Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic, and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, Quilting Points proposes a new dialectical theory of faithful, reactive, and obscure subjective responses to musical (...) modernism, which embraces all the music of Western modernity. (shrink)

Transcultural dialogue and research are often bedeviled by a range of divergences in the use and resonances of key terms defining the focus of the conversation; social understandings; ways of dealing with the life situations involved; and traditional protocols in relation to the ethical challenges in the areas of research. A simple example from research into genetics will illustrate the problem. A team from two New Zealand universities comprising both Māori and NZ European academics examined indigenous attitudes to genetic technologies. (...) A breakdown of trust became evident such that many of the Māori members of the team felt they could no longer participate because they felt their views... (shrink)

The work of cognitive psychologists, philosophical naturalists, post-modernists, and other such epistemic subversives conspires to endanger the well being of traditional analytic epistemology. Stephen Stich ( et tu Stich) has contributed his design for epistemology's coffin. I look hard at his proposed radical revision of epistemology. The ostensible target of Stich's analysis is the traditional enterprise of analytic epistemology. It is, however, the conceptual pillars that underpin both the traditional analytic and naturalist epistemologies that are the primary focus. It is (...) a conceptual domain neutral to the priorists and naturalists which Stich calls normative cognitive monism . Normative cognitive monism is the view that there is a unique system of cognitive processes that people should use. The point of Stich's analytical exercise is to disabuse us of the belief that there is such a unique and global set of standards by which cognitive performance is to be evaluated. He argues that all the evidence, both empirical and conceptual, leads away from this ultimately chauvinistic view and converges on normative cognitive pluralism which is the denial of monism. The same evidence that informs normative cognitive monism confirms normative cognitive pluralism. The empirical evidence is provided by the results of celebrated experiments on reasoning, or as Stich calls it, cognitive performance. The conceptual evidence derives from the failure of naturalistic accounts of intentional content. Stich's (1983) derisive view of theories of intentional content adumbrated in From Folk Psychology to Cognitive Science is now the linchpin of his pragmatic theory of cognitive evaluation. (shrink)

In dealing with the radical politicization of psychoanalysis from a geopolitical standpoint, this essay argues that psychoanalysis has to be capable to rethink and reembody itself with every contingent and immanent dislocations of its transcendental horizons. Through a reading of Slavoj Žižek and Alain Badiou on Mao Tse-Tung, we can think about the notion of dislocation and localization of the Idea. We will argue that this has historically happened in psychoanalysis in the transition from Freud to Lacan; however, the issue (...) is that this dislocation has undergone a retroactivity of necessity which makes a vanishing mediator out of the contingent scrap of reality that it initially relied on—and this forms the quilting point of the contemporary Lacanian ideology. Through Gabriel Tupinambá›s _The Desire of Psychoanalysis_, we will inspect the notion of generic psychoanalysis. We will insist that while generic psychoanalysis is crucial for the refiguring of psychoanalytic politics in a dislocative matter, we need to take this outlook to the end onto a psychoanalysis that is willing to impurify itself through localization as this is the only psychoanalysis worthy of the name. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. Also, the (...) notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (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)

