La dépression hante notre contemporanéité. « Mal du siècle », elle envahit notamment les lieux de consultation et services hospitaliers accueillant les bébés et leurs parents. Les recherches montrent les impacts de la dépression maternelle sur le développement de l’enfant et la nécessité d’accompagner le processus de parentalité dans ce cas de figure. Après quelques repères théoriques autour de la dépression maternelle et/ou conjointe, l’article propose une thérapeutique qui s’est révélée efficace. Il s’agit d’Accordanse : un dispositif de soin et (...) de recherche accueillant des mères et leurs bébés en souffrance psychique centré sur la danse. Quelques séquences cliniques permettront de mieux mesurer dans quelle mesure la danse soutient la construction d’une chorégraphie des interactions harmonieusement accordée lorsque celle-ci est « empêchée » par la lourdeur de la dépression. (shrink)

BackgroundExercise is primarily sustained by energy derived from lipids, and glucose. Substrate utilization is the pattern by which these fuel sources are used during activity. There are many factors that influence substrate utilization. We aim to delineate the effect of exercise intensity and body composition on substrate utilization.ObjectiveThe objective of our study was to discern the differences in substrate utilization profiles during a maximal and submaximal graded exercise test, and to determine the extent to which body composition influences substrate utilization (...) during the exercise tests.MethodsA total of 27 male athletes, 32.5 ± 11 years of age, were recruited for this study. Body composition was analyzed using a bioelectrical impedance analyzer. Maximal and submaximal exercise tests were performed on a treadmill. A novel graded submaximal treadmill protocol was used for the submaximal test.ResultsAverage percent body fat was 15.8 ± 5%. Average maximal oxygen consumption was 47.6 ± 9 mL/kg/min, while the average exercise intensity at which participants were shifting to glucose predominance for energy during the maximal and submaximal tests were 76 ± 8.3% and 58.4 ± 21.1%, respectively. A paired-samples t-test was conducted to compare percent VO2max at crossover point in maximal and submaximal graded exercise tests. There was a significant difference in percent VO2max at the crossover point for maximal and submaximal tests. A linear regression was performed to elucidate the interaction between exercise intensity at the crossover point and body composition during a maximal and submaximal graded exercise test. There was a significant effect of PBF on percent VO2max at crossover point during the maximal graded exercise test [F = 9.10, P = 0.006] with an R2 of 0.245. However, there was no significant effect of PBF on percent VO2max at crossover point during the submaximal graded exercise test.ConclusionSubstrate utilization, represented by the crossover point, is dependent on the rate of increase in exercise intensity. At maximal efforts, the crossover to carbohydrates from fats as the predominant fuel source occurs at a significantly later stage of percent VO2max than at submaximal efforts. Furthermore, body composition represented by PBF is a significant predictor of substrate utilization during maximal efforts. Athletes with a relatively higher PBF are more likely to have increased lipid oxidation during high intensity exercises than those with a lower body fat percentage. (shrink)

Initiating clinical ethics support in psychiatry and maintaining its continuity appear to be easy. This is contradicted by the observed delay or lack of CESiP, e.g. ethics consultation. On the basis of a published literature search and the discussion of practical experiences over 2.5 years 10 tasks and relating challenges of initiating and maintaining CESiP are formulated and illustrated by examples. Referral to experiences is grounded on the systematic documentation of ca. 100 CESiP activities. The tasks and challenges illustrate how (...) CESiP was initiated and maintained in child and adolescent, adult and forensic psychiatry. Each example is followed by a “rule of thumb” that was found useful in our centre. Discussion: Suggestions I–III are of organisational nature, IV–X have explicit ethical content concerning the ethos or professionalism of the ethics consultant and CES practice. Their realisation requires a minimum of stability of CESiP and considerable consultancy experience. (shrink)

Clinical ethics consultation has developed from local pioneer projects into a field of growing interest among both clinicians and ethicists. What is needed are more systematic studies on the ethical challenges faced in clinical practice and problem solving through ethics consultation from interdisciplinary perspectives. The Thematic Issue covers a range of topics and includes five recent studies from various European countries and the USA, focusing on issues such as the ethical difficulties of end of life decisions, experiences with newly developed (...) or well established ethics consultation services, and the expectations of physicians in various clinical fields who are still unfamiliar with clinical ethics consultation. The papers included illustrate the interface between different socio-cultural contexts and their ways of dealing with clinical ethics consultation. They deepen the dialogue on clinical ethics consultation that has emerged at the European and International level. (shrink)

