By analyzing a gedanken experiment designed to measure the distance l between two spatially separated points, we find that this distance cannot be measured with uncertainty less than (ll 2 P) 1/3 , considerably larger than the Planck scale lP (or the string scale in string theories), the conventional-wisdom uncertainty in distance measurements. This limitation to space-time measurements is interpreted as resulting from quantum fluctuations of space-time itself. Thus, at very short distance scales, space-time is “foamy.” This (...) intrinsic foaminess of space-time provides another source of noise in the interferometers. The LIGO/VIRGO and LISA generations of gravity-wave interferometers, through future refinements, are expected to reach displacement noise levels low enough to test our proposed degree of foaminess in the structure of space-time. (shrink)

The U.S. military is developing augmented reality (AR) capabilities for use on the battlefield as a means of achieving greater situational awareness. The superimposition of digital data—designed to expand surveillance, enhance geospatial understanding, and facilitate target identification—onto a live view of the battlefield has important implications for virtuous conduct in war: Can the soldier exercise practical wisdom while integrated into a system of militarized legibility? Adopting a virtue ethics perspective, I argue that AR disrupts the soldier’s immersion in the scene (...) such that he is blinded to features beyond those identified in advance by the military’s system of cybernetic judgment. I turn to Michael Walzer’s classic account of the “naked soldier” dilemma to illustrate how AR capabilities radically shrink the bounds within which the soldier can cultivate the capacity for right conduct. By transforming the ambiguous ethical matter of killing an enemy combatant into the straightforward application of a rule, AR hollows out the soldier’s potential for virtuous action. The “smart battlefield” leaves no space for deliberative judgments that transcend the technical and legal determinations already written into the soldier’s view of the scene. (shrink)

We offer a review of some of the most influential views on the status of Reichenbach’s Principle of the Common Cause (PCC) for genuinely indeterministic systems. We first argue that the PCC is properly a conjunction of two distinct claims, one metaphysical and another methodological. Both claims can and have been contested in the literature, but here we simply assume that the metaphysical claim is correct, in order to focus our analysis on the status of the methodological claim. We briefly (...) review the most entrenched or classical positions, including Salmon’s ‘interactive forks’, van Fraassen’s scepticism, and Cartwright’s generalisation of the fork criterion. We then go on to review the results of the ‘Budapest school’ on the existence of formally defined screening-off events for any correlation —by means of the ideas of probability space extensibility and (Reichenbachian common cause) completability. We distinguish the Budapest doctrine clearly from any of the classical conceptions, and thus present an overall framework for discussions of causal inference in quantum mechanics. The framework, however preliminary, is essential work for a thorough assessment of the conditions under which PCC may be a reliable tool for causal inference in a genuinely probabilistic (indeterministic) context. (shrink)

The aim of this article is to reveal how the phenomenon of religious conversion is handled in Turkish epics, what causes religious conversion are based, and what situations arise for the individual who religious conversion. Examining the reflections of this phenomenon in epics is important in terms of understanding the approach of the individual and society in the classical period to religious conversion, which is a remarkable issue in our age. The phenomenon of religious conversion, which is as old as (...) human history, has been observed throughout Turkish history in both individual and mass examples. The phenomenon of religious conversion is also depicted in Turkish and world epics, including the Persian variant of the Oghuz Khagan Epic, one of the oldest Turkish epics. In this article, religious conversion events in the Kyrgyz and Uzbek epics, Manas, Gülgaakı, Canış-Bayış, Şeyh San'an, and Alpamış, were examined. The reasons for religious conversion in these epics include dreams, love, existential quests, suggestions, miracles, and being defeated by a Muslim. The epics were analyzed in terms of changing names, circumcision of men, marriage of women, teaching of religion, financial contribution/employment, and placement regarding the situations caused by religious conversion. The stories of Almambet, Gülgaakı, and Şeyh San'an provide details about the relationship of converts with their old and new societies. This study, which has the characteristics of a literary analysis, uses the Comparative Text Analysis Method to reveal attitudes and behaviors related to religious conversion in epics. The research was limited to the Kyrgyz and Uzbek epics, and the sample was selected from the epics in which religious conversion cases of these peoples were evident. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Resumen El artículo tiene como objetivo revisar y analizar los pasajes referentes al territorio chileno en los poemas épicos que cantaron la Guerra de Arauco en el siglo XVI. Aun cuando su argumento central consistió en los acontecimientos bélicos, algunos pasajes dieron cabida a la descripción del espacio como un paisaje épico. Así como se demostrará, su representación no solo se configuró atendiendo a las condiciones fisonómicas del territorio, sino también a los recursos literarios propios de la epopeya que caracterizaron (...) al sur de Chile como un escenario desafiante y peligroso, espacio histórico y a la vez literario, representativo de la condición heroica e indomable del Reino de Chile.The aim of this article is to review and to analyze the passages relating to the Chilean territory in the epic poems that reported Arauco's War in the 16th century. Even if their central argument consisted of the warlike events, some passages gave content to the description of the space as an epic landscape. As it will be demonstrated, the representation of the territory not only was formed attending to the physical conditions of the land, but also to the literary resources of the epic that characterized to the south of Chile as a challenging and dangerous scene, historical and simultaneously literary space, representative of the heroic and indomitable condition of the Kingdom of Chile. (shrink)

Epic Tales from Ancient India: Paintings from the San Diego Museum of Art. Edited by Marika Sardar. San Diego: San Diego Museum of Art, 2016. Pp. 164. $45. [Distr. by Yale Univ. Press.].

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Introduction. Dying to see -- The anthropomorphic image : negotiations of space between body and landscape -- The imperfect replica : departures and arrivals from Naples to Nagasaki -- The visionary image : the return of the image from Brazil to Rome -- The utopic image : unsettling circuits between Chile and Rome -- Epilogue : The proliferation of the body : Francis Xavier in Goa.

Alexander Woloch, in a pioneering 2003 study on literary characters and characterization, observed that narrative meaning emerges in the dynamic attention to and neglect of the characters, major and minor, who inhabit the same story but occupy different positions therein. This essay draws on Woloch’s theory and methods to analyze the Standard Babylonian Epic of Gilgamesh, taking the women of the narrative as its case study. Aruru, Ninsun, Shamhat, Aya, Ishtar, the scorpion-man’s woman, Shiduri, and Uta-napishti’s wife are here (...) examined not as flat or stock characters but rather as individual personalities who often transcend both their constrained narrative spaces and the gendered characterizations applied to them in the scholarship of recent decades. In paying the women of the SB Epic of Gilgamesh the attention they deserve, this study sheds new light not only on the composition’s minor characters but also on its narrative structure and meaning. (shrink)

This paper deals about dualities for bounded prelinear Hilbert algebras. In particular, we give an Esakia-style duality between the algebraic category of bounded prelinear Hilbert algebras and a category of H-spaces whose morphisms are certain continuous p-morphisms.

