) profondo, reale e immediato. Nondimeno, alcune condizioni neurologiche avvalorano l’ipotesi che quest’unità sia il risultato di una costruzione operata da delicati e complessi meccanismi cerebrali. Si esamineranno pertanto, in una prospettiva neurocognitiva, i dati provenienti da alcune ricerche empiriche su pazienti affetti da epilessia, i risultati degli esperimenti condotti su persone split-brain e di minima coscienza, che dimostrano come l’esperienza cosciente si basi su un’organizzazione modulare del cervello. Parole chiave: Coscienza; Modularità; Livello; Contenuto; Epilessia; Split-brain; Stato di minima coscienza Modularity and Conscious Experience in a Neurocognitive Perspective: Conscious experience seems to be an elusive matter of study for neuroscientific research. From an operational and neurocognitive point of view, however, conscious experience can be considered as a collection of events within a bidimensional framework. One dimension relates to wakefulness or the level of arousal, the other dimension relates to experiential contents, the objects of our phenomenal awareness. The variability of these two dimensions notwithstanding, the sense of conscious unity generally appears to be deep, real and immediate. Still, certain neurological conditions provide evidence for the hypothesis that this unity may be the result of a construction achieved by subtle and complex brain mechanisms. Taking the neurocognitive perspective, I will examine data coming from empirical research on patients with epilepsy and present some results from experiments conducted on split-brain patients and individuals in a minimally conscious state, which show how conscious experience may be rooted in the modular organisation of the brain. Keywords: Consciousness; Modularity; Level; Content; Epilepsy; Split-brains; Minimally Conscious State. (shrink)

Discover innovative ways to strengthen your photography business with your iPad Many photographers are turning to the flexible, easy-to-use tools of the iPad and relying on them to wear a variety of hats in their photography business. Whether portable portfolio, editing tool, payment-tracking system, or appointment calendar, the iPad melds together the best attributes of the cell phone and a laptop computer and this unique book highlights them all. With this helpful resource, you'll learn how to get the most out (...) of your iPad to not only improve your business but also enhance your photography. Details how to use your iPad to schedule client appointments, accept payments, sign model releases, track business expenses, and more Teaches you how to take advantage of the hi-res display, cellular and WiFi connectivity, and powerful processor to increase efficiency Covers ways to use the iPad on location with on-the-fly editing techniques Offers suggestions for using the iPad as a backup storage device and how to use it in the studio Features a chapter on shooting movies with your iPad iPad for Digital Photographers shows you how to leverage the strengths of the iPad to enhance your photography and your business. (shrink)

Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on the (...) one hand, to identify the most significant emotional and psychological needs of modern society and thereby clarify some of the philosophical and anthropological aspects of today’s culture. On the other hand, it makes it possible to classify serial production on the basis of hedonistic values, that is, to identify the basic models by which the fascinating environments of popular serials are created. One of such models, the existential one, becomes the subject of special attention in the article. The purpose of the study is to present the existential model as one of five generative models of the screen spectacle on the basis of analyzing visual cues from the 2020 television series (Tales from the Loop. Amazon Studio, Fox 21 Television Studios, USA, 2020); to consider «Tales from the Loop» as a screen model that gives a viewer the experience of philosophical and anthropological reflection. Methods: In the course of the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensually perceived qualities of object-spatial screen images; a hermeneutic method that makes it possible, on the basis of visible sign structures, to reveal the deep intentions of a visual image. The scientific novelty lies in the fact that we consider the television series as an anthropological phenomenon, not only reflecting the interests, aspirations and values of the society, but also modeling the society through a deep suggestive (fascinating) influence. A typology of such environments is created, corresponding to basic hedonistic needs and reflecting the degree of demand for certain states of pleasure in modern society. The method of creating a visual environment that draws a viewer into a state of philosophical reflection, which in this case is interpreted as a way to achieve «the fulfillment of being» (Aristippus), is specially clarified. Results. In the course of the analysis, the authors applied to television production a hedonistic-ontological typology of a visual image, which includes five generative models; a targeted analysis of the popularity of the most influential television series of the 2000s – 2020s was carried out, taking into account the level and causes of spectator fascination; as exemplified by the television series «Stories from the Loop» and in the course of the analysis of its visual components, it becomes clear how the modern series succeeds in involving a viewer in a state of philosophical reflection. Conclusions. The philosophical and anthropological analysis of the modern television series shows that the entertainment and narrative functions that are relevant for the twentieth century have been replaced by the function of fascination, a deep influence on a viewer at a suggestive level. In this case, the purpose of fascination is to involve a viewer not only in hedonistic states of pleasure, but also in states of faith or philosophical reflection. (shrink)

