The automatic detection of implicitly offensive language is a challenge for NLP, as such language is subtle, contextual, and plausibly deniable, but it is becoming increasingly important with the wider use of large language models to generate human-quality texts. This study argues that current difficulties in detecting implicit offence are exacerbated by multiple factors: (a) inadequate definitions of implicit and explicit offense; (b) an insufficient typology of implicit offence; and (c) a dearth of detailed analysis of implicitly offensive linguistic data. (...) In this study, based on a qualitative analysis of an implicitly offensive dataset, a new typology of implicitly offensive language is proposed along with a detailed, example-led account of the new typology, an operational definition of implicitly offensive language, and a thorough analysis of the role of figurative language and humour in each type. Our analyses identify three main issues with previous datasets and typologies used in NLP approaches: (a) conflating content and form in the annotation; (b) treating figurativeness, particularly metaphor, as the main device of implicitness, while ignoring its equally important role in the explicit offence; and (c) an over-focus on form-specific datasets (e.g. focusing only on offensive comparisons), which fails to reflect the full complexity of offensive language use. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dialogic and the Aesthetic:Some Reflections on Theatre as a Learning MediumAnthony Jackson (bio)A Doll's House will be as flat as ditchwater when A Midsummer Night's Dream will still be as fresh as paint; but it will have done more work in the world; and that is enough for the highest genius, which is always intensely utilitarian.— George Bernard Shaw, "The Problem Play"1People have tried for centuries to use (...) drama to change people's lives, to influence, to comment, to express themselves. It doesn't work. It might be nice if it worked, but it doesn't. The only thing dramatic form is good for is telling a story.—David Mamet, A Whore's Profession2These two assertions, some 100 years apart, were of course meant to be contentious—but they do point to one of the recurring questions about the role that theatrical art plays in modern Western culture and nicely encapsulate the contrasting claims made by practitioners and critics alike for the "work in the world" that drama can do. On the one hand, it is argued that what is conventionally thought of as great dramatic art—while it may be imaginatively rich, aesthetically compelling, and "timeless" in its appeal—will not achieve the social impact that plays such as A Doll's House have done. Such plays have a different function. They can be directly useful to us in the "real world" beyond the theatre walls, perhaps capable of influencing that world or at least influencing the way we think about and operate in the world—but they may not, consequently, have much shelf life. A Doll's House, of course, obstinately refuses to leave both shelf and stage but in this respect may be an exception that proves the rule; the vast majority of "interventionist" dramas rarely outlive their historical moment. (A play such as Spirochete, a [End Page 104] living newspaper written in 1938 in Chicago with the aim of heightening public awareness of the widespread—but barely discussed—problem of syphilis and of the cures available, undoubtedly did much effective work in the world but remains of and for its time.3 )On the other hand, playwright David Mamet casts buckets of cold water over the whole notion of "useful" dramatic art. Let us not delude ourselves, he argues, into thinking drama is good for anything else than telling a story—the value of good dramatic storytelling is important enough as it is. It serves the art form—and possibly those we wish to influence—badly if we insist on trying to change the world using drama as our lever. A genuine work of art, it is often said, cannot be didactic or "instrumental." The novel, play, or poem that sets out to convey information or to preach a message risks surrendering those very qualities we usually value in art—complexity, multilayered meanings, richness of imagination. Jonathan Levy, in his A Theatre of the Imagination, argues that "the impulse to create theatre for children is the impulse to give a gift, without strings. It is this impulse... we should... call upon when we find ourselves in the theatre tempted to teach."4 Further, "when art is used to teach, either the teaching or the art must suffer."5 The implication is clearly that teaching and dramatic art make awkward bedfellows. It has to be one or the other, not both. The late, much missed, Lowell Swortzell took a not dissimilar line in his provocative essay on theatre-in-education, "Trying to like TIE,"6 and many practitioners of children's and young people's theatre have likewise resisted having their work categorized as educational or in any way curriculum driven. The work must have its own justification, as art, as storytelling, offering young people an experience that may complement but that is fundamentally different from anything else they get in school. Even Augusto Boal has at times appeared to reinforce the dichotomy. Arguing for a theatre that can serve the immediate needs of the marginalized, the oppressed, and the disadvantaged, he has negotiated a challenging and productive path through the artistic and socially responsive implications of... (shrink)

