The vital data about the electrical activities of the brain are carried by the electroencephalography signals. The recordings of the electrical activity of brain neurons in a rhythmic and spontaneous manner from the scalp surface are measured by EEG. One of the most important aspects in the field of neuroscience and neural engineering is EEG signal analysis, as it aids significantly in dealing with the commercial applications as well. To uncover the highly useful information for neural classification activities, EEG studies (...) incorporated with machine learning provide good results. In this study, a Fusion Hybrid Model with Singular Value Decomposition Based Estimation of Robust Parameters is proposed for efficient feature extraction of the biosignals and to understand the essential information it has for analyzing the brain functionality. The essential features in terms of parameter components are extracted using the developed hybrid model, and a specialized hybrid swarm technique called Hybrid Differential Particle Artificial Bee algorithm is proposed for feature selection. To make the EEG more practical and to be used in a plethora of applications, the robust classification of these signals is necessary thereby relying less on the trained professionals. Therefore, the classification is done initially using the proposed Zero Inflated Poisson Mixture Regression Model and then it is also classified with a deep learning methodology, and the results are compared with other standard machine learning techniques. This proposed flow of methodology is validated on a few standard Biosignal datasets, and finally, a good classification accuracy of 98.79% is obtained for epileptic dataset and 98.35% is obtained for schizophrenia dataset. (shrink)

The paper aims to show how Japanese theoretical physics groups emerged between the First and Second World Wars. First, it will be argued that by the early 1930s the Japanese physics community had been predominantly inclined towards experimental physics and that several academic, cultural, and social factors had worked for the maintenance of this status quo. Next, how the situation slowly changed during the early 1930s, and how the young theoretical physicists successfully established a bridgehead during the mid-1930s will be (...) analysed. Four different elements are suggested: the dazzling success of quantum mechanics and its spread in the West; the dominance of experimental physics and its effect on the university system; cultural/social influence; and the emergence of the research network. (shrink)

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why It's OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons (...) are hard to find. Willard show that it's reasonable to believe that most boycotts of artists won't succeed, so most of the time there's no ethical reason to join in. Someone who manages to separate the art from the artist isn't making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and so-called "cancel culture," arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of art to change our lives for the good. It's of course OK to decide to give up the artwork of immoral artists, but--as Willard shows in this provocative little volume--it's OK to continue to enjoy their art, as well. Key Features Offers accessible discussions of complicated philosophical topics like aesthetic value, collective action problems, and epistemic justice Provides a unique perspective and underexplored argument on the popular issue of cancellation Explores the role of aesthetic value in our lives, including its relation to our ethical decisions and our well being. (shrink)

