Bright-spot amplitude anomalies have been an attractive exploration target in the Niger Delta since the early 1970s, and the bright-spot play can now be considered mature. There is a need to extend the bright-spot exploration success to include other types of direct hydrocarbon indicators such as dim spots or polarity reversals. Several true dim spots have been identified in the basin, calibrated with well data and characterized in detail to enable a systematic analysis of the geologic factors that produce the (...) dim-spot response. Dim spots in deeper stratigraphic intervals reflect a high degree of compaction and quartz cementation and are characterized by minimal fluid signal and commonly very low detectability. Robust and detectable dim spots have been identified in shallow marine/deltaic systems in the Niger Delta in shallower stratigraphic intervals with a relatively strong fluid signal. The key factor promoting a robust dim-spot response is the presence of acoustically soft, clay-rich shales as the bounding lithology. The variability of the bounding shales in the Niger Delta is stratigraphically constrained and, to some degree, predictable. The change from hard mudstones to soft claystones, which can be recognized in seismic data, may result in a transition from bright to dim spots, possibly taking place within the same stratigraphic interval and over short distances. Many clastic basins globally follow a similar stratigraphic and diagenetic evolution; thus, the Niger Delta example may be a good analog for dim-spot plays elsewhere. (shrink)

The aim of this study was to compare medical and social sciences students’ outcomes in terms of self-perceived stress, quality of life, and personality traits. We put particular emphasis on external and internal differences in students of specific fields–medicine, nursing, psychology, and pedagogy. In a survey, 1,783 students from Medical University of Gdańsk and University of Gdańsk participated in our study, of whom 1,223 were included in the final statistical analysis. All of them were evaluated using valid and reliable questionnaires–TIPI-PL, (...) PSS-10, and a one-item scale of quality of life. Stress turned out to have a negative effect on quality of life, regardless of the type of field of study. Moreover, students from different fields varied in terms of personality factors: conscientiousness, agreeableness, openness to experience, and emotional stability. In conclusion, many students regardless of their field suffer from high stress and report low quality of life, which potentially further affects their academic performance and social life. (shrink)

The "space" of Lascar strong types, on some sort and relative to a given complete theory T, is in general not a compact Hausdorff topological space. We have at least three aims in this paper. The first is to show that spaces of Lascar strong types, as well as other related spaces and objects such as the Lascar group Gal L of T, have well-defined Borel cardinalities. The second is to compute the Borel cardinalities of the known examples as well (...) as of some new examples that we give. The third is to explore notions of definable map, embedding, and isomorphism, between these and related quotient objects. We also make some conjectures, the main one being roughly "smooth if and only if trivial". The possibility of a descriptive set-theoretic account of the complexity of spaces of Lascar strong types was touched on in the paper [E. Casanovas, D. Lascar, A. Pillay and M. Ziegler, Galois groups of first order theories, J. Math. Logic1 305–319], where the first example of a "non-G-compact theory" was given. The motivation for writing this paper is partly the discovery of new examples via definable groups, in [A. Conversano and A. Pillay, Connected components of definable groups and o-minimality I, Adv. Math.231 605–623; Connected components of definable groups and o-minimality II, to appear in Ann. Pure Appl. Logic] and the generalizations in [J. Gismatullin and K. Krupiński, On model-theoretic connected components in some group extensions, preprint, arXiv:1201.5221v1]. (shrink)

We present the (Lascar) Galois group of any countable theory as a quotient of a compact Polish group by an F_σ normal subgroup: in general, as a topological group, and under NIP, also in terms of Borel cardinality. This allows us to obtain similar results for arbitrary strong types defined on a single complete type over ∅. As an easy conclusion of our main theorem, we get the main result of [K. Krupiński, A. Pillay and T. Rzepecki, Topological dynamics and (...) the complexity of strong types, Israel J. Math.228 (2018) 863–932] which says that for any strong type defined on a single complete type over ∅, smoothness is equivalent to type-definability. We also explain how similar results are obtained in the case of bounded quotients of type-definable groups. This gives us a generalization of a former result from the paper mentioned above about bounded quotients of type-definable subgroups of definable groups. (shrink)

W artykule proponuję nową wersję transcendentalizmu, uwzględniającą współczesny stan nauki oraz filozofii. Idee tego transcendentalizmu prezentuję w toku dyskusji z P. Churchlandem, J. Kimem, K. Popperem, J. Searlem, S. Pinkerem, E. Husserlem, I. Kantem i J. Konorskim.