No one would dispute that it is impossible to understand the intellectual and political history of the nineteenth and twentieth centuries without taking Karl Marx (1818-83) into account. Most believe, however, that Marx‘s legacy was buried once and for all in the rubble of the Berlin Wall. This consensus is mistaken. It would be foolish to assert that Marx anticipated the correct answer to every significant question facing us today. But it would be no less foolish to deny that (...) Marx‘s work presents a powerful challenge to contemporary political philosophy. (shrink)

Yves Grandjean, Tony Kozelj and François Salviat The Zeus Gate on Thasos p. 175-268 The Gate of Zeus and Hera, offered by Pythippos son of Paiestratos, is one of the most remarkable features of the Thasian enceinte: to the sculptured reliefs that adorned it was added a particular architectural embellishment which has never been analysed in its entirety. The numerous blocks preserved in situ make it possible to reconstruct the elevation of the gate, which was in fact a gate (...) tower, and to detail the appearance of the latter with its architectural facing of superimposed orders — Doric and Ionic — on the town side and its Doric frieze integrated into the walls of the tower on the side facing the country. The influences of Macedonian, funerary and palatial architecture are manifest. According to the lists of theoroi and the amphora stamps discovered in the levels preceding its construction, the gate tower was erected in around 300 BC. It replaced an original opening going back to the time when the enceinte visible today was built, in other words after the raid on Thasos by Histiaios of Miletus in 494; the old excavations like the recent investigations confirm the account by Herodotus (VI 46), which there is no reason to doubt. (shrink)

Persia’s Imperial Power in Late Antiquity: The Great Wall of Gorgān and Frontier Landscapes of Sasanian Iran. By Eberhard W. Sauer; Hamid Omrani Rekavandi; Tony J. Wilkinson; and Jebrael Nokandeh. British Institute of Persian Studies Archaeological Monographs. Oxford: Oxbow Books, 2013. Pp. xvi + 711, illus. $150. [Distributed by the David Brown Book Co., Oakville, CT.].

This article argues that "gratitude to" and "gratitude that" are fundamentally different concepts. The former (prepositional gratitude) is properly a response to benevolent attitudes, and entails special concern on the part of the beneficiary for a benefactor, while the latter (propositional gratitude) is a response to beneficial states of affairs, and entails no special concern for anyone. Propositional gratitude, it is argued, ultimately amounts to a species of appreciation. The tendency to see prepositional gratitude and propositional “gratitude” as two species (...) of the same genus results from several deep-seated social and psychological factors, but must be resisted if we are to engage in constructive philosophizing about both gratitude and appreciation. (shrink)

In this thought-provoking work, Tony D. Sampson presents a contagion theory fit for the age of networks. Unlike memes and microbial contagions, _Virality_ does not restrict itself to biological analogies and medical metaphors. It instead points toward a theory of contagious assemblages, events, and affects. For Sampson, contagion is not necessarily a positive or negative force of encounter; it is how society comes together and relates. Sampson argues that a biological knowledge of contagion has been universally distributed by way (...) of the rhetoric of fear used in the antivirus industry and other popular discourses surrounding network culture. This awareness is also detectable in concerns over _too much connectivity_, such as problems of global financial crisis and terrorism. Sampson’s “virality” is as established as that of the biological meme and microbe but is not understood through representational thinking expressed in metaphors and analogies. Rather, Sampson interprets contagion theory through the social relationalities first established in Gabriel Tarde’s microsociology and subsequently recognized in Gilles Deleuze’s ontological worldview. According to Sampson, the reliance on representational thinking to explain the social behavior of networking—including that engaged in by nonhumans such as computers—allows language to overcategorize and limit analysis by imposing identities, oppositions, and resemblances on contagious phenomena. It is the power of these categories that impinges on social and cultural domains. Assemblage theory, on the other hand, is all about relationality and encounter, helping us to understand the viral as a positively sociological event, building from the molecular outward, long before it becomes biological. (shrink)