조선 말기에 활동했던 易學者 李元龜의 사상에 대해서는 實學으로 보는 견해, 朱子學의 계승이라는 평가, 그리고 道學과 實學이 종합되어있다는 여러 평가가 교착되어있는 상태이다. 그의 太極陰陽論이나 理氣論에서 사용하고 있는 개념범주들은 성리학의 것과 모순되거나 위배되는 것이 아니라 오히려 性理學의 기본개념전제들을 정확히 이해하고 있으며 이 토대위에서 그의 易學 체계를 수립한다. 그는 성리학적 개념들을 다시 역학적인 개념으로 환원시켜 설명하고, 역학의 數理를 빌려 人倫과 産業이라는 經世論으로 논의를 심화확대하고 있다. 역학적 관점에서 본다면 그는 9와 6이란 음양의 數理를 통해 음양의 상호 존중과 인륜산업의 조화와 발전을 도모하고 있는데, 이는 가치론적으로 (...) 음양을 차별하던 기존의 음양론과는 상당히 다른 모습을 보인다. 그는 수리를 강조하면서 義理를 경시하지 않았고, 象數學 전통과 義理學 전통을 겸한 독창적인 수리사상을 가지고 있었다고 할 수 있다. 이원구 역학은 宋代 數理論 중심의 理學의 연장선상에 있다. 다만 송대 理學이 주로 형이상학적인 측면에 한정해서 象數를 논의했던 것과는 달리, 人事 중심의 인간학적인 문제로까지 확장시키고 있다는 점에서 그 차이점을 찾을 수 있다. (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)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Preface: Variations of Archiving the Anarchive Through Editorial Witnessing by April Vannini “a diagram is a map, or rather several superimposed maps.” 1 What do we do with essays, art, artefacts, and practices that go against, resist, challenge and reject archival capture or documentation since they do not fit within the screen or manage to move beyond conventional scales? What do we do with an essay or artefact that is the event of the event becoming-event itself, or how do we move from volumetric space to two-dimensional space? How do editors, curators, participants, etc. become witness to an anarchive? And most importantly, what are the potential and unanticipated ways in which a volumetric submission can be diagrammed within a two- dimensional space? In short, how do we archive the anarchive? These are questions that have emerged and have been consciously and purposely activated by Sean Smith’s thinkpiece for this issue, The Garage (Take One) . Sean, as part of his contribution to the special issue of drift within the thread in between space and place , created an artefact that emerged out of an event held during May 2013, titled Cottage University: Topology and Immanence . The visual documentation of The Garage (Take One) is not an archive but an anarchive due to its multimodal form, non-representational diagramming, and its reactivation of non-representational folding which animates its non-representational or more-than -representational condition. In short, The Garage (Take One) stymies attempts to be translated into digital text, representationally. As a reader of Sean’s submission you will only have access to a portion of the original submitted contribution (see “Take One”). At this time, I remain the only witness of The Garage (Take One) in its entirety: I was present at the original event, Cottage University: Topology and Immanence , and I was the sole receiver of the original package because of my role as editor for the thread, in between space and place . However, I would like to stress that I was unaware of what Sean would submit as his contribution to the special issue. What is presented here is an emergent rippling of the event that was not predetermined or arranged in advance ... a drifting of sorts! As for now, the artefact sits here on my desk next to a pile of books—folded, creased and somewhat lost in its translation into digital form. Questions of transcribing, translating and converting volumetric space to two-dimensional space have been considered throughout this process. And more importantly this artefact and its processes raise the issue of not what has been saved and included but what has been left out in each conversion of the original into the academic publication. What follows this preface are various “cuts” or “takes” from The Garage: Take One . Each take or cut is merely an interpretive and representational rendering of the original volumetric submission. Although with that said I would like to propose they are more than just representations or interpretations: each take or cut works as rippling variations of the event itself . It is important to acknowledge that much has been lost in the creases and much still lingers which will never be archived within an academic journal. Hence, a discussion of how to archive the anarchive is so crucial to para-academic “scholarship”. I will sum up the process that has emerged from The Garage (Take One) with a final word from Brian Massumi, written in his foreword to Deleuze and Guattari’s A Thousand Plateaus : Each 'plateau' is an orchestration of crashing bricks extracted from a variety of disciplinary edifices. They carry traces of their former emplacement, which give them a spin defining the arc of their vector. The vectors are meant to converge at a volatile juncture, but one that is sustained, as an open equilibrium of moving parts each with its own trajectory. The word 'plateau' comes from an essay by Gregory Bateson on Balinese culture, in which he found a libidinal economy quite different from the West's orgasmic orientation. In Deleuze and Guattari, a plateau is reached when circumstances combine to bring an activity to a pitch of intensity that is not automatically dissipated in a climax. The heightening of energies is sustained long enough to leave a kind of afterimage of its dynamism that can be reactivated or injected into other activities, creating a fabric of intensive states between which any number of connecting routes could exist. 