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

Contents: Leszek NOWAK, Marcin PAPRZYCKI: Introduction. ON THE NATURE OF SOCIAL SYSTEM. Ulrich K. PREUSS: Political Order and Democracy. Carl Schmitt and his Influence. Katarzyna PAPRZYCKA: A Paradox in Hobbes' Philosophy of Law. Stephen L. ESQUITH: Democratic Political Dialogue. Edward JELINSKI: Democracy in Polish Reformist Socialist Thought. Katarzyna PAPRZYCKA: The Master and Slave Configuration in Hegel's System. Maurice GODELIER: Lévi-Strauss, Marx and After. A reappraisal of structuralist and Marxist tools for analyzing social logics. Krzysztof NIEDZWIADEK: On the Structure of (...) Social System. Waldemar CZAJKOWSKI: Social Being and Its Reproduction. ON RATIONALITY AND CAPTIVITY. Marek ZIO??L??KOWSKI: Power and Knowledge. Leszek NOWAK: Two Inter-Human Limits to the Rationality of Man. Marcin PAPRZYCKI: The non-Christian Model of Man. An Attempt at a Psychoanalytic Explanation. Robert EGIERT: Toward the Sophisticated Rationalistic Model of Man. ON SOCIAL REVOLUTION. Leszek NOWAK: Revolution is an Opaque Progress but a Progress Nonetheless. Katarzyna PAPRZYCKA, Marcin PAPRZYCKI: How Do Enslaved People Make Revolutions? Grzegorz TOMCZAK: Is It Worth Winning a Revolution? Krzysztof BRZECHCZYN: Civil Loop and the Absorption of Elites. Richard C. MCCLEARY: What Makes Marxist Historical Materialism Objective? Grzegorz KOTLARSKI: Classes and Masses in Social Philosophy of Rosa Luxemburg. ON REAL SOCIALISM. Ernest GELLNER: The Civil and the Sacred. Witold MARCISZEWSKI: Economics and the Idea of Information. Why socialism must have collapsed? Leszek NOWAK, Katarzyna PAPRZYCKA, Marcin PAPRZYCKI: On Multilinearity of Socialism. Achim SIEGEL: The Overrepression Cycle in the Soviet Union. An Operationalization of a Theoretical Model. Krzysztof BRZECHCZYN: The State of the Teutonic Order as a Socialist Society. DISCUSSIONS. Richard MCCLEARLY: Socioanalysis and Philosophy. W??l??odzimierz HELLER: The Public and the Private in Hannah Arendt's Political Philosophy. Methodological Remarks. Krzysztof BRZECHCZYN: Unsuccessful Conquest and Successful Subordination. A contribution to the theory of intersocial relations. (shrink)

This paper defends what the philosopher Merleau Ponty coins ‘the imaginary texture of the real’. It is suggested that the imagination is at work in the everyday world which we perceive, the world as it is for us. In defending this view a concept of the imagination is invoked which has both similarities with and differences from, our everyday notion. The everyday notion contrasts the imaginary and the real. The imaginary is tied to the fictional or the illusory. Here it (...) will be suggested, following both Kant and Strawson, that there is a more fundamental working of the imagination, present in both perception and the constructions of fictions. What Kant and Strawson failed to make clear, however, was that the workings of the imagination within the perceived world, gives that world, an affective logic. The domain of affect is that of emotions, feelings and desire, and to claim such an affective logic in the world we experience, is to point out that it has salience and significance for us. Such salience suggests and demands the desiring and sometimes fearful responses we make to it; the shape of the perceived world echoed in the shapes our bodies take within it. (shrink)