Gratitude, the proper or fitting response to benevolence, has often been conceptualized as a virtue—a temporally stable disposition to perceive, think, feel, and act in certain characteristic ways in certain situations. Many accounts of gratitude as a virtue, however, have not analyzed this disposition accurately, and as a result, they have not revealed the rich variety of ways in which someone can fail to be a grateful person. In this paper, I articulate an account of the virtue of gratitude, and (...) I use this account to explore various vices that can manifest in its absence. (shrink)

Philosophers generally agree that gratitude, the called-for response to benevolence, includes positive feelings. In this paper, I argue against this view. The grateful beneficiary will have certain feelings, but in some contexts, those feelings will be profoundly negative. Philosophers overlook this fact because they tend to consider only cases of gratitude in which the benefactor’s sacrifice is minimal, and in which the benefactor fares well after performing an act of benevolence. When we consider cases in which a benefactor suffers severely, (...) we see the feelings associated with gratitude can be negative, and even quite painful. I conclude with a discussion of the implications negative feelings of gratitude have for the normative question of when gratitude is owed, and for the descriptive claim in positive psychology that gratitude enhances wellbeing. (shrink)

This article reports the findings of a qualitative study that explored the organizational influences on moral distress for health professionals working in pediatric intensive care units across Canada. Participants were recruited to the study from PICUs across Canada. The PICU is a high-tech, fast-paced, high-pressure environment where caregivers frequently face conflict and ethical tension in the care of critically ill children. A number of themes including relationships with management, organizational structure and processes, workload and resources, and team dynamics were identified. (...) This study provides a rare and important multi-disciplinary perspective on this topic and the findings have implications for administrators and leaders who seek to improve the moral climate of healthcare delivery. (shrink)

In the first edition of The Gay Science (GS), Nietzsche proposes that we treat knowledge as unconditionally valuable and life as a tragic quest for truth. In the second edition of GS, he seems to retract this proposal, suggesting that we substitute “incipit parodia” for “incipit tragœdia.” But Nietzsche does not say what he means by “parody,” or what role he believes it should play in our evaluative lives. This article proposes that by introducing parody into GS, Nietzsche intends not (...) only to correct the original text by mocking his earlier treatment of science as tragic, but also to designate parody as a basis for new tasks, duties, and values beyond what science can offer. This article speculates that parodic value creation might consist in the imitation of behaviors and practices associated with preexisting values without the reproduction of the beliefs and feelings corresponding to those practices. (shrink)

This article investigates a puzzle about gratitude—the proper response, in a beneficiary, to an act of benevolence from a benefactor. The puzzle arises from three platitudes about gratitude: 1) the beneficiary has certain obligations of gratitude; 2) these obligations are owed to the benefactor; and 3) the benefactor has no right to the fulfillment of these obligations. These platitudes suggest that gratitude is a counterexample to the “correlativity thesis” in the moral domain: the claim that strict moral obligations correlate to (...) moral rights on the part of the person to whom the obligation is owed. The goal of this chapter is to determine whether the three gratitude platitudes are true, and, if they are, what they tell us about the correlativity thesis. Sections 1 through 3 argue for the truth of each of the platitudes. It is then argued that while benefactors lack standing to demand, they do possess an imperfect right to gratitude: a special and morally significant standing to remonstrate with ungrateful beneficiaries. These facts suggest the following modification of the standard correlativity thesis: moral obligations entail moral rights on the part of the person to whom they are owed, which may be perfect (demandable) or imperfect. (shrink)

The allocation of vaccines and therapeutics for Covid‐19 obviously raises ethical questions, and physicians and ethicists have begun to address them. Writers have identified various criteria that should guide allocation decisions, but the criteria often conflict and need to be balanced against one another. This article proposes a model for thinking about how different considerations that are relevant to the distribution of vaccines and scarce treatments for Covid‐19 could be integrated into an allocation procedure. The model employs the construct of (...) a weighted lottery, which is a construct that has been employed in other contexts that involve the distribution of scarce resources. The article highlights the advantages of applying a weighted lottery to the Covid‐19 context and offers an illustration for how it might work in practice. The primary aim of the article is to articulate the structural features of a weighted lottery for this context and to bring out its advantages over other methods for allocating Covid‐19 medications. (shrink)