Facial perception plays a key role in various social interactions, including formidability assessments. People make relatively accurate inferences about men’s physical strength, aggressiveness, and success in physical confrontations based on facial cues. The physical factors related to the perception of fighting ability and their relative contribution have not been investigated yet, since most existing studies employed only a limited number of threat potential measures or proxies. In the present study, we collected data from Czech Mixed Martial Arts (MMA) fighters regarding (...) their fighting success and physical performance in order to test physical predictors of perceived fighting ability made on the basis of high-fidelity facial photographs. We have also explored the relationship between perceived and actual fighting ability. We created standardized 360° photographs of 44 MMA fighters which were assessed on their perceived fighting ability by 94 raters (46 males). Further, we obtained data regarding their physical characteristics (e.g. age, height, body composition) and performance (MMA score, isometric strength, anaerobic performance, lung capacity). In contrast to previous studies, we did not find any significant links between the actual and perceived fighting ability. The results of a multiple regression analysis have, however, shown that heavier fighters and those with higher anaerobic performance were judged as more successful. Our results suggest that certain physical performance-related characteristics are mirrored in individuals’ faces but assessments of fighting success based on facial cues are not congruent with actual fighting performance. (shrink)

O hipotireoidismo congênito (HC) é uma doença endócrina resultante da carência de hormônios tireoidianos no organismo. Os programas de rastreamento neonatal para HC possibilitam evitar a maior parte das conseqüências neuropsicológicas, permitindo que as crianças tenham um desenvolvimento normal. Est..

O objetivo deste artigo é discutir as complexas e flutuantes definições sobre os espaços público e privado a partir dos anos 1960, focando especialmente nas críticas elaboradas pelas feministas, para destacar as importantes contribuições dessas teóricas tanto para o alargamento conceitual desses dois espaços quanto para a problematização da esfera doméstica. Dos anos 1960 em diante, as feministas mostram que as tradicionais e históricas polarizações dos espaços sociais legitimam estruturas e práticas de dominação masculina, assim, ficam mais evidentes as relações (...) de poder, presentes nessas esferas. Nesse sentido, focaremos no potencial crítico desses estudos e na importância da compreensão das dinâmicas opressivas referentes às vivências domésticas das mulheres — considerando a pluralidade de classes e raças que constituem essa categoria.Palavras-chave: Espaços público/privado. Espaço doméstico. Estudos feministas.AbstractThe objective of this article is to discuss the complex and fluctuating definitions of public and private spaces since the 1960s, focusing especially on the criticisms drawn up by feminists, to highlight the important contributions of these theorists both to the conceptual expansion of these two spaces and to the problematization of the domestic sphere. From the 1960s onwards, feminists show that the traditional and historical polarizations of social spaces legitimize structures and practices of male domination, thus, the power relations, present in these spheres, become more evident. In this sense, we will focus on the critical potential of these studies and in the importance of understanding the oppressive dynamics related to women's domestic experiences — considering the plurality of classes and races.Keywords: Public / private spaces. Domestic space. Feminist studies. (shrink)

Background: Paediatric nurses often face complex situations requiring decisions that sometimes clash with their own values and beliefs, or with the needs of the children they care for and their families. Paediatric nurses often use new technology that changes the way they provide care, but also reduces their direct interaction with the child. This may generate ethical issues, which nurses should be able to address in the full respect of the child. Research question and objectives: The purpose of this review (...) is to describe the main ethical dimensions of paediatric nursing. Our research question was, ‘What are the most common ethical dimensions and competences related to paediatric nursing?’ Research design: A rapid evidence assessment. Method: According to the principles of the rapid evidence assessment, we searched the PubMed, SCOPUS and CINAHL databases for papers published between January 2001 and March 2015. These papers were then independently read by two researchers and analysed according to the inclusion criteria. Ethical considerations: Since this was a rapid evidence assessment, no approval from the ethics committee was required. Findings: Ten papers met our inclusion criteria. Ethical issues in paediatric nursing were grouped into three areas: (a) ethical issues in paediatric care, (b) social responsibility and (c) decision-making process. Conclusion: Few studies investigate the ethical dimensions and aspects of paediatric nursing, and they are mainly qualitative studies conducted in critical care settings based on nurses’ perceptions and experiences. Paediatric nurses require specific educational interventions to help them resolve ethical issues, contribute to the decision-making process and fulfil their role as advocates of a vulnerable population (i.e. sick children and their families). Further research is needed to investigate how paediatric nurses can improve the involvement of children and their families in decision-making processes related to their care plan. (shrink)