George Santayana (1863-1952), a Spanish-American philosopher, is an influential personage on the cultural stage in English- and Spanish-speaking countries. His numerous books and papers on topics as varied as epistemology, ontology, aesthetics, ethics, anthropology, value theory, and American studies, along with his best-selling novel, his sophisticated poetry, and his famous autobiography, make him a vivid and profound source of reflection on the history of American and European thought, as well as a stimulus for future work. Santayana's exceptionality was appreciated by (...) William James and Josiah Royce, his most eminent colleagues in Harvard University's Department of Philosophy, and has been discussed by such respected authors as John Dewey, Bertrand Russell, Charles Hartshorne, Eric Voegelin, Alfred Schutz, Richard Rorty, Hilary Putnam, Arthur Danto, and Ferdinand Savater, among others. This book aims to understand Santayana by considering his often provocative views on America. Other scholars have reconstructed his thought at various times and in a variety of ways, but no one has yet considered Santayana's approach toward America in a serious and profound way (at least not in the English language). This book attempts to convince the reader that the impartiality of Santayana's philosophy, its transcendence of cultural limits and mental borders, makes it a living philosophy, and that this is the strongest aspect of Santayana's thought. (shrink)

In this groundbreaking volume, Krzysztof Ziarek rethinks modern experience by bringing together philosophical critiques of modernity and avant-garde poetry. Ziarek explores, through selective readings of avant-garde poetry, the key aspects of the radical critique of experience: technology, everydayness, event, and sexual difference. To that extent, The Historicity of Experience is less a book about the avant-garde than a critique of experience through the avant-garde. Ziarek reads the avant-garde in dialogue with the work of some of the major critics of (...) modernity to show how avant-garde experiments bear critically on the issue of modern experience and its technological organization. The four poets Ziarek considers-Gertrude Stein, Velimir Khlebnikov, Miron Biaoszewski, and Susan Howe-demonstrate the broad reach of and variety of forms taken by the avant-garde revision of experience and aesthetics. Moreover, this quartet illustrates how the main operative concepts and strategies of the avant-garde underpinned the practices of canonical writers. A profound philosophical meditation on language, modernity, and the everyday, The Historicity of Experience offers a fundamental reconceptualization of the avant-garde in relation to experience. (shrink)

The aim of this book is to explain economic dualism in the history of modern Europe. The emergence of the manorial-serf economy in the Bohemia, Poland, and Hungary in the 16th and the 17th centuries was the result of a cumulative impact of various circumstantial factors. The weakness of cities in Central Europe disturbed the social balance – so characteristic for Western-European societies – between burghers and the nobility. The political dominance of the nobility hampered the development of cities and (...) limited the influence of burghers, paving the way to the rise of serfdom and manorial farms. These processes were accompanied by increased demand for agricultural products in Western Europe. (shrink)

This book offers an original approach to avant-garde art and its transformative force. Presenting an alternative to the approaches to art developed in postmodern theory or cultural studies, Ziarek sees art's significance in its critique of power and the increasing technologization of social relations. Re-examining avant-garde art and literature, from Italian and Russian Futurism and Dadaism, to Language poetry, video and projection art, as well as transgenic and Internet art, this book argues that art's importance today cannot be explained simply (...) in aesthetic or cultural terms but has to take into consideration how artworks question the technological character of modern power. To emphasize the transformative character of art, the book redefines art as a force field, in which forces drawn from historical and social reality come be to formed into an alternative relationality. Through discussions of such key avant-garde figures as Marinetti, Duchamp, Khlebnikov, and Vertov, and innovative contemporary artists like Viola, Wodiczko and Kac, The Force of Art counters the pessimism about art's social function by recovering and redefining art's transformative role in modernity. (shrink)

The discussion of the nature of consciousness seems to have stalled, with the “hard problem of consciousness” in its center, well-defined camps of realists and eliminativists at two opposing poles, and little to none room for agreement between. Recent attempts to move this debate forward by shifting them to a meta-level have heavily relied on the notion of “intuition”, understood in a rather liberal way. Against this backdrop, the goal of this paper is twofold. First, we want to highlight how (...) the ontological and epistemological status of intuitions restricts the arguments in the debate on consciousness that rely on them. Second, we want to demonstrate how the deadlock in those debates could be resolved through a study of a particular, “positive” kind of intuitions. We call this approach “The Canberrish Plan for Consciousness” as it adopts elements of the methodological “Canberra Plan”. (shrink)