A raw, gripping, true-life saga of one mans quest to overcome homelessness, abuse, and extreme poverty to rise to the heights of success. On his epic journey, Marvin learned how to stare down suffering and banish pity and fear, despite dire circumstances. In the midst of tragedy, he rose and discovered life-changing truths about perseverance, self-awareness, and Oneness. Harnessing this hard-earned wisdom, Marvin began sharing his revolutionary message about the true meaning of self-worth, the healing power of interconnectedness, and (...) the keys to authentic wealth, peace, and happiness. Out of the Tunnel offers Marvin Peakes distilled wisdom, life stories, proven solutions, and channeled passions while spotlighting insights and conversations with some of todays wealthiest influencers and most spiritually aware people. Notables featured in Out of the Tunnel includes: Tony Robbins, Michael Jordan, Deepak Chopra, the late Wayne Dyer, former President George W. Bush and many more. Reviewers describe Out of the Tunnel as a hip-hop-flavored Celestine Prophecy meets modern-day Think and Grow Rich. Those who liked Who Moved My Cheese? and A New Earth will also enjoy Marvin Peakes Out of the Tunnel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Allegory and the Spaces of LoveOscar Martín (bio)Writing about Spanish sentimental fiction from 1450 to 1550 is not an easy task, as we are discussing a genre with a difficult theoretical configuration. The investigation of sentimental fiction, however, has been sorting out the classifications that applied to a hodgepodge of works previously labeled as “sentimental novel” (“novela sentimental”). This label, once attached uncritically to a bunch of heterogeneous texts (...) that shared such intangibles as “loving focus” or “prevalence of psychological description over narratives,” has been applied more consistently nowaday, thanks in part to the scholarly efforts started in the 1980s like those of Martínez Jiménez and Muñoz Marquina (1982), and Martínez Latre (1989).1 Using some of these research efforts, Alan Deyermond has codified the genre accurately:Brevity; focus on psychological interest over external action; a tragic vision of love; autobiography (first-person narration or a narrator as a character) and the insertion of letters or poems (or, often, both) into the narration.[77]2Within this scholarly categorization, Regula Rohland de Langbehn has been pivotal in offering—first in 1986, and more recently in 1999—a threefold scheme in the development of the genre she labels as “sentimental novel”: a first group chronologically of the genre would be represented by Siervo libre de amor and Sátira de felice e infelice vida, both works marked by the influence of cancionero poetry—specially in the allegorical structuring and in the characterization of love, and by other subjects being limited to an abstract and general analysis of emotions. Both works also present a debate over the moral value of love. A second group would gravitate around Triste deleytacion and the works of Diego de San Pedro and Juan de Flores, works that show a wider range of topics and the impact of a broader generic textuality like cancionero poetry and such chivalric novels as Tirant. Finally, she distinguishes a third group whose main characteristic is the imprint of Celestina’s influence on both the narrative surface and its thematic approach. In the same vein, Vicenta Blay Manzanera has taken up this threefold scheme, dividing the genre into “the creation of the paradigm” (“la creación del paradigma”) the climactic stage, and the downfall and disarticulation of the narrative sentimental system” (“la fase climática” and “el tercero la fase de declive o desintegración del paradigma”) [“La conciencia genérica” 221]. [End Page 132]Just as Rohland de Langbehn’s works had at least settled down the arguments about the existence of a sentimental novelistic genre, however, medieval Hispanic scholarship has been shaken by an entrenched debate over not only the identification of this genre (novel or fiction) but whether the genre even existed at all. It was Antonio Cortijo Ocaña who, while editing a critical cluster in La Corónica on sentimental fiction, opened the door to some scholars such as Weissberger who voiced their skepticism over the generic nature of sentimental prose, a skepticism already present in an innovative volume published by Gwara and Gerli in 1997. This skeptical position was also supported by Cortijo Ocaña himself, who in 2001 published a monumental work in which, although using the generic term as a departure point, he ended up suggesting the difficulty of defining it, therefore jettisoning it. This position in turn was contested by Rohland de Langbehn, who in 2002 defended the validity of both the existence of a genre and its name novela sentimental, a position that has sparked a new round of replies in a La Corónica forum in 2003.In this debate, I would join today’s minority position on the existence of a sentimental genre, because, as I explained in my 2001 review of Rohland de Langbehn’s book and as I find convincingly argued in her 2002 contribution, there are internal traits within sentimental fictional texts that do not appear together in other sentimental generic texts [139]. In addition, once we take into account the obvious intertextuality of those sentimental texts, as Blay Manzanera has shown [“La conciencia genérica”], and the overutilization of central motifs in the configuration of love’s debate, we... (shrink)

For medical humanitarian organizations, making their sources of legitimacy explicit is a useful exercise, in response to: misperceptions, concerns over the ‘humanitarian space’, controversies about specific humanitarian actions, challenges about resources allocation and moral suffering among humanitarian workers. This is also a difficult exercise, where normative criteria such as international law or humanitarian principles are often misrepresented as primary sources of legitimacy. This essay first argues for a morally principled definition of humanitarian medicine, based on the selfless intention of (...) individual humanitarian actors. Taking Médecins Sans Frontières (MSF) as a case in point, a common source of moral legitimacy for medical humanitarian organizations is their cosmopolitan appeal to distributive justice and collective responsibility. More informally, their legitimacy is grounded in the rightfulness of specific actions and choices. This implies a constant commitment to publicity and accountability. Legitimacy is also generated by tangible support from the public to individual organizations, by commitments to professional integrity, and by academic alliances to support evidence-based practice and operational research. (shrink)