The proposed article presents the socio-philosophical substantiation of the integration of ethno-functional methodology in the construction of ontological and axiological foundations of modern communication. The author reveals the main provisions of the polydisciplinary ethno-functional paradigm O. Sukharev (the idea of the meaningful role of ethnicity, understanding of the ethno-environment as a continuum of internal, external and transcendental spheres of the person, the position on the ethno-integrating and ethno-disintegrating role of the human relation to the elements of the ethno-environment) and proposes (...) the possible variants of their projection to solve problems related to communication.The emphasis is placed on the fact that the involvement of the methodological capabilities of the ethno-functional approach will ensure the construction of the value-semantic principles of communication, taking into account the trends of the cultural and historical situation of the modern world: the unification and globalization of the cultural space, the growth of ethnic marginalization of mankind, ethnocultural particularity and mosaicism, exponential development of information and communication processes, active intercultural communication, problems of intercontinental migration, forced migration, etc. The assertion that the existing value- semantic communications bases of a particular ethno-environment operate in either a ethnointegrable or an ethno-de-inclusive role are substantiated, promote or impede both intranational and international communicative connections between people.In the context of the theme of the proposed studio the notion of value orientations of the person is defined, the specifics of modern relations between utilitarian and spiritual values are outlined, the content volume of meaning is represented as a category of social communication, its attributes (communicative intersubjectiveness, universality, legitimacy) are named. It is emphasized that in ethno-communicative communication certain meanings acquire meaningful and social status, while others lose their legitimacy and form the periphery of the sense of formation, its reserve. It is argued that consideration of the ethno- functional methodology in the implementation of communication will allow to balance the priorities of national self-identity and cosmopolitanism, to recreate the communicative aspect of the dialectic of globalization and nationalism.The socio-philosophical conclusions that the realization in the intercommunication space of such elements of the mentality of the ethnic group as values and meanings is an important personal, social and supranational significance is made. The applied clause on the possibility of implementing educational and pedagogical methods in forming the value-semantic sphere of the individual for the achievement of the appropriate level of personal, social and interethnic communication is proposed.The territorial and methodological significance of the ethno-functional approach for the modern stage of Ukrainian national statehood is updated. The projection of an ethno-functional approach in socio-philosophical modeling and substantiation of value-semantic criteria in the construction of interstate and interethnic communication, negotiation and dialogue has been developed. Keywords: modern communication, dialogue, ethno-functional approach, value- semantic constants, theoretical and methodological foundations, mentality, ethno- functional communication, sociocultural pryscriptiveness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXVI, Number 1, April 2000, pp. 129-142 Hume on ''Greatness of Soul" GRAHAM SOLOMON The "great-souled man" was first described in detail in Book iv of Aristotle's Nicomachean Ethics. Simon Blackburn concisely summarizes Aristotle's portrait of this "lofty character": "The great-souled man is of a distinguished situation, worthy of great things, 'an extreme in respect of the greatness of his claims, but a mean in respect (...) of the Tightness of them', perfectly virtuous, good at conferring benefits but ashamed of receiving them, neither humble nor vain. The combination involves proper pride or magnanimity." Such men will enter politics with the aim of preserving justice and working for the good of society, or they will exhibit great personal courage in battle, or, more generally, they will aim at virtuous action at all times, even when faced with painful choices and life-threatening circumstances. Historians disagree about whether Aristotle held that the great-souled man is motivated in part by a desire to be admired by others, but certainly he held that the great-souled man was capable of performing great and virtuous actions that would be admired.1 By the mid-eighteenth century, greatness of soul could be found in much less distinguished situations. Consider, for example, Laurence Sterne's Tristram Shandy. Tristram attributes greatness of soul to his mother for wanting to give birth to him under the care of a midwife rather than a doctor. His father thinks that turning down a large purse of money offered in exchange for naming one's son Judas is an act of greatness of mind. And Tristram says his friend Jenny exhibited greatness of soul by purchasing a much less expensive piece of silk than the one she initially wanted, deferring to Tristram's unvoiced but Graham Solomon is at the Philosophy Department,Wilfrid Laurier University,Waterloo, Ontario, Canada N2L 3C5. e-mail: [email protected] 130 Graham Solomon obvious judgment.2 For an example from the nineteenth century, consider the following passage from the novel The Wrecker (1891) by Robert Louis Stevenson and Lloyd Osbourne. The narrator, a wealthy young American, is slumming as a bohemian art student in the Latin Quarter of Paris: "I always looked with awful envy... on a certain countryman of my own, who had a studio in the Rue Monsieur Ie Prince, wore boots, and long hair in a net, and could be seen tramping off, in this guise, to the worst eating-house of the quarter, followed by a Corsican model, his mistress, in the conspicuous costume of her race and calling. It takes some greatness of soul to carry even folly to such heights as these."3 There the character's greatness of soul seems to involve an ability to ignore or overlook or misinterpret the opinions others might have of him. While the phrase "greatness of soul" or "greatness of mind" is not commonly used nowadays,4 the Latin form "magnanimity" is still in use in ordinary, everyday, reasonably educated discourse. And occasionally "highmindedness " is used. The capacity to make magnanimous gestures is still widely felt to be a virtue. "Magnanimity" nowadays refers to a mix of unselfishness, generosity, the capacity to rise above petty feelings of resentment and revenge, and more generally and vaguely to a kind of nobility of heart and mind. These are features that Aristotle would recognize. But, it seems to me, we are prepared to apply the term to a far wider class of people than Aristotle would. Magnanimity is nowadays thought to be a virtue that can be exhibited by almost anyone. The first extended discussion in English-language philosophy of the concept of greatness of soul or mind is in David Hume's Treatise III iii 2, a section titled "Of greatness of mind." Hume's discussion contributed to a domesticated and democratized understanding of the concept, a more serious ancestor of the concept found in Tristram Shandy5 and The Wrecker. Donald Siebert argues in the chapter "In Search of the Hero of Feeling" in The Moral Animus of David Hume6 that after the initial exploration of the concept in the Treatise, Hume eventually settled in The History... (shrink)