In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 45, no. 1. © 2019 by Hannah Baker Saltmarsh Hannah Baker Saltmarsh This Girl I Lost Touch With This girl, who was afraid to enter a room— a girl born in the woods, on moss, whose family dreamt under quilts, who wore dresses that matched anything fabric in the house, even the dresses without loneliness— I held her hand in the corridor-dark until the speaking-in-tongues at (...) the community college dispersed into prayers with too many gerunds and too much fervor that wouldn’t adjust if you got a thousand dollars in the mail or jury duty, faith subtle as a crucifix the size of God on the highway. I waited with her until it was over, although the prayer group was never really over. Over rooms of crowded, faith-based humidity, she loved corridors of woods, the rushes of running away. This girl and I, we were cult-lured, but then the leader stepped down—was it porn, alcohol? He drove us around in a red jeep without doors— the first time I drove in a man’s car, I was eighteen so I fell in love: looking straight ahead together, arm hair touching, the cathedral of autumn anticipating a shape to hold you, the wind that you sometimes hollered over. What happened I can’t see, but when he left the group, I left: the death of visions. Hannah Baker Saltmarsh 95 This girl could long for a man in her fingernails, and, without talking, take a man from his pregnant wife’s side, have his even newer children, this girl who wouldn’t go in a room all alone, walked right in, somewhere we’ve not been, and never left. Monostich in Praise of Four Missed Foul Shots in a Row, Ending with a Line by Shaquille O’Neal —Orlando Magic vs. Houston Rockets, Game 1, NBA Final, 1995 Each mistake at the foul line longs to be its own distinct trip-up, divorced from the tragic-comic failure automatic-reflex of a protagonist on a shame-rampage; each delicate flaw of glass, net, rim wants to be denied once at the charity line, once and only once of red-lipsticked points, the naive purity of one aberrant error in calculation—not bring bleacher-crowds to their feet, posterless hands in the vaulted air before tallying Nick Anderson up as Brick Anderson, most hated NBA player of all time, and by his own fans not believing their own eyes as a series of empty arcs toward scoring dovetails into quadruple humiliations and a goofy smile of gutted hopes and boyish fear-tangled awe that any brain so practiced (for this and what else?) could fail so many times in a row, each fail better and Beckett-harder until the last exit out of obliterating loss is part of the abyss too, unless you are quick on your feet for sports broadcasting... but there is no end to swindled championships if you are a man who’s never had to face the extinction of his early twenties or suck the aftertaste of multi-millionaire juice cocktails poured with a legend’s touch, but in the soapy-sweet glass of your Dixie cup liquor, however close to the sound of Shaq’s name spoken in every language, stares your same lovesick reflection in the welt of that shot-glass mirror, mouthing the bitters of paranoid distraction, unripe manhood, aged ingratitude, and a starless Orlando Magic blue diamond broomed over by nursery-rhyme witches brushing out the cobweb-haze because the crowd is always the same crowd calling you swept... each fumbling error of pressure you let get to you, if only it could be a plotless, lyric monostich without arc, not driven to the plot that is your grave, where the unfaithful, the murderers, liars, and cheaters are defined by threads, no, snapped pieces, of seconds and, as Dante would have it, sorted in hell by a singular thought or deed so 96 Hannah Baker Saltmarsh transformative as to name you; the blue and white jersey on the floor, fists and feet, knees and elbows vacuumed in tantrum, hyped up in the court glare and... (shrink)

What does quilting have to do with electric circuit theory? The answer is just one of the fascinating ways that best-selling popular math writer Paul Nahin illustrates the deep interplay of math and physics in the world around us in his latest book of challenging mathematical puzzles, Mrs. Perkins's Electric Quilt. With his trademark combination of intriguing mathematical problems and the historical anecdotes surrounding them, Nahin invites readers on an exciting and informative exploration of some of the many ways (...) math and physics combine to create something vastly more powerful, useful, and interesting than either is by itself. In a series of brief and largely self-contained chapters, Nahin discusses a wide range of topics in which math and physics are mutually dependent and mutually illuminating, from Newtonian gravity and Newton's laws of mechanics to ballistics, air drag, and electricity. The mathematical subjects range from algebra, trigonometry, geometry, and calculus to differential equations, Fourier series, and theoretical and Monte Carlo probability. Each chapter includes problems--some three dozen in all--that challenge readers to try their hand at applying what they have learned. Just as in his other books of mathematical puzzles, Nahin discusses the historical background of each problem, gives many examples, includes MATLAB codes, and provides complete and detailed solutions at the end. Mrs. Perkins's Electric Quilt will appeal to students interested in new math and physics applications, teachers looking for unusual examples to use in class--and anyone who enjoys popular math books. (shrink)