2 The Garage (Take One) Double Take 2:31pm/5:31pm Sean Smith You there? I just wanted to emphasize a couple of things about the process of the submission: 2:31pm/5:31pm April Warn-Vannini Yes, listening. 2:36pm/5:36pm Sean Smith 1.When you describe feeding forward from the CU (Cottage University) event, it is a WALKING ACTIVITY that reinvests/reactivates the intensive energies of the event. that is what my photos are in Take One......it connects the intensive state of CU to my "one-take" writing on construction paper experience. i'm not sure if i adequately conveyed that or not, or if you did, or how important that is. 2. In doing so, it ruptures open the "space" and "place" of material practice ...and how these may enter into the mediated production of academic journal work...and its flattened two-dimensional experience. 3. the abstract machines of CU (i.e.coming out of silence) are invested with a new diagramming practice (the photo walk) to produce a new text that is neither-nor: "spaced" as a content of that walk (garages), but "placed" as a technical question (coming out of silence to language). 4. the new text is precisely diagrammatic, non-representational, anarchival. ....multimodal. ok, that's all that comes to mind right now. appreciating your efforts. 5. oh, finally, i think you might need a better definition of "anarchive" here..... it was hard to pin them down in montreal on what this is, so you wouldn't be wrong, per se, but more require a working definition for the reader. obviously, as you say, without getting too academic/citations, etc. know what i am saying? 2:46pm/5:46pm April Warn-Vannini 1. Totally got it but I think I did because of our many past conversations about how to archive the event 2. Yes this is what I love about this. And I think you speak to this very carefully in your writing on the Garage. Now whether others pick up on this I don't know. This is why I wanted to see what it would look like if I flattened it (take 3). 5. I agree that a better definition is needed. This is where I've been stumbling because I have not found anything that clearly defines what is meant by anarchive. 2:47pm/5:47pm Sean Smith "with take one being the only remainder of the original submission left to reveal...." precisely because of its digitality!!! yeah, i would probably just append an edited version of what we are saying here, as if the editing process was still a ripple of the event. me "adding" new text later i think defeats the purpose, but if you were to take snippets of this dialogue as part of the anarachive/ 2:48pm/5:48pm April Warn-Vannini Totally! 2:49pm/5:49pm Sean Smith and just *use them*, i think that's fair game. that way i won't be crafting my words with intent. you can even use this profile pic. 2:50pm/5:50pm April Warn-Vannini Okay perfect. With that said, do you think I should just discuss your process further in the preface or include an introduction that would be in take one? 2:51pm/5:51pm Sean Smith could it be Take Two in its own right, like an atemporal ripple that coexists with the others and bumps them to Three, Four and Five? Or could it be called "Double Take" and leave the others as Two, Three, Four? 2:53pm/5:53pm April Warn-Vannini Perfect. I like double take 2:53pm/5:53pm Sean Smith and it's us hashing through this discussion 2:53pm/5:53pm April Warn-Vannini Double take will follow take one. i like this. The Garage (Take Two) Folded, taped (scotch and duct), folded recycled chart paper previous emergent thoughts: performed, inscribed and made anew Red jiffy, black jiffy, blue ink pen cursive writing/block writing diagramming amplification dilated » » » » directional arrows « « « « Moistened, torn, crinkled Ruptures Anarchive of thought events Deciphering language/writing Exchanged as a volumetrics of new spaces Performing tactics of “writing off the page” on the page Enclosed [OPEN THE DOORS, MOVE FROM SURFACE TO VOLUME…AND THE CONVERSATION JUST MIGHT BEGIN ANEW. *stamped* SEAN SMITH] Drifting Drifting Drifting The Garage (Take Three) 6 Sean Smith video from April Vannini on Vimeo . The Garage (Take Four) The Garage (Take Five). (shrink)