One unresolved dispute within Heidegger scholarship concerns the question of whether Dasein should be conceived in terms of narrative self-constitution. A survey of the current literature suggests two standard responses. The first correlates Heidegger’s talk of authentic historicality with that of self-authorship. To the alternative perspective, however, Heidegger’s talk of Dasein’s existentiality, with its emphasis on nullity and unattainability, is taken as evidence that Dasein is structurally and ontologically incapable of being completed via any life-project. Narrativity imports into Being and (...) Time commitments concerning temporality, selfhood, and ethics, which Heidegger rejects. Although both positions find good exegetic support for their conclusions, they can’t both be right. In this article, I navigate a path between these two irreconcilable positions by applying insights derived from recent debates within Anglo-American literature on personal identity. I develop an alternative thesis to Narrativism, without rejecting it outright, by arguing that Dasein can be analysed in terms of what I call narratability conditions. These allow us to make sense of the prima facie paradoxical notion of historicality without narrativity. Indeed, rather than reconciling the two standard positions, I hold that the tension between them says something important about Dasein’s kind of existence. Thus I conclude that while the narrativist question Who ought I to be? is perfectly legitimate within limits, what the existential analysis of the limits on narratability reveals is that no answer to this question can ever be definitive. (shrink)

Examines the notion of passivity in the work of Levinas, Blanchot, and Agamben.

At least since Aristotle, phronesis (practical wisdom) and poetics (making or creating) have been understood as essentially different activities, one moral the other (in itself) non-moral. Today, if anything, this distinction is sharpened by a Romantic association of poetics with inner subjective expression. Recent revivals of Aristotelian ethics sometimes allow for poetic dimensions of ethics, but these are still separated from practical wisdom per se. Through a fresh reading of phronesis in the French hermeneutical phenomenologist Paul Ricoeur, I argue that (...) phronesis should be viewed as at least in part poetic at its very core. That is, phronesis deals with the fundamentally tragic human situation of moral incommensurability, and it responds to this by making or creating new moral meaning. Such a poetics of practical wisdom helps phronesis stand up to significant and important critiques made of it by a range of modernists and post-modernists, pointing a way forward for some important contemporary moral debates. (shrink)

In recent work, Martha Nussbaum has exposed an important ambiguity in the standard conception of political liberalism. The ambiguity centers on the notion of “reasonableness” as it applies to comprehensive doctrines and to persons. As Nussbaum observes, the notion of reasonableness in political liberalism can be construed in a purely ethical sense or in a sense that combines ethical and epistemic elements. The ambiguity bears crucially on the respect for persons norm—a key norm that helps to distinguish political from perfectionist (...) versions of liberalism. Nussbaum contends that when political liberals affirm a construal of reasonableness that includes epistemic elements they run into trouble in formulating an account of their view that sharply distinguishes it from perfectionist liberalism. She contends further that perfectionist versions of liberalism should be rejected since they fail to offer an account of respect for persons. This paper responds to Nussbaum’s challenge. It argues that an adequate account of respect for persons must make reference to epistemic elements. This being the case not only explains why political liberals were correct to incorporate epistemic elements into their accounts of reasonableness but also why it is a mistake to think that perfectionist liberals themselves cannot present an appealing account of respect for persons. Nussbaum’s challenge merits careful study since it both sheds light on the nature of political liberalism and highlights an important faultline in its structure. (shrink)

It is common to hear that deep ecology “has reached its logical conclusion and exhausted itself” in a vacuous anthropomorphism and absurd nonanthropocentrism. These conclusions should be rejected. Properly understood, neither objection poses a serious problem for deep ecology so much as for the ethic of “ecological holism” which some philosophers—wrongly—have taken to arise from deep ecology. Deep ecology is not such an ethic, but is best understood as an aesthetically articulated conception of what, following Robinson Jeffers, may be called (...) “Wild Mind,” and such a Wild Mind is characterized—not criticized and condemned—by just that anthropomorphism and nonanthropocentrism critics focus on when they attack the ethic of ecological holism. (shrink)