By examining the case of one man in the early nineteenth century, this article challenges the assumptions of separate work and emotional lives for men and women and raises questions for the study of gender. The experience of Brigham Nims, as revealed in his diaries and letters, demonstrates that men and women did not live their lives in completely separate spheres during this period. Men could ignore the prescriptive adages of advice manuals and ministers, and regularly break gender-role stereotypes, yet (...) still be honored in their communities. They also engaged in special intimate friendships. If the separation of spheres was observed by individuals as rigidly as it was advocated in prescriptive literature, then it is unlikely that Brigham Nims would have sewed, cooked, ironed, and quilted with womenfolk. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elementary Students Quilting through Social StudiesLinda Bennett (bio)IntroductionIt is enchanting when over twenty students' quilt squares make a quilt. The common yet diverse techniques for making a quilt transform the students' quilt squares into a shared quilting experience. A quilt made by students in one classroom can demonstrate a unique characteristic of each student by combining their squares into a quilt about a common theme in the (...) social studies curriculum. The quilts become a lasting record of the students' depictions of the theme under study and contributions to a class project. The six quilts described in this article demonstrate how to make class quilts using social studies themes. The lessons learned by the students and teachers are shared and additional resources are provided to extend the experiences of elementary students quilting through social studies.The Elementary CurriculumOne of the first decisions when making a quilt in elementary school is how the quilt connects to the curriculum. Each year I ask my child's classroom teacher what social studies themes are in the curriculum, and with the help of the classroom teacher, the students design a quilt that matches the curriculum. The teacher determines how much class time to use for discussion of the theme and the best quilting technique for the students.The typical elementary social studies curriculum centers around self, family, school, and community in kindergarten through third grades, and the local state (in this case, Missouri) and the United States in fourth and fifth grades. Quilts can depict social studies strands such as culture, history, [End Page 90] geography, psychology, sociology, or political science. Families, friends, the school, local or national history, state or national symbols, and social issues are among the themes of quilts made by first through fifth grade students. As a parent who is also a social studies educator, I contribute to my children's elementary education by making quilts about the social studies curriculum with the students in their classrooms. Click for larger view View full resolutionFigure 1."Rights of the Child" quilt.Quilting can integrate many curricula in elementary school. When elementary students make a class quilt based on a theme in the social studies curriculum, they are integrating content and skills from literacy, mathematics, science, or art into the social studies expectations. Within language arts, students read, write, and research the social studies theme and the art of quilt making. Students use mathematical skills when measuring, cutting, and stitching. Science is integrated into social studies through themes such nature, global issues, or changes in the environment.Visual arts objectives for elementary students are intertwined into the quilting lessons. The artistic design of the quilt is the result of each student's fabric selection, design, and applications to the squares. The students use their hands, hearts, and minds as they make the quilt squares, and they learn the purpose and value of the art of quilting through the connections to the social studies curriculum.Sharing the QuiltsMy desire is for the students' enthusiasm for quilting to inspire other elementary school teachers to quilt with students. Several specific quilts are discussed below; first through third grade students have made quilts depicting the themes of families, friends, and the Rights of the Child, while older students (in fourth and fifth grade) made the pioneer quilt and the freedom quilt. [End Page 91] Click for larger view View full resolutionFigure 2."Families" quilt with hearts.For the "Rights of the Child" quilt (see figure 1), made by first and second graders, the students considered the rights of children while the teacher read A Children's Chorus and For Every Child a Better World.1 Each student made a quilt square about a right using fabric crayons. The quilt hung in the local public library to celebrate the rights of the child. Next to the quilt was a diagram with the first name of the student and the theme of his or her square.2Learning the names of friends and sharing friendships in the classroom can be the focus of social studies for young students. To make the quilt squares in the friendship quilt, the students traced their hand... (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement (...) that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

This corrigendum concerns [, § ] on ordered difference existentially closed valued fields where we overlooked the problem of immediate extensions.