This paper, a version of which was presented at the ‘Feminist Futures’ twentieth Anniversary conference of the British and Irish Feminist Theology Summer School in July 2012, is, in one sense, a misnomer. Through the lived experience of one remarkable woman with whom I have the privilege of working as a mental health chaplain and companion, I recount her past of pervasive patriarchal abuse, pain, and psychic ‘storms’ but also her present that contains her songs of survival and her language (...) of liberation. It is one woman’s life, a life that could be replicated in many women’s lives, not only in the past, but in the present and throughout the world. But it is only by being acutely reminded of the unique, personal narratives of women, and men, whose past continues to invade our presents by their unbearable witness to the actual violence of the patriarchal landscapes in which their ‘voices’ have been seemingly silenced and their language pathologized, that we shall be able together to conceive of futures. These are futures where, whilst, acknowledging the continuing severe and enduring psychological damage to the abused and the violated and enabling appropriate treatment to be available, we shall also empower the bearing of the witness, the resolute and hard won language of the remaining, the bursting forth from the deadness of tombs of terror, of resurrected lives in the dance of the garden. This will require a sea-change in the way we imagine and establish mental health services and it will require an applied feminist theological methodology to be at the heart, not only of the theoretical models, but of the witnessing to the theology-making that such hidden, ‘anonymous’ lives intrinsically reveal. To imagine such mental health services is a subject for another paper. For now I want to introduce one such life I have been describing and with whom I have the privilege of travelling, consciously and shamefully aware of my gender in a way which seems OK, which seems re-imagined through the eyes of a woman who has absolutely no reason to love men but who has invited me to tread tenderly towards the sights and seasons of her pain and abuse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coeditors’ IntroductionRetro III: As We RestartAlyson Cole and Kyoo Leethe covid-19 pandemic drags on, and, as the world is now trying to recover from it by learning to at least live with it better, philoSOPHIA has arrived at the third and final issue of RETRO. The fact that this series ended up being framed by the turbulent temporality of the current pandemic is something that some future editors of (...) philoSOPHIA, too, might find worth remembering.For now, we return to the now-point, as expected. To that end, here we have assembled articles on historical, individual, and gendered stigmas and wounds and traumas, among others, focusing also on their relationships to existential time, namely, present moments that persist.We turn first to the pressing issue presented by “Shackling Pregnant Women: US Prisons, Anti-Blackness, and the Unfinished Project of American Abolition”: Brady Heiner offers a lucid “interpretation of the social meaning of shackling imprisoned pregnant women and its persistence despite widespread normative consensus in favor of its abolition,” a joltingly specific, haunting reminder of how deeply the legacy of slavery is embedded in the US criminal legal system and the ways in which American abolition remains an “unfinished project.”Finally, RETRO III marks an ending and a restart of another kind. As of this issue—or, rather, this volume—philoSOPHIA is transitioning from a biannual to an annual publication schedule. In recent years, the journal has transformed in various ways. In 2018, we adopted a new transContinental approach and, with it, a new subtitle. We have expanded to include different [End Page v] genres, media, and voices, always aiming to reflect on our current moment and rethink persistent feminist philosophical questions from divergent angles. Publishing one volume per year is, we are certain, the best way to sustain this breadth of inquiry and continue deepening our alliances with critical race, disability, literary, media, and queer studies, among other fields. As we restart, readers can expect us to keep pushing boundaries, as we always have, while maintaining the same high quality and standards. This is essentially a change in the journal’s format, not in its substance.Wound/stigma as process also emerged as a key notion in Retro III partly because of our preliminary editorial conversation with Annette-Carina van der Zaag about three years ago, who, in response to our call for proposals on “retro” themes, had proposed an idea of guest editing an issue. Although that plan unfortunately did not materialize as we dealt with various pandemic challenges still faced by so many of us on a daily basis, Annette did write a spirited article while encouraging some other colleagues to explore related ideas, for which we remain grateful. In this piece, “Touching Wounds: On the Fugitivity of Stigma,” which explores stigma’s queer-responsive “transformational energy,” van der Zaag articulates ways of “inhabiting” wounds on three registers—material, affective, and fugitive—as an open-ended, future-embracing pathway beyond identity-bound ontology. Ghalya Saadawi, in turn, in her engagingly autobiographical essay “Critical Incision: Hypochondria, Autotheory, and the Health-Illness Dialectic,” autotheoretically draws out “critical” energy from this critical “illness” of hers, hypochondria, to the effect of destabilizing the temporally linearized and medically coordinated discursive ideals of health and being/living well.Survival, at the end of the day, often requires some literal transcending. A case in point has been movingly portrayed and theorized by Na-Young Lee, a sociologist and justice activist who, in “Multiple Encounters and Reconstructed Identities,” revisits questions of historical trauma and collective stigma. Here, she introduces and reflects on her oral history interviews with Korean “Halmoni Activist-Survivors of Japanese Military Sexual Slavery as Postcolonial Subjects,” with whom she herself continues to fight in solidarity. Focusing on the stories of two foundational figures, “Yun Chung-ok, a leading scholar and activist who, having managed to escape the fate of many other peers, first spoke out about Japanese military sexual slavery, and Kim Bok-dong, a survivor and human rights activist,” Lee shows how “overcoming trauma and reaching out to others continues to drive the redress movement” and how “through mutually constructed identities, activist-survivors broke away from... (shrink)