Na primeira analogia da experiência, o locus classicus da sua teoria da substancialidade, Kant introduz a substância como algo que permanece através do tempo, como para compensar a alteração dos estados de consciência. O conflito de interpretações a propósito desta questão é provocado sobretudo pela questão de saber até que ponto Kant identifica este substrato permanente de todas as manifestações com a matéria no sentido físico do termo. Nesse sentido, o autor do presente artigo desenvolve um argumento em ordem a (...) mostrar que, segundo Kant, apenas os objectos materials que ocupam espaço podem possuir o estatuto de substância (enquanto fenómeno). Para além disso, no entanto, mostra-se também que o critério da permanência temporal não exaure o conceito de substância. Com efeito, o artigo demonstra até que ponto Kant suplementa a noção de permanência mediante a sua compreensão da substância como sujeito de causalidade e de acção. Esta concepção está presente não apenas na sua metafísica da natureza, mas estende-se também à nossa própria auto-compreensão enquanto seres vivos capazes de agir em liberdade. /// In the first analogy of experience, the locus classicus for his theory of substantiality, Kant introduces substance as something that endures through time, as though to compensate for changing states of consciousness. The conflict of interpretations concerning this issue is provoked above all by the question as to whether Kant identifies this permanent substrate of all appearances with physical matter. This article argues that, according to Kant, only material objects that occupy space can possess the status of substance (as phenomenon). However, it also contends that the criterion of temporal permanence does not exhaust the concept of substance. Kant supplements permanence by means of his understanding of substance as the subject of causality and action. This conception is not only echoed in his metaphysics of nature, but extends to our selfunderstanding as living and freely acting beings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Walking the Bodhisattva Path/Walking the Christ PathU.S. Conference of Catholic BishopsCatholics and Buddhists brought together by Dharma Realm Buddhist Association, the San Francisco Zen Center, and the United States Conference of Catholic Bishops (USCCB) met 20-23 March 2003 in the first of an anticipated series of four annual dialogues. Abbot Heng Lyu, the monks and nuns, and members of the Dharma Realm Buddhist Association hosted the dialogue at the (...) City of Ten Thousand Buddhas in Talmage, California. The community had transformed their Confucius Hall into a chapel, with a large, newly constructed wooden cross on a wall above an altar facing out from a raised platform, so the Catholic delegation would have a space for worship. A special poster announcing the theme of the conference, "Walking the Bodhisattva Path/Walking the Christ Path," showing a Buddhist dharma wheel at one foot of a bridge and a Celtic cross at the other foot, had been created by the hosting community.The daily schedule for the dialogue did not interfere with the monastic routine at the City of Ten Thousand Buddhas, which included early morning chanting (4:00-5:00 am), daily rituals in the Buddha Hall, and the single large meal for monastics before noon to which all participants were invited. Catholics and Buddhists meeting in the dialogue began each day with an optional forty-five minutes of quiet sitting together in the monastery meditation hall, each following their own form of meditation and prayer. There was a Eucharist on Friday and Saturday evenings for the Catholics and to which the Buddhists were invited, and additional meals of breakfast and supper throughout the meeting at the City's Jyun Kang Restaurant.Fourteen Buddhists and fourteen Catholics participated in the formal discussions. Each participant spoke on what it means to them to follow Christ or the way of the Bodhisattvas or enlightened beings. In addition to speaking, each participant distributed a short passage, usually from a traditional text, on this topic. Several passages from Master Dogen's Shobogenzo and the Gospel of John were among those shared by the group. Other passages shared were taken from the Avatamsaka Sutra and the Shurangama Sutra and from the other gospels and the writings of Zen master HakuinZenji, the Dalai Lama, Korean Zen Master I-sahn Hye-yeon, the teachings of Master [End Page 247] Hsuan Hua, Shantideva, Origen, St. Ignatius, St. Benedict, the author of The Cloud of Unknowing, St. John of the Cross, and Chiara Lubich. A minute of silence separated the fifteen-minute segments for each presentation. With so large a group, most of the time in the formal sessions involved listening to series of presentations; however, during discussion periods the participants asked several challenging questions of one another.Some participants noted the tension they felt between belonging to a particular religious group and the need to let go of any consequential narrowness. The goal of the discussion was to promote understanding of the differences and similarities between Christianity and Buddhism. At one point, the participants noted several concerns about mutual enrichment: whether Buddhist methods can be separated from Buddhism and Christian methods from Christianity, and what specific aspects of Christian practice truly enrich Buddhists and which Buddhist practices likewise enrich Christians. Several times participants discussed their understanding of terms such as transformation, grace, the incarnation and the passion of Jesus, discernment of spirits, prayer, Buddha-nature, and related terms. There was consensus that Buddhists and Catholics can practically help one another regarding mental cultivation and religious precepts. They expressed this consensus in their choice of the topic forthe next dialogue, "Transformation of Hearts and Minds: Chan/Zen-Catholic Approaches to Precepts."The group agreed to reconvene in 2004 to respond to six presentations, three from each side, on different aspects of this topic.Chairing the sessions were Rev. Heng Sure for the Dharma Realm Buddhist Association, Rev. Taigen Dan Leighton for the San Francisco Zen Center, and Bishop John Webster for the United States Conference of Catholic Bishops. Their three organizations are the sponsors of the Northern California Chan/Zen-Catholic Dialogue. Chan and Zen are respectively the Chinese and Japanese terms for the meditation school... (shrink)

Articulated arm coordinate measuring machine is a specific robotic structural instrument, which uses D-H method for the purpose of kinematic modeling and error compensation. However, it is difficult for the existing error compensation models to describe various factors, which affects the accuracy of AACMM. In this paper, a modeling and error compensation method for AACMM is proposed based on BP Neural Networks. According to the available measurements, the poses of the AACMM are used as the input, and the coordinates of (...) the probe are used as the output of neural network. To avoid tedious training and improve the training efficiency and prediction accuracy, a data acquisition strategy is developed according to the actual measurement behavior in the joint space. A neural network model is proposed and analyzed by using the data generated via Monte-Carlo method in simulations. The structure and parameter settings of neural network are optimized to improve the prediction accuracy and training speed. Experimental studies have been conducted to verify the proposed algorithm with neural network compensation, which shows that 97% error of the AACMM can be eliminated after compensation. These experimental results have revealed the effectiveness of the proposed modeling and compensation method for AACMM. (shrink)

We offer a review of some of the most influential views on the status of Reichenbach’s Principle of the Common Cause (RPCC) for genuinely indeterministic systems. We first argue that the RPCC is properly a conjunction of two distinct claims, one metaphysical and another methodological. Both claims can and have been contested in the literature, but here we simply assume that the metaphysical claim is correct, in order to focus our analysis on the status of the methodological claim. We briefly (...) review the most entrenched or classical positions, including Salmon’s ‘interactive forks’, van Fraassen’s scepticism, and Cartwright’s generalisation of the fork criterion. We then go on to review the results of the ‘Budapest school’ on the existence of formally defined screening­ off events for any correlation —by means of the ideas of probability space extensibility and (Reichenbachian common cause) completability. We distinguish the Budapest doctrine clearly from any of the classical conceptions, and thus present an overall framework for discussions of causal inference in quantum mechanics. We argue that this review is preliminary essential work for a thorough assessment of the conditions under which RCCP may be a reliable tool for causal inference in a genuinely probabilistic (indeterministic) context. (shrink)

In 1999, Médecins Sans Frontières set out to explore and demonstrate the feasibility of preventing and treating HIV/AIDS in a so-called resource-poor, economically and socially disadvantaged setting. The first MSF mission to incorporate antiretroviral treatment into its HIV-AIDS-oriented medical program was undertaken in Bangkok. The second project was launched in Khayelitsha where MSF has been providing ARV treatment for persons with HIV/AIDS since May 2001. Khayelitsha is an enclave of some 500,000 inhabitants, most of whom live in corrugated-iron shacks, without (...) running water or electricity. Unemployment is extremely high; crime and violence are rampant. The general prevalence of HIV/AIDS is 26%, measured among pregnant women. The tuberculosis incidence rate is one of the world's highest for open-space sites. Unsurprisingly, TB/HIV coinfection is very high too: 63% of those with TB are also infected with HIV. (shrink)