Is there a duty to prosecute grave international crimes? Many have thought so, even if they recognize the obligation to be defeasible. However, the theoretical literature frequently leaves the grounds for such a duty inadequately specified, or unsystematically amalgamated, leaving it unclear which considerations should drive and shape processes of criminal accountability. Further, the circumstance leaves calls to end impunity vulnerable to skeptical worries concerning the risks and costs of punishing perpetrators. I argue that a qualified duty to prosecute can (...) be substantiated on the basis of a single class of reasons, though also that standard justifications of international criminal law (as currently conceived) are not up to the task. The account exploits the expressive dimension of punishment, but locates the central good of criminal accountability in its capacity to appropriately enable an agential stance on the part of subjects in transitional circumstances. It can legitimate, in a way to be specified, hope. The approach also displays the cynicism of an anti‐impunity ethos in the absence of a robust commitment to securing basic human rights in transitional circumstances. (shrink)

In this letter we focus on the cognitive science of consciousness. The general message is that, while this interdisciplinary area has made much progress in recent years, there is a tendency of downplaying conceptual issues, and therefore underestimating the difficulties of various problems. We briefly focus on a few prominent examples only, due to the space limit, but the general message should be clear: this recent tendency can be problematic for the progress of the consciousness branch of cognitive sciences.

It seemed to happen overnight. Not long ago, we were all watching television, and now we are watching something else. Television stations have been replaced by streaming services. Well, not quite replaced, since we still have televisions, but somehow our television screens are not quite what they were. In Netflicks: Conceptual Television in the Streaming Era Tony Hughes-d'Aeth critically considers how our viewing habits, and television shows themselves, have changed over time. This book is about television in the streaming (...) age and it considers some of the continuities that contemporary streamed shows have to other narrative forms such as classic television and classic Hollywood. Long gone are the days when we had to wait a week for the next episode of a tv show to be aired -- now we can binge-watch whole series in one sitting! ABOUT VIGNETTES Series Editors: Sarah Collins and Tony Hughes-d'Aeth The Vignettes Series from UWAP is aimed at sharing the knowledges that are emerging in the contemporary university and which that consider the complexities of modern life. Each book provides an image, or a vignette, of a particular phenomenon and how this is being thought through by intellectual practitioners in today's academy. (shrink)

The aim of this essay is to contribute to the development of a paradigmatic shift in how design is understood, transformed and practiced in the Global South. It does this by establishing the case for building a strong contextual relation between design, colonialism, and the mobilised counter-agency of decoloniality. Thereafter, design for/by the Global South is presented within a critical epistemological reframing subordinate to a situated imperative of the ‘Sustainment’.

Many deep ecologists call for a 'new ecological ethic'. If this ethic is meant to be a moral ethic, then deep ecology fails. However if deep ecology is interpreted as an aesthetic movement, then it is both philosophically coherent and practically adequate.

In 1925, David Katz published an influential monograph on touch, Der Aufbau der Tastwelt, which was translated into English in 1989. Although it is called “the world of touch,” it also discusses the thermal and the nociceptive senses, albeit briefly. In this chapter, we will follow this approach, but we will speak about “somatosensory senses” in general in order to remind ourselves that perceptions of temperatures and pains should also be considered together in this context.

Paul Ricoeur's understanding of the relations of faith, love, and hope suggests a unique approach to theological ethics, one that holds fresh promise for bringing together considerations of the good (teleology) and the right (deontology) around the notion of an "economy of the gift." The economy of the gift articulates Ricoeur's distinctively dialectical understanding of the relation of the human and the divine, and the resulting dialectical moral relation of the self and the other. Despite our fallen condition, Ricoeur suggests, (...) we are called by the divine to embrace the radical possibility of the reconciliation of human goods under the requirement of accountability to human diversity and otherness. (shrink)