Abstract:This paper explores multiple encounters between activist-survivors of Japanese military sexual slavery (“comfort women” or halmonis, meaning “elderly women” or “grannies” in Korean) and solidarity activists. I mainly focus on the stories of two foundational figures in the ongoing justice campaign for the survivors, both of whom faced that forceful military act (between 1932 and 1945) as teenage girls in colonized Korea, although in dramatically different ways: Yun Chung-ok, a leading scholar and activist who, having managed to escape the fate (...) of many other peers, first spoke out about Japanese military sexual slavery, and Kim Bok-dong, a survivor and human rights activist. This paper will address the multiple encounters and dialogues of memories to resituate subjects, which led to overcoming personal trauma and reaching out to others and continues to drive the redress movement. Drawing on oral history interviews, feminist ethnography, and various documented resources including survivors’ testimonies, which have been archived for around twenty years as part of my own scholar-activist work, I juxtapose these women’s lives to show how a community of responsibility has been formed to decolonize androcentric history. The women involved in the movement for the resolution of the Japanese military sexual slavery issue reinterpreted their experiences as having been formed by imperialism, colonialism, and patriarchy. While caring for and healing with one another, they suggested the possibility of a new subject formation. Through mutually constructed identities, activist-survivors broke away from social stigma and became agents who led transformation of a postcolonial society. (shrink)