We offer a novel picture of mathematical language from the perspective of speech act theory. There are distinct speech acts within mathematics, and, as we intend to show, distinct illocutionary force indicators as well. Even mathematics in its most formalized version cannot do without some such indicators. This goes against a certain orthodoxy both in contemporary philosophy of mathematics and in speech act theory. As we will comment, the recognition of distinct illocutionary acts within logic and mathematics and the incorporation (...) of illocutionary force indicators in the formal language for both goes back to Frege’s conception of these topics. We are, therefore, going back to a Fregean perspective. This paper is part of a larger project of applying contemporary speech act theory to the scientific language of mathematics in order to uncover the varieties and regular combinations of illocutionary acts present in it. For reasons of space, we here concentrate only on assertive and declarative acts within mathematics, leaving the investigation of other kinds of acts for a future occasion. (shrink)

The article deals with the determining role of the primary literary source on the Ukrainian theme in the creation of ballets. This made it possible to assert that at the junction of various arts, choreography and its special plastic form contribute to the creation of new avant-garde forms of art, thereby realizing the richest artistic potential of the direction. Based on this, it becomes clear that the relationship between literary and choreographic arts is close, because it affects the enrichment of (...) the ballet repertoire. Creating a choreographic work based on a literary background is one of the most important achievements of choreography.The artistic integrity of choreographic works forms the basis of the principle of art synthesis. The author of the article determined the important role of Ukrainian dance in creating a choreographic performance based on a literary source, because Ukrainian choreographic art is noted for its inexhaustible wealth of dance colors, emotional fervor, subtle folk humor and sincerity of performance, therefore creating a choreographic work based on literary works, especially on national themes, which is an auxiliary factor for activating the harmonious interrelationship of the specified time, space and transmitted events of the work with the means of stage and everyday dance vocabulary. The aim. The purpose and task of the article is to show the interpretation of literary works in the Ukrainian choreographic art of the 20th and early 21 centuries. Research methodology. A content-comparative method for comparing the works of researchers in different fields, the method of historicism - for researching a phenomenon within specific chronological limits, the method of generalization - for identifying the common and different points of view of scientists on the phenomenon under study. Research results: however, in the Ukrainian ballet theater of the late 50s of the 20th century, new aesthetic principles began to dominate, which were of great importance for the development of all musical and choreographic creativity. It is about rejecting prosaic plausibility as the only way to reproduce the truth of life on stage, restoring the hegemony of dance in the system of expressive means. In the ballet work of Ukrainian artists, the direction towards the heroization of the genre, the tendency towards the epic type of drama and the wide use of folklore becomes noticeable. Conclusion. In the process of working on the embodiment of a literary work or an image, the dramaturgy has the ability to change, develop, acquire specific features and details, the dramaturgy becomes alive, filled and exciting for the viewer. The ballet master’s solution to the embodiment of the literary source is embodied by the ballet dancers, who bring it to the audience with their art. The development and enrichment of choreographic art, the search for new forms, in this way, we observe in a creative union with adjacent muses, in interaction with other arts, where choreography does not dissolve in them, but while keeping its face, makes a fruitful contribution to the development of this union. The artistic integrity characteristic of the best choreographic works is based on the principle of synthesis of arts. Forms and means of dance-plastic action, principles of music-choreography dramaturgy, which allow to create works commensurate with the outstanding achievements of other arts, were formed in this experience. The key to the success of choreographic art is the mastery and development of this experience. (shrink)

In recent years, the vast increase in information flows has made it possible to instantly connect location-dependent information with physical spaces. These technologies have provided new forms of the representation of space as much as new forms of perception through tools and techniques used in land surveying, remote sensing, etc. From a critical point of view, pervasive computing, location-based applications, or, in other words, “locative media” provide an interesting framework to understand how these technologies relate to our understanding of (...) space and place. Concretely, we want to examine how the uses of locative media in social-oriented artworks interact with people's sense of place. This article therefore discusses contemporary theories on space related to media and technology with a specific focus on the conceptualization of the notion of place. It also relates these theories to the study of different locative media artworks: Canal Accessible, Bio Mapping, Disappearing Places, and Coffee Deposits. We contend that locative media artworks act upon distinctive ways to understand the mediation of technology in current place-making practices. (shrink)