In this chapter, we explore the question of on what grounds reports of clinical ethics support in general, including especially clinical ethics consultation, can or should be evaluated when using a peer review system. It is our contention that to evaluate clinical ethics consultation within a peer review system aiming at transparency and fairness, a defined and shared criteria of evaluation, i.e. an evaluation standard is required. When evaluating a performed ethics consultation, we can roughly distinguish between an internal standard, (...) which refers to the conceptualization of clinical ethics consultation held by the respective consultant or by the assessed clinical ethics support service themselves, and external standards. Most important is the way how an external standard is being defined: Is it just the standard of another service or colleague? Or is it the result of a larger consensus-building process of a relevant body representing a larger group of colleagues, such as the ASBH? Or does it even rely on the “evidence” of related research? An external standard, however, may rest on criteria that are not – or not fully – accepted by the evaluated CESS or individual ethics consultant. Identifying the internal standard of an observed ethics consultant’s work may also be challenging. From the evaluator’s perspective the responsibility for making an internal standard known and unequivocal lies with the “author” of the material. The potential gap between internal and external standards marks a methodological difficulty that as such has to be addressed within peer review evaluation. (shrink)

The aim is to present a discussion on the origins of the German Enlightenment, comparing the advances made by Leibniz, Crusius and Wolff. The particular element of seventeenth and eighteenth century German society is highlighted, in order to understand the specificities of the Kantian proposal, which is shown to be a process in development and not finished of freedom and autonomy.

Este texto procura mostrar as afinidades entre a estética contemplativa de Mondrian e a Metafísica do Belo de Schopenhauer. As noções examinadas com mais afinco são as de abstração e contemplação e os sentidos que tomam para o artista e o filósofo. O progressivo esvaziamento de todo o conteúdo da obra leva à noção da arte abstrata que busca elevar-se á Ideia ou ao universal. Esse esvaziamento, por sua vez, aproxima as artes plásticas da música, em que os elementos são (...) mais sutis. (shrink)

El artículo presenta el análisis de las implicaciones de evaluar la comprensión de lectura y la redacción en pruebas de ingreso a la educación superior, como una consideración necesaria para el desarrollo de una política de competencia comunicativa. Se describe el diseño de un instrumento, partiendo de la concepción sociosemiótica de la lengua, del enfoque metodológico de la comprensión por niveles intra, inter y extratextual, ligado a procesos cognitivos, y la escritura como tecnología. Se incluye, además, un concepto de evaluación (...) enmarcado en el desarrollo de competencia, es decir, los resultados de la prueba se utilizan, por fuera de concepciones deterministas excluyentes, para mostrar un estado de la competencia y las acciones posibles de mejoramiento de la misma. La competencia comunicativa se demuestra como saber transversal, inter y transdisciplinario. (shrink)

En la actual campaña electoral uruguaya de 2019, se perfila un cuadro de descontentos generalizados que desborda claramente los estándares tradicionales de la política del país. Muchos de estos descontentos se articulan con diversos factores que los autores han venido destacando en trabajos anteriores, como señales de una mutación gradual pero efectiva de la política uruguaya. En continuidad con ese abordaje de investigación, en el artículo se indagará acerca de las posibilidades efectivas de que esta mutación política adquiera proporciones realmente (...) significativas en las actuales circunstancias, con la posibilidad de confirmación de "cisnes negros" que parecen atisbarse en la campaña electoral en curso. Para ello, luego de algunos discernimientos teóricos y metodológicos, se trabajará el itinerario de distintos indicadores de opinión pública a nivel nacional durante el período 1995-2017, vinculados con el objeto de estudio planteado. A partir de esos insumos, se realizarán algunas breves consideraciones de proyección analítica. (shrink)