Compassion and Benevolence reveals the heart of early Buddhist and classical Confucian ethics in a comparative way. It explores compassion (karuna) and benevolence (jen) by analyzing their mechanisms, their moral groundworks, their applications, and their meta-ethical nature. This exploration intends to reject the popular theses: early Buddhism is only self-liberation-concerned soteriology and classical Confucianism is only society-concerned thought requiring self-effacement.

On the premise that the good knowing is the originary reality, this article provides a synopsis of Wang Yangming’s exposition of the fundamental essence of liangzhi. The self-existent resemblances of the originary reality are outlined and summarized as the eight virtues of liangzhi: voidness, intelligence, luminousness, awareness, constancy, happiness, true I, and purity. These eight virtues are, however, ultimately subsumed by the middle, which governs them in common. The middle is the original state and true form of the fundamental essence (...) of liangzhi, which Wang Yangming describes as a transparent mirror and level balance. (shrink)

In addition to addressing the usual topics of real analysis, this book discusses the elements of order theory, convex analysis, optimization, correspondences, linear and nonlinear functional analysis, fixed-point theory, dynamic programming ...

In the traditional frame of classical electrodynamics, a hydrogen atom would emit electromagnetic waves and thus constantly lose energy, resulting in the fall of the electron on the proton over a finite period of time. The corresponding results were derived under the assumption of the instantaneous interaction between the proton and the electron. In 2004, Raju published a paper where he removed the assumption of the instantaneous interaction and studied the role of a time delay in the classical hydrogen atom. (...) He introduced a model of this effect that can be solved analytically. He calculated the radius rsel of a selected orbit, for which this effect and the radiation reaction force would cancel each other with respect to the tangential acceleration. It turned out that rsel is by an order of magnitude smaller than the Bohr radius. In the present paper we use Raju’s model for the corresponding gravitational situation. In frames of Newton’s gravity, we calculate analytically the radius and the energy Esel of a selected orbit, for which the retardation effect and the radiation reaction force would cancel each other out with respect to the tangential acceleration. Then we compare our outcome with some results of Kaplan’s solution for the two-body gravitational problem based on the Schwarzschild’s field. We show that Esel is very close to the minimum energy of bound states obtained by Kaplan in Einstein’s gravity. We emphasize that the selected orbit from the present paper represents the second only physical situation where the radiation reaction force is zero, but the radiation-caused energy loss is not zero. (shrink)

In this article, gender-differentiated employment practices are examined with a focus on different mechanisms of labor control in the South Korean textile industry, a prototypical Third World industry based on export-oriented industrialization. The analysis focuses on how labor control mechanisms, such as gender segregation in jobs and authority relations in the factory, the nature of worker dependency, and subcontracting interact with gender and produce different outcomes for men and women workers in spinning and weaving and clothing industries. These practices are (...) used to maintain the competitiveness of the South Korean product in the international market as well as for the maximization of profit in the textile industry. (shrink)

In May of 2006, the Abigail Alliance for Better Access to Development Drugs appeared to have won a victory when a divided panel of the Court of Appeals for the District of Columbia Circuit ruled that “terminally ill, mentally competent adult patients” had a constitutionally protected right to access investigational medications. This victory was short lived, however. On August 7, 2007, the D.C. Circuit sitting en banc reversed this earlier decision, marking a setback in Abigail's campaign for removal of the (...) regulatory barriers that currently prevent terminally ill patients from gaining early access to investigational drugs. This loss represents a big blow for Abigail's cause, because there is no guarantee that they will have another day in court, and attaining their goal through other branches of the government remains uncertain. (shrink)

Background: Academic ethical awareness is an important aspect especially for nursing students who will provide ethical nursing care to patients in future or try to tread the path of learning toward professional acknowledgement in nursing scholarship. Purpose: The purpose of this study was to explore academic ethical awareness and its related characteristics among undergraduate nursing students. Methods: This study commenced the survey with cross-sectional, descriptive questions and enrolled convenient samples of 581 undergraduate nursing students from three universities in South Korea. (...) It was investigated with structured questionnaires including general characteristics and academic ethical awareness related. Ethical considerations: This study was reviewed and approved by the Institutional Review Board at National University. Findings: Academic ethical awareness was the highest regarding behaviors violating the respect or confidentiality of patients and cheating on exams, while it was the lowest for inappropriate behaviors in class. From the result of general characteristics difference, male students showed higher score than female students in relative; first-year students showed higher score than other year students; the higher score was rated from students who were highly satisfied with their major than the other not satisfied with their major; and students with low academic stress showed higher ethical awareness score than persons with higher stress. Conclusion: Personal behaviors were rated with low ethical awareness in relative, but items related to public rules and actual effects on patients or others were rated with higher score. Nursing satisfaction and academic stress are main factors on ethical awareness. To improve overall ethical awareness level of nursing students, it is required to provide more education about the importance of personal behaviors in class and need to improve the understanding of how it will be connected with future situation and effect. (shrink)