We are currently facing global healthcare crisis that has placed unprecedented stress on healthcare workers as a result of the coronavirus disease 2019. It is imperative that we develop novel tools to assist healthcare workers in dealing with the significant additional stress and trauma that has arisen as a result of the pandemic. Based in research on the effects of immersive environments on mood, a neuroscience research laboratory was rapidly repurposed using commercially available technologies and materials to create a nature-inspired (...) relaxation space. Frontline healthcare workers were invited to book 15-min experiences in the Recharge Room before, during or after their shifts, where they were exposed to the immersive, multisensory experience 496 Recharge Room users completed a short survey about their experience during an unselected, consecutive 14-day period. Average self-reported stress levels prior to entering the Recharge Room were 4.58/6. After a single 15-min experience in the Recharge Room, the average user-reported stress level was significantly reduced 1.85/6. Net Promoter Score for the experience was 99.3%. Recharge Rooms such as those described here produce significant short-term reductions in perceived stress, and users find them highly enjoyable. These rooms may be of general utility in high-stress healthcare environments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume on the Abstract Idea of Existence: Comments on Cummins' "Hume on the Idea of Existence"1 Fred Wilson Hume'sviews on theconceptofexistence: thisisone ofthemore obscure parts of Hume's philosophy. Professor Cummins has done a valuable service simply by trying to unravel some ofthe puzzles; it is still more valuable for shedding as much light as it does on the issues. There are nonetheless problems with the interpretation that he develops, (...) and I would like to bring out some ofthese. I will address three questions: (a)What, more precisely, is the (abstract) idea ofexistence? (b)What is the notion of"necessity" as Hume would use it in connection with the notion that something exists "necessarily," or, contrarily, "contingently"? (c)Does it follow from the fact that whatever thing we conceive we conceive as existent that every thing necessarily exists? In order toanswerthese questions somethingwillhave tobe said about Hume's doctrine ofabstractideas. Butonall theseissues, Humeis often not so much inadequate as incomplete; and I shall suggest that a numberofpoints canbeilluminatedbylookingatthe historical context that Hume himselfcould take for granted. The upshot will not be that Hume's views are unproblematic, but only that they are perhaps less problematic than Professor Cummins makes out. I. Abstract Ideas In many respects, Hume's doctrine of ideas is fairly traditional. We think in terms ofideas. In particular, our capacity to think generally, and to use general terms, is a matter ofhaving abstract ideas. In this, Hume follows the views ofhis predecessors such as Locke, Descartes and the Port Royal logicians. Hume also adopts the principle that what is conceivable is possible. Again, he follows the same tradition ofLocke, Volume XVII Number 2 167 FRED WILSON Descartes and the Port Royal logicians. Where Hume differs from his predecessors is in his account of what precisely an abstract is. For Hume's predecessors, one forms an abstract idea by separation. Thus, for Locke, forming ideas by abstraction consists in "separating them from all other Ideas that accompany them in their real existence."2 This sortofseparation is the mechanism bywhich "the Mind makes the particular Ideas, received from particular Objects, to become general" (Essay, 2.11.9). The Port Royal logicians make the same point: abstraction occurs with respect to "choses... composées" when one "les considérant par parties, et comme par les diverses faces qu'elles peuvent recevoir." In abstraction what is thus known is considered separately from the whole; either one considers "les parties séparément" in the case of"parties intégrantes," or one "peut séparer les choses en divers modes," or, finally, "quand une même chose ayant divers attributs, on pense à l'un sans penser à l'autre."3 The former occurs when, for example, we separate in thought the parts ofthe body. Thisis the simplestform ofabstraction. Berkeleyhas noproblems with this notion: "Iwill notdenyI can abstract, ifthatmay properlybe called abstraction, which extends only to the conceiving separately such objects, as is possible may really exist or be actually perceived asunder."4 Neither does Hume have problems with this notion; it is the basis of his—and Berkeley's—view that ideas are either simple or complex and that some of the complex ideas are a result of our combining simple parts in ways that are not found in reality, as, for example, in our idea ofthe New Jerusalem.5 It is the other two sorts ofabstraction that are more problematic. Consider the first of these two forms of abstraction. We begin with simple ideas ofsensation, for example, white (Essay, 2.3.1). One forms the abstract idea of white by separating the property white from the other qualities with which it is conjoined in the white particulars, for example, snow or milk (Essay, 2.21.73), that are given in sense experience. The resultingideais distinct from other ideas, for example, blue or heat (Essay, 2.12.1). The example given by Nicole and Arnauld is thatofthe geometers who explore the idea ofthree-dimensional space by considering first length alone, then area, and finally volumes or solids (which is the same, for these Cartesians as "corps," body) (Logique, 1.5). This is one form ofseparation. By this means one forms abstract... (shrink)

On the twelfth anniversary of the name of Mexican Gastronomy as intangible cultural heritage of humanity, its safeguarding continues in different contexts. Nayarit stands out for its natural and cultural wealth which is reflected in the local gastronomy, whose recognition attracts locals and foreigners to taste the delicious dishes. This text contains research results whose purpose is to document the cultural and natural elements that make up the gastronomic heritage of Nayarit with potential for the development of tourism products. Through (...) a qualitative, applied, descriptive research, historical sources were consulted and contrasted with the information collected through interviews, for the integration of a non-exhaustive inventory of the north coast region of Nayarit, which serves as a basis for the tourist product design. (shrink)

The iconography of Maria Regina in eighth-century Rome illustrates a deep connection between sacred painted images and architectural spaces in the basilicas of San Clemente, San Lorenzo fuori le Mura, and Santa Susanna. This essay focuses on the concept of zones of transition, i.e., liminal spaces, within sacred buildings. Distinct iconographic similarities among these sites suggest a common prototype drawn upon by artisans working at the same time. Altars situated in these transitional areas served both funerary and catechumenal purposes, emphasizing (...) Mary’s role as intercessor and guide. This consistent depiction underscores her significance in rites of passage, providing spiritual support during transitions such as physical death and the figurative death of baptism, thereby highlighting her importance in these ritual contexts. (shrink)

The epic life of Pope John Paul II touches virtually all aspects of the human being in time and space. His successful world outreach achieves unprecedented superlative proportions in his search for universal harmonies among peoples, cultures and religions. Significantly, his death confirms the success of his positive mission on the Earth as his death caused an extraordinary unity of people, cultures, and religions during his funeral. No one else has unified such opposing opposites in a memorial service (...) in a millennium! Thus, Pope John Paul II by his calling served the sacred; his deeds achieve a synchronized symphony of the sacred and secular. This paper examines the views of Pope John Paul II, as expressed in Laborem Excercens, through the concept of the unity of oppositesin sacred and secular architecture. (shrink)

In this paper we shall introduce the variety FWHA of frontal weak Heyting algebras as a generalization of the frontal Heyting algebras introduced by Leo Esakia in [ 10 ]. A frontal operator in a weak Heyting algebra A is an expansive operator τ preserving finite meets which also satisfies the equation $${\tau(a) \leq b \vee (b \rightarrow a)}$$, for all $${a, b \in A}$$. These operators were studied from an algebraic, logical and topological point of view by Leo Esakia (...) in [ 10 ]. We will study frontal operators in weak Heyting algebras and we will consider two examples of them. We will give a Priestley duality for the category of frontal weak Heyting algebras in terms of relational spaces $${\langle X, \leq, T, R \rangle}$$ where $${\langle X, \leq, T \rangle}$$ is a WH -space [ 6 ], and R is an additional binary relation used to interpret the modal operator. We will also study the WH -algebras with successor and the WH -algebras with gamma. For these varieties we will give two topological dualities. The first one is based on the representation given for the frontal weak Heyting algebras. The second one is based on certain particular classes of WH -spaces. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2004 Meeting of the Society for Buddhist-Christian StudiesFrances S. AdeneyThe 2004 meeting of the Society for Buddhist-Christian Studies was held in San Antonio, Texas, 19–20 November 2004. This year's theme was "Dealing with Illness and Promoting Healing: Buddhist and Christian Resources." During the first session panelists Laura Habgood Arsta, Jay McDaniel, and Beth Blizman presented Christian views on dealing with illness, and Rita Gross responded from a Buddhist (...) perspective. The second session focused Buddhist resources for promoting healing by panelists Francis Tsio and Grace Buford, with Laurel Curran presenting a Christian response.Laura Habgood Arsta presented research done by undergraduate students in border communities between the United States and Mexico. The topic was the connection between the Pentecostal movement and environmental health. Pentecostal Christianity (250–400 million members worldwide) emphasizes the signs that accompany the presence of Christ, evidenced by experiences of spirit baptism and faith healing.Their sample indicated that poor and minority people don't identify with the environmental movement until personal health problems emerge. One possible reason for Pentecostal religion thriving, according to this research, might be that exposure to toxins and poverty draws people to healing, a theological pillar of Pentecostalism. Religious services provide an emotional outlet and inspire self-confidence, which can become a mental health component of a healing solution. Women are free to share and lead services, finding leadership opportunities and a social group in churches. As an inexpensive alternative to medical care, healing in the Pentecostal church provides a sense of physical healing as well as help in overcoming addictions.Beth Blizman informed the group of the toxicity of the Lake Erie area of northern Ohio. Cancer is becoming normalized in this region, which has the highest level of multiple cancers in the United States. Beth feels called to heal her own body and become part of the healing process of that region. She argued that an attitude that disrespects the earth leads to disrespect of one another. "How can healing be found?" she asked. She discussed many resources from ancient monastics to modern women religious, from process and feminist thought to new cosmologies. Finally she connected [End Page 149] Audre Lourde's work on the rejection of difference to the bioregional studies that she has been doing on toxicity and illness.Jay McDaniels followed by giving a Christian perspective on Alzheimer's disease as an ecumenical Christian influenced by Buddhism. He addressed three questions that Christians ask in this situation. The first question is "Where is God now? Is God inside my loved one? How?" In response to this question, Jay outlined an evangelical view of God that understands God as a transcendent being, "way up there, watching from a distance." He contrasted this view with a process view of God as an "umbrella of compassion that envelops the world without smothering it." In this view, God is the great companion, sharing the confusion and anxiety of the ill person.So where is the person as they experience personality changes caused by the disease? Jay addressed this second question through process theology, stating that in process theology the person is defined in Buddhist terms, inheriting from the past and contributing to the future. A person is constantly in flux or transformation, so the person with illness may be a different person than they once were but can be embraced as the person that they are now. The multidimensional universe of process theology allows for a person to live "with one foot on earth and one foot in heaven."Help for dealing with Alzheimer's disease, Jay's third question, can be found in the Benedictine vow of obedience, stability, and ongoing conversion. The deepest need for those with Alzheimer's is to be with them, being available to others to listen. Stability is the vow to stay with the relationship through these changes. Ongoing conversion can come through Alzheimer's as those with this disease invite us into a space of creative imagination and a new kind of respect.Rita Gross responded to the three presentations by arguing that how one perceives a situation changes it tremendously. Two Buddhist principles that apply here are... (shrink)