Many find it plausible that for a given beneficiary, Y, benefactor, R, and action, ϕ, Y’s being grateful to R for ϕ-ing implies Y’s being grateful that R ϕ-ed. According to some philosophers who hold this view, all instances of gratitude to, or “prepositional gratitude,” are also instances of gratitude that, or “propositional gratitude.” These philosophers believe there is a single unified concept of gratitude, a phenomenon that is essentially gratitude that, and whose manifestations sometimes have additional features that make (...) them instances of gratitude to as well. In this article, I show that view to be mistaken. I base my argument on two hypothetical cases, in each of which a beneficiary, Y, is grateful to a benefactor, R, for ϕ-ing, but not grateful that R ϕ-ed. Generalizing from those cases and other cases of gratitude, I argue that prepositional gratitude is the proper response to benevolence-motivated action and propositional gratitude consists in a beneficiary’s judging a state of affairs to be valuable for himself and welcoming that state of affairs. Because not every instance of a benefactor’s acting benevolently toward a beneficiary is something that beneficiary finds valuable for himself and welcomes, it is possible to be grateful to a benefactor for ϕ-ing but not grateful that she ϕ-ed. Prepositional gratitude and propositional gratitude can each occur without the other and are thus two distinct phenomena. I conclude by explaining the importance of accurately understanding the relationship between prepositional gratitude and propositional gratitude. (shrink)

Gratitude to others is typically understood as a response to good things people give to us or do for us. Occasionally, though, we thank people for things other than gifts or actions. We sometimes thank people for being there for us, for instance, or for loving us, or for being good parents or teachers, or for believing in us. In this article, I develop a set of considerations to help determine whether gratitude to others for being, loving, or believing can (...) be fitting in any of these cases. I begin by arguing that when it is appropriate for a beneficiary thank a benefactor for ϕ-ing, the beneficiary’s gratitude to the benefactor for ϕ-ing is fitting only insofar as the benefactor ϕ-ed out of benevolence, care or concern for the beneficiary. I then show that thanking can express attitudes other than gratitude, thereby highlighting the thanks-gratitude fallacy: the mistake of inferring the fittingness of one person’s gratitude to another from the fact that it would be reasonable for the former to thank the latter. These considerations imply that gratitude for being there for us, gratitude for believing in us, and gratitude for being a good professional can sometimes be fitting, while gratitude for loving us and gratitude for being a good intimate generally are not. (shrink)

From the analysis of the local and provincial elected people in the province of East-Flanders during the period 1946-1991 one can conclude that there are barriers for women, lower social classes and certain age categories preventing them from moving up the local and provincial political! elites.Clear differences between local and provincial elected people are present when comparing professional backgrounds with the composition of the total working population in East-Flanders. Workers are neither on the local, nor on the provincial level very (...) numerous. However the large absence with the provincial elected people bhs to be emphazised. Secondly farmers, intellectual and free professions, employees, self-employed and employers are on both levels constantly overrepresented. However the overrepresentation of farmers can mainly be situated on the local level until the mergers of 1976. For intellectual and free professions, till the mid-sixties the overrepresentation can mainly be situated on the provincial level, from then onwards on the local level. The employees' overrepresentation has always been most important on the provincial level white the self-employed and employers are mainly overrepresented on the local level from 1970 onwards. Finally till about 1970 teaching personnel was underrepresented on both levels white from then onwards there is an overrepresentation. (shrink)

We propose that middle managers’ perceived organizational support enhances their performance through the sequential mediation of their behavioral integrity and follower organizational citizenship behaviors. We test our model with data collected from middle managers, their direct subordinates, and their direct superiors at 18 hotel properties in China. The current study’s findings contribute to the existing literature on perceived organizational support and behavioral integrity. They also add a practical self-interest argument for middle managers’ efforts to maintain their word-action alignment by demonstrating (...) that middle manager behavioral integrity positively affects middle managers’ own task performance ratings, both directly and via its positive effect on subordinates’ organizational citizenship behaviors. (shrink)

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

First published in 1985, this title includes contributions from leading economists and addresses many seminal aspects of Keynes' work and methods. This revival will be of particular interest to lecturers and advanced students of economics.

Abstract At stake in the dispute between Campbell and Hume is the basis for our acceptance of testimony. Campbell argues that, contrary to Hume, our acceptance of testimony is prior to experience, while Hume continues to maintain that the appropriation through testimony of the experience of others depends ultimately on one's own experience. I argue that Hume's remarks about testimony provide a non-circular account of the process by which the experience of others may become one's own; and I suggest that (...) the view of Campbell and Hume as proponents of two radically opposed positions on the epistemology of testimony represents a considerable over-simplification. (shrink)