Abstract Stephen Schiffer, in his recent book, Remnants of Meaning, argues against the possibility of any compositional theory of meaning for natural language. Because the argument depends on the premise that there is no possible naturalistic reduction of the intentional to the physical, Schiffer's attack on theories of meaning is of central importance for theorists of mind. I respond to Schiffer's argument by showing that there is at least one reductive account of the mental that he has neglected to consider?the (...) computationalist account known as the Representational Theory of Mind. Not only is this view immune from the criticisms Schiffer mounts against other reductivist theories, but it solves problems that arise on Schiffer's own non?reductive account of the relation between the intentional and the physical. (shrink)

Le présent article examine la façon dont John Dewey a entrepris de poser le problème de la valuation et de ses conséquences au sein de sa théorie de l’éducation. Plus spécifiquement, nous voudrions montrer que son effort pour repenser l’articulation des moyens et des fins du processus de valuation contribue à repenser l’enquête morale. Celle-ci, si elle fait alors l’objet d’une pédagogie qui met au centre l’expérience vécue du sujet, nous oblige à concevoir à nouveaux frais les valeurs que nous (...) accordons aux connaissances apprises. Notre analyse entend démontrer que : 1) de même que dans le domaine éthique, rien n’a de valeur en soi pour le sujet agissant. Mais que 2) la valuation de tout acte est déterminée en situation, alors, 3) dans le domaine de la pédagogie, aucune connaissance n’a de valeur en soi pour l’élève. 4) Ainsi la première tâche de l’enseignant.e est de former l’élève à des processus de valuation efficaces. Cela dans le but que celui-ci puisse à son tour, clairement, déterminer pour lui-même les connaissances qui auront de la valeur. Si notre hypothèse est juste alors cette tâche devient à la fois un point de départ important de la pédagogie pragmatiste et un impératif incontournable de l’éthique enseignante. -/- The present article examines how Dewey addressed the problem of value, as well as the consequences that this solution had for his educational theory. More specifically, I aim to show that Dewey’s effort to rethink means and ends within the process of valuation contributes to a recasting of moral inquiry. If moral inquiry becomes part of a pedagogy that focuses upon the lived experience of the subject, this compels us to rethink the value we attribute to acquired knowledge. My analysis will demonstrate 1) that even within the ethical domain, nothing has value in itself for the acting subject, but that 2) the value of all acts must be determined within specific situations, and therefore 3) within the domain of pedagogy, no knowledge has value in and of itself for the student. 4) Thus the first task of the teacher is to teach students how to evaluate questions of value, which will push them to determine for themselves what knowledge has value. If my hypothesis is correct, this task becomes simultaneously an important starting place for pragmatist pedagogy and a cornerstone of a new ethic of teaching. (shrink)

The reception of Dewey's work has suffered, in terms of his political philosophy, from a certain mistrust. First, in the field of education, Dewey's refusal to grant "ultimate" or "high" status to certain values, even those of the French Republic, has made him a mistrusted figure.1 Apart from the pedagogues of Education Nouvelle, which defied the then dominant "Cartesian tradition of the dualistic philosophy of reason" in France, Dewey was little studied before the 1960s. In 2013, Kambouchner perceived an opposition (...) between Dewey and Durkheim;2 however, the French reception of The Public and Its Problems in 1927 also suffered from suspicion and skepticism.3 To begin, there was suspicion with regard to this... (shrink)

A totally ordered group G is essentially periodic if for every definable non-trivial convex subgroup H of G every definable subset of G is equal to a finite union of cosets of subgroups of G on some interval containing an end segment of H; it is coset-minimal if all definable subsets are equal to a finite union of cosets, intersected with intervals. We study definable sets and functions in such groups, and relate them to the quasi-o-minimal groups introduced in Belegradek (...) et al. . Main results: An essentially periodic group G is abelian; if G is discrete, then definable functions in one variable are ultimately piecewise linear. A group such that every model elementarily equivalent to it is coset-minimal is quasi-o-minimal , and its definable functions in one variable are piecewise linear. (shrink)

This article examines genealogical investigations in an attempt to explain what they are, how they work, and what purpose they serve. It is a critique of Robert Brandom’s view of genealogists as naïve semanticists who believe that normative thinking, as it relates to all forms of epistemic inquiry and language use, is reducible to naturalistic causes. This reduction, Brandom claims, is hopelessly misguided and semantically incoherent since genealogies are not epistemically neutral in that “they count no more and no less,” (...) as Habermas put it, than the traditional accounts of moral phenomena that they seek to replace. Nietzsche’s “story” of the origin of guilt in On the Genealogy of Morals is thus not even a useful fiction but merely meaningless. My analysis shows that Brandom’s understanding of genealogy is rather simplistic. While genealogists are naturalists insofar as they attempt to discover the specific historical causes that gave rise to current normative practices, they are neither reductive empiricists nor first-stage semanticists, as Brandom calls them, but multidimensional power-pragmatists. (shrink)