In this paper we study the variety \(\textsf{WL}\) of bounded distributive lattices endowed with an implication, called weak Lewis distributive lattices. This variety corresponds to the algebraic semantics of the \(\{\vee,\wedge,\Rightarrow,\bot,\top \}\) -fragment of the arithmetical base preservativity logic \(\mathsf {iP^{-}}\). The variety \(\textsf{WL}\) properly contains the variety of bounded distributive lattices with strict implication, also known as weak Heyting algebras. We introduce the notion of WL-frame and we prove a representation theorem for WL-lattices by means of WL-frames. We extended (...) this representation to a topological duality by means of Priestley spaces endowed with a special neighbourhood relation between points and closed upsets of the space. These results are applied in order to give a representation and a topological duality for the variety of weak Heyting–Lewis algebras, i.e., for the algebraic semantics of the arithmetical base preservativity logic \(\textsf{iP}^{-}\). (shrink)

The following pages, which deal with the pre-history of the concept of history from Homer to Herodotus, first propose to decenter and historicize the Greek experience. After briefly presenting earlier and different experiences, they focus on three figures: the soothsayer, the bard, and the historian. Starting from a series of Mesopotamian oracles , they question the relations between divination and history, conceived as two, certainly different, sciences of the past, but which share the same intellectual space in the hands (...) of the same specialists. The Greek choices were different. Their historiography presupposes the epic, which played the role of a generative matrix. Herodotus wished to rival Homer; what he ultimately became was Herodotus. Writing dominates; prose replaces verse; the Muse, who sees and knows everything, is no longer around. So I would suggest understanding the emblematic word "historia" as a subsititute, which operates as an analogue of the omnivision of the Muse. But before that, Herodotean "invention"- the meeting of Odysseus and the bard Demodocus, where for the first time the fall of Troy is told-can be seen as the beginning, poetically speaking at least, of the category of history. (shrink)

Abstract:San Diego, California, is the eighth largest city in the United States and one of the least affordable cities in the world. Many people in San Diego experience significant ramifications from competition for space. Currently, the southern side of downtown San Diego is the hottest area for development in San Diego county. This article examines the redevelopment of Barrio Logan, a small Latino community that borders downtown San Diego. Barrio Logan is a part of San Diego's third oldest community. (...) The study interviewed ten planning board members who participated in redevelopment and rezoning processes and provided thematic data. In addition, ten U-T San Diego newspaper articles also provided data on a referendum initiated by the marine industry to repeal adopted zoning ordinances. The data are used to discuss the construction of personal, group, and institutional social reality that influenced the outcome of the redevelopment and rezoning processes. The successful Barrio Logan Redevelopment Project Area process was about both the restoration and the sociopolitical empowerment of the community. Due to that redevelopment process, Barrio Logan has begun to emerge as a vibrant, exciting community. A subsequent redevelopment effort, the Barrio Logan Community Plan Update (BLCPU), focused on instituting new zoning ordinances to address the incompatible land uses and toxins in Barrio Logan. Industry in the community has resisted these types of changes to the zoning ordinances for decades. This resistance culminated with a referendum that repealed the BLCPU, which had been passed by the San Diego City Council. The marine industry's central selling vision of jobs influenced a majority of San Diego City voters outside of Barrio Logan to reject the Plan 1A version of the BLCPU. The reasons for and ramifications of the rejection of Plan 1A are discussed and steps Barrio Logan and the other San Diego redevelopment districts could take to improve their chances of winning a future referendum election are recommended. (shrink)