The evaluation of the quality of the processes of educational and social inclusion of people with disabilities is considered a key element in the improvement of their living conditions. The research presented here is part of the analyses carried out in Italy and abroad on the identification of indicators and categories able to provide a representative picture of the processes of school inclusion by assessing the strengths and weaknesses of the system in local contexts. Assessing the quality of inclusive education (...) is complex because the contextual aspects of educational interventions cannot be ignored. In a research-action approach, the study analyses the Italian situation in the regions of Lazio and Campania through the point of view of 291 specialized teachers or in the process of specialization in the support of pupils with special educational needs Their evaluations, based on a scale from 1 (insufficient) to 5 (excellent), were obtained through a structured questionnaire that collects their opinions on cultural and educational aspects, on management, organisational and collaborative activities between teachers, school directors, local authorities and families, and finally on elements of a pedagogical and didactic nature necessary for quality school inclusion. The descriptive and inferential statistical analysis of the aggregate data sketches a school whose strength in terms of inclusion lies in pedagogical and didactic planning. On the other hand, collaborative aspects, especially synergies between schools and local authorities, are pointed out and hinder effective co-planning of different types of support. These results therefore argue in favour of a systematization of integrated networks of support services for all pupils with special educational needs Regarding training, teachers generally have a negative view of in-service training, which should be deepened and extended to all categories of teachers. The article concludes on the need to promote the development and systematization of qualitative research and documentary collections on good practices of inclusive education in schools. (shrink)

O texto discute a reiterada e repetida demanda pela qualidade e excelência exigida pela sociedade frente à educação contemporânea. Considerando alguns aspectos da modernidade/pós-modernidade em que vivem tanto os herdeiros de Prometeu, como os de Dionísio, caracterizados pelo hedonismo, e os de Hermes, que valorizam a comunicação, a criação e a mediação, postula-se que a educação vive sua crise de finalidade, não encontrando referências ou modelos para atualizar-se. Seu impulso legitimador foi diluído quando o cânone moderno de padrões objetivos de (...) conhecimento e organização em que se baseava o mundo, foram desacreditados frente a um cenário pós-moderno. Neste contexto, são discutidas as necessidades de escolhas, de suturar os opostos, de práticas de ruptura e de alternativas existenciais para impasses contemporâneos. (shrink)

O artigo apresenta um estudo teórico sobre o pensamento de Gert Biesta, filósofo e educador holandês, internacionalmente reconhecido como referência no campo da Pedagogia Crítica. Tem como objetivo pôr em discussão o conceito learnification, criado pelo autor e posteriormente traduzido por aprenderismo, considerando ser esse uma importante referência para orientar estudos e práticas na perspectiva de problematizar o discurso educacional dominante. Como método, apresenta um procedimento complementar aos estudos bibliográficos, qual seja, a análise de vídeos referentes a palestras disponibilizadas pelo (...) autor no ambiente virtual YouTube. Com base na Análise Textual Discursiva, foram tomados como objeto de estudo três vídeos, a saber: “Good education in the age of measurement”; “Being home in the world” e “The beautiful risk of education”. Os vídeos correspondem, respectivamente, a palestras realizadas pelo autor, em diferentes eventos educacionais, entre os anos de 2013 e 2017, perfazendo um período de seis anos e contando com um intervalo de dois anos entre cada palestra selecionada. Resulta deste estudo uma compreensão ampliada do conceito, cuja complexidade buscamos expressar a partir de quatro palavras-chave: mensuração, qualificação, mercantilização e egocentrismo. Cada uma das referidas palavras-chave dá pistas para compreender o conceito, bem como para sugerir a continuidade de estudos sobre o pensamento do autor. Nesse sentido, as considerações finais apresentam questionamentos, com vistas ao aprofundamento de estudos, convidando ao diálogo. Como conclusão, reitera-se a importância do pensamento de Gert Biesta e a relevância da compreensão acerca do conceito learnification/aprenderismo, concebendo-o como significativa contribuição para orientar estudos e práticas no campo da Pedagogia Critica, na perspectiva de pensar/fazer uma boa Educação na era da mensuração. (shrink)

Cet article est constitué de deux parties : la première concerne l’arrivée au Brésil en 1816, de Marie Joséphine Durocher (1809-1893), accompagnée de sa mère, et leur installation dans le nouveau pays en tant que « marchandes de modes » ; la seconde traite de la trajectoire professionnelle de Mme Durocher en tant que sage-femme. De fait, en 1834, elle devient la première sage-femme diplômée du pays, exerçant ce métier pendant plus de cinquante ans à Rio de Janeiro. L’approche biographique (...) nous permet de constater que derrière une image de femme d’exception, sa vie ressemble à celle d’autres femmes vivant dans les villes brésiliennes du XIXe siècle, notamment les couturières et modistes françaises qui traversent l’Atlantique pour « faire l’Amérique » et les sages-femmes françaises et brésilienne qui y exercent leur profession. (shrink)

O texto analisa como o problema da coisa em si em Kant, enquanto fundamento real ou não do fenômeno, foi reelaborado pelos filósofos pós-kantianos e como estes buscaram solucionar o possível dualismo da filosofia crítica. A investigação se concentra sobretudo na resposta de Schopenhauer ao problema, evidenciado pela primeira vez pelo filósofo Friedrich Heinrich Jacobi, um dos grandes críticos da filosofia transcendental e do idealismo.