It is known today that Hegel's philosophy was at the center of the development of pragmatism. In particular, the relation of Dewey's philosophy to Hegel's has recently been studied with great attention1. Many studies have revealed that the German philosopher had a fundamental influence on the young John Dewey, particularly with regard to his theory of culture, for his logic, as well as for his psychology. These new readings propose a profoundly original view of Dewey and explain why he thought (...) of his philosophy as a "permanent Hegelian deposit".Our work aims to... (shrink)

Given a simple non-trivial finite-dimensional Lie algebra L, fields $K_i$ and Chevalley groups $L(K_i)$ , we first prove that $\Pi_{\mathcal{U}} L(K_i)$ is isomorphic to $L(\Pi_{\mathcal{U}}K_i)$ . Then we consider the case of Chevalley groups of twisted type ${}^n\!L$ . We obtain a result analogous to the previous one. Given perfect fields $K_i$ having the property that any element is either a square or the opposite of a square and Chevalley groups ${}^n\!L(K_i)$ , then $\pu{}^n\!L(K_i)$ is isomorphic to ${}^n\!L(\pu K_i)$ . (...) We apply our results to prove the decidability of the set of sentences true in almost all finite groups of the form L(K) where K is a finite field and L a fixed untwisted Chevalley type. (shrink)

Given a model-complete theory of topological fields, we considered its generic differential expansions and under a certain hypothesis of largeness, we axiomatised the class of existentially closed ones. Here we show that a density result for definable types over definably closed subsets in such differential topological fields. Then we show two transfer results, one on the VC-density and the other one, on the combinatorial property NTP2.

We describe classes of existentially closed ordered difference fields and rings. We show an Ax-Kochen type result for a class of valued ordered difference fields.

We consider the reduct to the module language of certain theories of fields with a non surjective endomorphism. We show in some cases the existence of a model companion. We apply our results for axiomatizing the reduct to the theory of modules of non principal ultraproducts of separably closed fields of fixed but non zero imperfection degree.

With this proposal, we wish to revisit the Idea of the University in the perspective of the democratic project of the American philosopher and pragmatist John Dewey. Our hypothesis consists in the thesis that the deweyen project confronts the problem of the social distribution of knowledge, in the aim of giving us the means to transform the latter. In this way, if we consider that the university is part of this distribution through its student learning function, then our purpose is (...) to demonstrate that this learning is currently guided by an individual intelligence paradigm harms that the development of collective intelligence. For John Dewey, the latter is one of the central means of his democratic project which would reconcile the Idea of a University with real University institutions. Therefore, according to him, if universities want to contribute to the democratic project, we must adopt a new pedagogical orientation promoting individual and collective intelligence. (shrink)

Philosophy for Children: a Way to Reconcile Disciplinary Teaching and School Life? Drawing mainly on John Dewey's writings, this contribution aims to extend the dualism of a traditional conception of education at the epistemological, pedagogical and organizational levels. This conception was already criticised by this author at the beginning of the 20th century and still remains widely present today among the school community. Through this approach, we demonstrate that the dualist approach is as many obstacles to be removed in the (...) process both to improve and rebuild a better education. The hypothesis defended here consists to demonstrate how philosophy for children, strengthened by its pragmatist heritage, can challenge these dualisms and thereby jeopardize the traditional conception of education. (shrink)

We show that if G is a group of finite Morley rank, then the verbal subgroup is of finite width, where w is a concise word. As a byproduct, we show that if G is any abelian-by-finite group, then Gn= is definable.