At the end of the sixteenth century, a new conception of history appeared that Jean Bodin theorized in France as geographistory. Building on the discoveries of the New World and the subsequent onset of globalization, and drawing on Polybius’s Histories as well as Stoic cosmopolitanism, geographistory aimed to impose a coherent and authentic order (“metre en ordre des choses tant désordonnees”) on the puzzle of fortuitous historical events by appealing to the immanent and material nature of things, presented as a (...) kind of Fortune through which events would realize their universal telos. Configured after the model of the destiny of the Roman Empire, which at his apogee dominated all the world urbi et orbi, the growing world’s unity and universality would therefore providentially substitute for both God’s miraculous intervention and the Aristotelian epic hero’s action; which had failed in the eyes of Calvinists because of the historic fiasco of King Henri IV. In that respect, the poet Agrippa d’Aubigné hoped, with his Histoire universelle, to endow history with a new direction and progress (as Bacon and, still later, Bossuet will do) by methodically combining the parameters of time and space, in the manner of panoptic and rotating Baroque perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prolegomena to a Comparative Reading of The Major Life of St. Francis and The Life of MilarepaMassimo A. RondolinoDifferent religious traditions in different cultures have recorded and transmitted the lives of individuals recognized as “perfected.” The particular doctrinal framework within which each of such figures is identified as “perfected” is certainly specific to the religious tradition that tells their life stories. Similarly, the social processes by which these religious (...) life writings are written, received, and circulated are appropriate to the historical and geographical contexts of their composition. Yet, narrative parallels can be detected across traditions, and the question arises whether these apparent similarities in the creation of such religious life stories across cultures, space, and time reflect actually similar doctrinal and political agendas. Could there be an underlying hagiographic process common to all these literary traditions, regardless of their compositional contexts? In other words, is the writing of spiritual lives a phenomenon that is contextual to a specific religious tradition, or is it rather a particular human response to given social and historical circumstances?I want to offer here a preliminary assessment of a study in comparative hagiology. To this end, I focus on two specific narrative traditions that pertain to two distinct religious, historical, and geographical contexts: the hagiographic writings on the medieval Christian St. Francis of Assisi (1182–1226) and the namthars on the Tibetan Buddhist Milarepa (Mi la ras pa; ca. 1052–1135). In particular, here I make some considerations on a comparative reading of the “standard versions” of their life stories: The Major Life of St. Francis (Legenda Maior Sancti Francisci) by Bonaventure of Bagnoregio (1221–1274), and The Life of Milarepa (Mi la ras pa’i rnam thar) by Tsangnyön Heruka, the “madman” of Tsang (gTsang smyon Heruka; 1452–1507).1The composition and reception of religious life writings is famously characteristic of early and medieval Christianity, with its complex and extensively studied production of hagiographic texts. Similarly, the compilation and distribution of life narratives in a religious context also plays a crucial role in the historical and cultural development of Tibetan Buddhism, with its extensive production of namthars (rnam thar, literally “great liberation” and, therefore, “stories of great liberation”). Within these large narrative traditions, St. Francis of Assisi and Milarepa eminently stand [End Page 163] out, both within and outside their respective cultural contexts, as two among the most renowned spiritual figures in Christianity and Tibetan Buddhism, respectively.2 Furthermore, both figures and their related narrative traditions have been the object of scholarly studies for nearly a century.3Indeed, the spirituality embodied by St. Francis and Milarepa has been already the focus of attempted comparisons that have essentially and consistently focused on a direct assimilation of their respective extreme asceticism and teachings of poverty and renunciation, by drawing extensively on the literary accounts of their lives.4 Yet, it is important to note that the lives of these two exceptional individuals are also almost exclusively known through the dominating perspective of a single author’s works. In fact, although one of the best-known texts on St. Francis is the anonymous Little Flowers of St. Francis (Fioretti di San Francesco, late fourteenth century), the saint’s life and deeds are primarily known through their rendering by Bonaventure of Bagnoregio, general minister of the Franciscan order. Similarly, the acts and teachings of Milarepa as they are familiar to Tibetan (and Western) audiences result primarily from the work of the wandering yogin Tsangnyön Heruka.Reflecting on the apparent parallelisms between the lives and teachings of St. Francis and Milarepa, though, I wonder whether such similarities may not extend beyond the spirituality that the saint and the repa embody. In particular, I am curious as to whether the analogies between the two figures that have been already outlined by several scholars may not actually arise from similarities in the sources’ underlying compositional dynamics and, in particular, in the authors’ approaches to the interpretation and retelling of these individuals’ lives as embodiments of a particular form of spirituality. In fact, if religious life writings are a form of communication that can be found in communities that belong to different traditions, times... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cartographic Memory: Social Movement Activism and the Production of Space by Juan HerreraAída R. GuhlincozziCartographic Memory: Social Movement Activism and the Production of Spaceby juan herrera Durham, N.C.: Duke University Press, 2022Juan Herrera’s historical recounting of Latino activism in Fruitvale, California, in Cartographic Memory: Social Movement Activism and the Production of Space is stellar. In fact, the case focused on by Herrera as an example of (...) activism producing space and creating change in the name of social justice is not the only top-quality contribution to Latinx geographies to be found in this book. Herrera’s conceptualization of “cartographic memory” builds on the intertwining of Latinx writers and historians with traditional spatial thought from the history of geography. His definition of “cartographic memory” as a “political remaking of urban geography and therefore a selective mapping” adds to the broader oeuvre of activism and space coming out in recent years (14).The geographic location for Cartographic Memory comes from the author’s long history of working in and around Fruitvale as both a volunteer and community member. As a new resident of the Oakland area, Herrera mistakenly navigated himself to Fruitvale, where he found the elements of the place clearly speaking to a cultural aesthetic of Latin-idad. Intrigued, Herrera began volunteering in the area, and learned more of the long activist history of the space. That activist history, Herrera argues, has long been under-studied, or even forgotten, in Chicano activist history, and merits recognition. Herrera’s efforts with [End Page 139] this book go a long way to gathering together that spatial history and reconstructing it for the reader through interviews and oral histories with numerous activists, extensive archival research, and ethnography focusing on the 1960s and 1970s Mexican-American activist mobilization in support of the Chicano movement.The power of the focus on Fruitvale must be recognized, as Herrera also makes space for intently peeling apart the layers of nonprofit funding, social movements, and community-building and support. The chapter, “Revolution Interrupted,” is about the funding situation of the Unity Council in Fruitvale and how the funding structure was constructed over time in the context of the political and economic opportunities of the 1960s. It speaks to how this had a profound effect on the organizers and community given the shift from grassroots to institutional funding. This chapter opens the book with a focus on the national scope of funding opportunities for organizations in the 1960s that focused on race and ethnicity. Through this lens are explored the effects of local political actions—such as the 1969 speech by San Antonio-based Mexican American Youth Organization (MAYO) leader Jose Angel Gutierrez—on funding at the federal level. Because of the perceived militancy of these remarks, the U.S. Congress became concerned, and eventually passed the 1969 Tax Reform bill, limiting the types of projects that could be funded philanthropically. This type of multi-scale understanding of Fruitvale activism is threaded throughout the entire book, from chapter 1, “Making Place,” in which Herrera summarizes activist perspectives on Fruitvale as emphasizing “not only how the neighborhood itself [produced] a geography of activism but also how it was interconnected to other places of struggle throughout the United States” (emphasis in original; 33).Herrera also navigates the interactions of race, ethnicity, and space, tracing how coalitions, influences on political efforts, and collaboration took place throughout Fruitvale and Oakland during this period. His second chapter, “The Other Minority,” identifies where Black Panther Party-related work occurred; the marketization that began to occur of a non-threatening, non-Black “Latino” identity; the effect that this had on activist efforts; and more. Importantly, in this chapter Herrera’s interviews reveal that part of the interest in these coalitions came from the clear organizational success Black activists had achieved in their [End Page 140] work, leading Mexican American activists in Oakland to pursue similar efforts. One interviewee, Herman Gallegos, a prominent activist at the time, spoke of recalling an event where Black men would gather monthly to focus on leadership. Thinking highly of them, he says that he recognized them as future “mayors, judges... [but] kept thinking... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Chaos, Fractals, and the Pedagogical Challenge of Jackson Pollock's "All-Over" PaintingsFrancis Halsall (bio)IntroductionThe "all-over" abstract canvases that Jackson Pollock produced between 1943 and 1951 present a pedagogical challenge in how to account for their apparently chaotic structure. One reason that they are difficult to teach about is that they have proved notoriously difficult for art historians to come to terms with. This is undoubtedly a consequence of their abstraction. (...) In the face of an apparent disintegration of the traditional pictorial distinction between figure and ground, multiplicities of (sometimes contradictory) readings present themselves. The question, posed to students, as to what they represent is an open one. To many, recalling the opinions of the baffled audience of the 1950s, they are nothing but an inchoate mess. In 1950 Time magazine referred to them as "chaos," prompting Pollock to wire a heated reply, "NO CHAOS DAMN IT."1Pollock's claim of "no chaos" can, however, be unpacked. This article looks at how a scientific analysis based on Chaos Theory and fractal patterns can be used to demonstrate to students that the paintings are indeed chaotic, but that this in turn provides evidence of an internal structure, an order within the chaos. This order is mimetically similar to other chaotic patterns and systems, from coastlines to economic systems. My overall position in this article is one of skepticism as to what such analysis ultimately has to offer in art historical, aesthetic, or pedagogical terms.The ProblemFor a student encountering Pollock's work for the first time, especially after a standard first-year survey of Western art, it can seem incomprehensible. [End Page 1] The challenge of Pollock's work is that none of the multiple interpretations that have been brought to bear on the paintings have any special claim to validity. Given the suggestive ambiguity and "chaos" of the images, there is little in the work itself that challenges the numerous, often contradictory, readings that have been posited. In fact, how art historians approach such images tells students something about the way art history itself works and how art historians are faced with particular choices in applying their discursive models. They must choose whether these accounts "fit" or satisfy the conditions of "rightness," to evoke Nelson Goodman's terms.2The numerous questions that have been asked of what the paintings actually represent are themselves demonstrative of the wide variety of techniques that modern art historians have at their disposal. Analyses have been based upon observations that are couched in the vocabularies of the political (often Marxist theory), feminism, psychoanalysis, iconography, formalism, and so forth.3 At the time of the paintings' creation even the CIA was in on the act; apparently realizing the ambiguity of the work left it open to political manipulation, they secretly funded the promotion of abstract expressionism as a weapon of the cold war.4 Simultaneously, members of Congress such as George Dondero were actually claiming the opposite—that Pollock was making paintings that were a "means of espionage" (sic) and that "If you know how to read them... [they] will disclose weak spots in U.S. fortifications, and such crucial constructions as Boulder Dam."5Ernst Gombrich's celebrated frustration with abstract art highlights the problems that those following traditional art historical methods had with such art at the time. Writing on Pollock's Number 12 (1952), Gombrich also seemed perplexed in the face of chaos. His response to the lack of explicit representational content or apparently accountable meaning was to claim:It is quite consistent that these [action] painters must counteract all semblance of familiar objects or even of patterns in space. But few of them appear to realise that they can drive into the desired identification only those who know how to apply the various traditional consistency tests and thereby discover the absence of any meaning except the highly ambiguous meaning of traces.6Indeed, if there is any consensus to be communicated to students about the work, it is that a single, specific meaning will always allude them.All of the above reactions to the work makes the claims of three physicists to have found the... (shrink)