According to political philosopher Frédéric Gros, traditional notions of war and peace are currently being replaced by ideas of intervention and security. But while we may be able to speak of an end to war, this does not imply an end to violence. On the contrary, Gros argues that what we are witnessing is a reconfiguration of our ideas of war, resulting in new forms of violence—terrorist attacks, armed groups jockeying for territory, the use of precision missiles, and the dangerous (...) belief that conflict can be undertaken without casualties. In _States of Violence_, Gros explains how war was once conducted to defend or increase the power of a city, an empire, or a state, but today conflict is directed at the very fragility of the individual and based upon a logic of unilateral destruction inflicted upon deprived civilian populations. While war was once rationalized as justified bloodshed, these new states of violence are instead centered on the spectacle of stark, publicized civilian suffering. By charting the history of the philosophy of conflict in Western discourse, Gros offers a stimulating and timely critique of contemporary notions of war and terror. (shrink)

John Lachs has been one of the most interesting American philosophers for nearly sixty years. His philosophical, educational, and public activity has been an attempt to show the relevance of philosophy to life. This is the first book dedicated to his thought.

In this book K. Brad Wray provides a comprehensive survey of the arguments against scientific realism. In addition to presenting logical considerations that undermine the realists' inferences to the likely truth or approximate truth of our theories, he provides a thorough assessment of the evidence from the history of science. He also examines grounds for a defence of anti-realism, including an anti-realist explanation for the success of our current theories, an account of why false theories can be empirically successful, and (...) an explanation for why we should expect radical changes of theory in the future. His arguments are supported and illustrated by cases from the history of science, including a sustained study of the Copernican Revolution, and a study of the revolution in early twentieth century chemistry, when chemists came to classify elements by their atomic number rather than by their atomic weight. (shrink)

Sixteen years ago, Prahalad and Hart introduced the possibility of both profitably serving the poor and alleviating poverty. This first iteration of the Bottom/Base of the Pyramid approach focused on selling to the poor. In 2008, after ethical criticisms leveled at it, the field moved to BoP 2.0, instead emphasizing business co-venturing. Since 2015, we have witnessed some calls for a new iteration, with the focus broadening to a more sustainable development approach to poverty alleviation. In this paper, we seek (...) to answer the question: How has the BoP approach evolved over the past 16 years, and has it delivered on its early promise? We conducted a systematic review of 276 papers published in journals in this period, utilizing a rigorous correspondence analysis method to map key trends, and then further examined the 22 empirical studies conducted on the BoP approach. Our results suggest that the field has evolved, passing through a number of trends and coming full circle—with our analysis pointing to more recent BoP literature emphasizing similar themes to those espoused in the initial BoP iteration, rather than reflecting the principles espoused in either BoP 2.0 or BoP 3.0. Our analysis also points to a lack of clear evidence that the BoP concept has delivered on its promise either to businesses or to BoP participants. (shrink)

Porter and Kramer :78–92, 2006; Harv Bus Rev 89, 62–77, 2011) introduced ‘shared value’ as a ‘new conception of capitalism,’ claiming it is a powerful driver of economic growth and reconciliation between business and society. The idea has generated strong interest in business and academia; however, its theoretical precepts have not been rigorously assessed. In this paper, we provide a systematic and thorough analysis of shared value, focusing on its ontological and epistemological properties. Our review highlights that ‘shared value’ has (...) spread into the language of multiple disciplines, but that its current conceptualization is vague, and it presents important discrepancies in the way it is defined and operationalized, such that it is more of a buzzword than a substantive concept. It also overlaps with many other concepts and lacks empirical grounding. We offer recommendations for defining and measuring the concept, take a step toward disentangling it from related concepts, and identify relevant theories and research methods that would facilitate extending the knowledge frontier on shared value. (shrink)

The dominant framework for addressing procreative ethics has revolved around the notion of harm, largely due to Derek Parfit’s famous non-identity problem. Focusing exclusively on the question of harm treats what procreators owe their offspring as akin to what they would owe strangers (if they owe them anything at all). Procreators, however, usually expect (and are expected) to parent the persons they create, so we cannot understand what procreators owe their offspring without also appealing to their role as prospective parents. (...) I argue that prospective parents can wrong their future children just by failing to act well in their role as parents, whether or not their offspring are ultimately harmed or benefitted by their creation. Their obligations as prospective parents bear on the motivations behind their reproductive choices, including the choice to select for some genetic trait in their offspring. Even when procreators’ motivations aren’t malicious, or purely selfish, they can still fail to recognize and act for the end of the parental role. Procreators can wrong their offspring by selecting for some genetic trait, then, when doing so would violate their obligations as prospective parents, or when their motivation for doing so is antithetical to the end of the parental role. (shrink)