Not for the academic value of some of the situational events, often with a comprehensive, decisive, Yan'an new philosophy will the home of its columns. Will establish a new philosophy, a lot of grand strategy is one of the actions in Yan'an. This paper examines a new philosophy will be the basic process, an analysis of its membership and the subsequent effects, assessing its characteristics in the formation of contemporary Chinese culture, the unique role, made ​​a number of issues need (...) to be further explored. This paper shows that the new philosophy will not academics, but the educational organization. It is the ideology of expert training, knowledge and control of legal rights, the implementation of the regulatory action of self-sufficiency and closed culture strategy. New philosophy will be mainly in the construction and maintenance of highly exclusive mode of thinking to make contributions, as the full value of its effect remains to be thorough and reasonable debate. Some situational events, which have been neglected by academics, may be of significant importance. The Yan'an New Philosophy Association is an example. Its establishment was one of the ambitious strategic actions of the CCP in Yan'an. This paper examines the process of the YNPA's establishment, analyses the composition of its membership, assesses its unique effect on the formation of contemporary Chinese ideology, and raises some issues that are in need of further research. This study shows that the YNPA was an educational institution instead of an academic society, and that the experts in ideology it produced had exclusive power in the cultural domain and implemented the party's cultural policies. We can see that the YNPA greatly contributed to the construction and maintenance of a high degree of cultural exclusivity. A full picture of this association, however, requires much more in-depth studies. (shrink)

This thesis reviews Haam Seok Heon‘s See-al philosophy, the main philosophy about life in terms of women. The See-al philosophy was created by Haam, who went through the turbulent times of Korea. So far, we have had papers that dealt with his philosophy under the political, historical and religious contexts, but there has been no paper focused on women. Actually, Haam confessed that it was his mother who structured the foundation of his philosophy. He also said that he learned from (...) his mother about freedom, equality, and the basics of See-al ideas. He developed his philosophy of life, See-al, through the image of his motherwho devoted her whole life to bring him up with love and willingly sacrificed her life for her beloved son. Haam regarded women as a link of all lives in history. He also thought mothers, women in other words, have that power that gives birth, breeds lives and infuses new structure into eternal life; in addition, he stated that women have energy which pulls clear and new things out of filthy and dirty things. Through his image about women, Haam's See-al philosophy extends itself as an ecological life movement. In this paper, Haam's philosophy about women is not reviewed and analyzed by the western point of view because Haam is not a man who spent his life in so-called the "times of women" in the western view. Since his philosophy emphasizes self-reflective, independent life, freedom andequality, we might find out that there are some discrepancies between his philosophy and the lives of his mother and wife who had sacrificed their lives under the patriarchal social system. However, the meaning of Haam's independent life is totally different from the western concept of if. That is, his idea of independent life is closely related to sacrifice. In the current society under the influence of Neo-liberalism, only competition and economic logic matter; however, Haam's philosophy, which states "Life is no different between you and I, and only love can save you and I as one existence" and cherishes every single life as one organism that connects all existing things--sky, earth, human beings, etc.--is of great importance for us to reconsider. (shrink)

Supply networks as complex systems are significant challenges for decision-makers in predicting the evolution of cooperation among firms. The impact of environmental heterogeneity on firms is critical. Environment-based preference selection plays a pivotal role in clarifying the existence and maintenance of cooperation in supply networks. This paper explores the implication of the heterogeneity of environment and environment-based preference on the evolution of cooperation in supply networks. Cellular automata are considered to examine the synchronized evolution of cooperation and defection across supply (...) networks. The Prisoner’s Dilemma Game and Snowdrift Game reward schemes have been formed, and the heterogeneous environment and environmental preference have been applied. The results show that the heterogeneous environment’s degree leads to higher cooperation for both Prisoner’s Dilemma Game and Snowdrift Game. We also probe into the impact of the environmental preference on the evolution of cooperation, and the results of which confirm the usefulness of preference of environment. This work offers a valuable perspective to improve the level of cooperation among firms and understand the evolution of cooperation in supply networks. (shrink)