Le féminisme est un mouvement théorique et politique pluriel et en perpétuelle évolution. Aussi ce travail se situe dans les champs de la philosophie de l’éducation et plus particulièrement au sein des débats entre plusieurs courants philosophiques se réclamant du féminisme. Il cherche à évaluer l’intérêt de deux de ces approches philosophiques au regard de la construction d’une pédagogie féministe. Se trouve ainsi comparées l’approche de la théorie critique (proche du marxisme matérialiste et de l’école de Francfort) et l’approche pragmatiste (...) (issue des travaux de Jane Addams et John Dewey) par rapport au problème du “consciousness-raising” en pédagogie. Ce dernier présente en effet des difficultés à l’approche critique qui seront exposées dans la première partie de l’argumentation. L’hypothèse de notre travail est que le pragmatisme peut apporter des outils théoriques répondant à ses difficultés et venant ainsi compléter ceux de la théorie critique au profit de la pédagogie féministe. Ainsi la deuxième partie de notre argumentation se concentre sur l’intérêt épistémique de ces outils pédagogiques que propose le pragmatisme. Ces derniers sont rendus possibles par la valorisation épistémique de la perplexité et de l’empathie, et nous verrons en quoi ils permettent d’augmenter l’efficacité du “consciousness-raising” lors des pratiques pédagogiques quotidiennes. (shrink)

We study extensions of Presburger arithmetic with a unary predicate R and we show that under certain conditions on R, R is sparse and the theory of $\langle\mathbb{N}, +, R\rangle$ is decidable. We axiomatize this theory and we show that in a reasonable language, it admits quantifier elimination. We obtain similar results for the structure $\langle\mathbb{Q},+, R\rangle$.

We consider first-order theories of topological fields admitting a model-completion and their expansion to differential fields . We give a criterion under which the expansion still admits a model-completion which we axiomatize. It generalizes previous results due to M. Singer for ordered differential fields and of C. Michaux for valued differential fields. As a corollary, we show a transfer result for the NIP property. We also give a geometrical axiomatization of that model-completion. Then, for certain differential valued fields, we extend (...) the positive answer of Hilbert’s seventeenth problem and we prove an Ax–Kochen–Ershov theorem. Similarly, we consider first-order theories of topological fields admitting a model-companion and their expansion to differential fields, and under a similar criterion as before, we show that the expansion still admits a model-companion. This last result can be compared with those of M. Tressl: on one hand we are only dealing with a single derivation whereas he is dealing with several, on the other hand we are not restricting ourselves to definable expansions of the ring language, taking advantage of our topological context. We apply our results to fields endowed with several valuations. (shrink)

Call a (strictly increasing) sequence (rn) of natural numbers regular if it satisfies the following condition: rn+1/rn→θ∈R>1∪{∞} and, if θ is algebraic, then (rn) satisfies a linear recurrence relation whose characteristic polynomial is the minimal polynomial of θ. Our main result states that (Z,+,0,R) is superstable whenever R is enumerated by a regular sequence. We give two proofs of this result. One relies on a result of E. Casanovas and M. Ziegler and the other on a quantifier elimination result. We (...) also show that (Z,+,0,<,R) is NIP whenever R is enumerated by a regular sequence that is ultimately periodic modulo m for all m>1. (shrink)

This paper investigates how specific notions of gender and ethnicity are integrated into diversity discourses presented on 241 top European company websites. Large European companies increasingly disclose equality and diversity policies in statements on websites. Such statements may be used to promote an ethical image of the company in terms of how well it manages diversity and guards against discrimination. In this paper, we argue that diversity statement discourses are important as they play a key part in socially constructing how (...) diversity should be regarded in the company by minority and majority groups, as well as indicating corporate values to external stakeholders. Sometimes, the notions of gender or ethnic diversity are positioned as a liability in need of protection, whilst in others, as a source of competitive advantage. We find evidence of use of discursive tools such as problematisation, rationalisation, fixation, reframing and naturalisation of the notions of gender and ethnic diversity, reinforced by use of symbols, such as statistics, photographs, membership badges and awards. Few statements directly associate gender and ethnic diversity with enhanced corporate performance. We found that diversity statements sometimes appear to reinforce existing business stereotypes of women and people from ethnic minorities, and in a few discourses, create new ones, particularly evident in photographs illustrating the diversity web pages. (shrink)