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)

Este artículo reflexiona sobre la segregación socio-espacial en contextos urbanos, comprendiéndola como una dimensión particular de los procesos de estructuración social en las ciudades capitalistas. Concretamente, se aborda el caso de la ciudad de Córdoba (Argentina). Se parte del supuesto de que el crecimiento urbano por expansión que se registra durante la década del `80, es el resultado de un doble proceso de larga duración. Por un lado, políticas de desarrollo urbano que buscan incrementar la productividad y atraer inversiones privadas (...) que re-cualifiquen espacios estratégicos de la ciudad. Por otro lado, y subsidiario del proceso anterior, la progresiva ocupación diferencial del área periférica de acuerdo a posiciones y condiciones de clase. Se concluye que la suburbanización que se registra en la ciudad forma parte de una política general de (re)valorización urbana orientada hacia el capital privado, y que ya desde los primeros años de la transición democrática pueden observarse en Córdoba incipientes marcas de una periferia segmentada en términos de clase. La estrategia metodológica articula el análisis de datos provenientes de fuentes secundarias (indicadores urbanos, socio-demográficos y habitacionales) con el abordaje cualitativo de intervenciones urbanas y marcos normativos sancionados a mediados de la década del ’80. (shrink)

This article aims to show that the practice of attention can create an openness to the truth, from where ethics arises. It does so by exploring the role attention plays, according to Ricoeur, in Freud’s thought. Ricoeur shows how in the first stage of Freud’s thinking – that of the Project of a Scientific Psychology – attention is one of the instances in which a purely mechanical quantitative explanation can be questioned. Further on, with the introduction of narcissism, Ricœur shows (...) that attention, insofar as it opens a space for the “wounding truth,” opposes narcissism. Finally, the article explains how in the therapeutic setting an attentional epochē allows the therapist to be “the reality principle in flesh and in act,” so that the ego can gain control. According to Ricœur, this non-judgmental gaze opens a space of truthfulness for the patient’s self-knowledge which, although not being the totality of ethics, constitutes its threshold. (shrink)

This article presents a new argument concerning the relation between Kant’s theory of race and aspects of the critical philosophy. It argues that Kant’s treatment of the problem of the systematic unity of nature and knowledge in the Critique of Pure Reason and the Critique of the Power of Judgment can be traced back a methodological problem in the natural history of the period – that of the possibility of a natural system of nature. Kant’s transformation of the methodological problem (...) from natural history into a set of philosophical problems proceeds by way of the working out of his own problem in natural history – the problem of the natural history of the human races – and specifically the problem of the unity in diversity of the human species, in response to which he develops a theory of race. This theory of race is, further, the first developed model of the use of teleological judgment in Kant’s work. The article thus argues that Kant’s philosophical position on the sy... (shrink)

Prior research has investigated the recruitment of inhibition in the use of science/mathematics concepts in tasks that require the rejection of a conflicting, nonscientific initial concept. The present research examines if inhibition is the only EF skill recruited in such tasks and investigates whether shifting is also involved. It also investigates whether inhibition and/or shifting are recruited in tasks in which the use of science/mathematics concepts does not require the rejection of an initial concept, or which require only the use (...) of initial concepts. One hundred and thirty‐three third‐ and fifth‐grade children participated in two inhibition and shifting tasks and two science and mathematics conceptual understanding and conceptual change (CU&C) tasks. All the tasks were on‐line, and performance was measured in accuracy and RTs. The CU&C tasks involved the use of initial concepts and of science/mathematics concepts which required conceptual changes for their initial formation. Only in one of the tasks the use of the science/mathematics concepts required the concurrent rejection of an initial concept. The results confirmed that in this task inhibition was recruited and also showed that the speed of shifting was a significant predictor of performance. Shifting was a significant predictor of performance in all the tasks, regardless of whether they involved science/mathematics or initial concepts. It is argued that shifting is likely to be recruited in complex tasks that require multiple comparisons of stimuli and the entertainment of different perspectives. Inhibition seems to be a more selective cognitive skill likely to be recruited when the use of science/mathematics concepts requires the rejection of a conflicting initial concept. (shrink)

In The Metaphysics of Love, however, Stella Sandford argues that an over-emphasis on ethics in the reception of Levinas's thought has concealed the basis and ...