The Epic of Gilgamesh is a story full of thresholds, liminal spaces, and times of transition. This essay investigates the representation of time and space in Gilgamesh, employing Mikhail Bakhtin’s concept of the “chronotope.” The chronotope is a methodological tool that Bakhtin developed to compare changing depictions of time and space across the history of literature, and I argue that the Epic of Gilgamesh employs what Bakhtin terms “the chronotope of the threshold.” I examine four aspects (...) of this chronotope: the depiction of space, the depiction of time, the human characteristics associated with the chronotope, and its relation to the textuality of the epic. I argue that space in Gilgamesh is structured as a mosaic sequence of externally different but internally homogenous spaces, separated by highly symbolic thresholds. Likewise, the passage of time is repeatedly depicted as transformative, through such temporal markers as the “six days and seven nights,” or “the very first glimmer of dawn.” Further, it is shown that this particular arrangement of space and time, both in Gilgamesh and in Ishtar’s Descent, is associated with characters who are driven by powerful but obscure forces within themselves, crossing thresholds that lead to their undoing. The essay closes with a consideration of how the epic’s depiction of thresholds is related to the threshold of textuality itself, that is, the line that separates reality from representation. (shrink)

Since its origin, the city of Puebla has had representative elements in its public spaces that have survived for a long time, they are ornamental and utilitarian objects which are landmarks of the city. Street furniture is a benchmark of identity too. All elements have legends, they are references that have given identity to streets and avenues. Natural elements also refer to a city’s identity, like trees. But the natural element that defined origin, trace and growth of the city is (...) one of the least visible. In the sixties, the San Francisco River was piped, as a sign of the new modernity, and today it is a boulevard where thousands of cars pass. Thus, bridges and other types of elements that the population still remember, mainly the elderly, have been forgotten. In recent years, some initiatives have emerged to rescue the historical memory of daily life and the revaluation of repre­sentative objects of the city center, such as the Casa Analco Community Museum project, coordinated by the Faculty of Architecture of BUAP in collaboration with residents of the Analco neighborhood. This article discusses both the monuments, their relics, elements of nature that shape the city's identity, as well as the gradual loss of these symbols. (shrink)

In 1979, Lewontin and I borrowed the archi- tectural term “spandrel” (using the pendentives of San Marco in Venice as an example) to designate the class of forms and spaces that arise as necessary byproducts of another decision in design, and not as adaptations for direct utility in them- selves. This proposal has generated a large literature featur- ing two critiques: (i) the terminological claim that the span- drels of San Marco are not true spandrels at all and (ii) the (...) conceptual claim that they are adaptations and not byprod- ucts. The features of the San Marco pendentives that we explicitly defined as spandrel-properties—their necessary number (four) and shape (roughly triangular)—are inevitable architectural byproducts, whatever the structural attributes of the pendentives themselves. The term spandrel may be extended from its particular architectural use for two- dimensional byproducts to the generality of “spaces left over,” a definition that properly includes the San Marco pendentives. Evolutionary biology needs such an explicit term for features arising as byproducts, rather than adaptations, whatever their subsequent exaptive utility. The concept of biological span- drels—including the examples here given of masculinized genitalia in female hyenas, exaptive use of an umbilicus as a brooding chamber by snails, the shoulder hump of the giant Irish deer, and several key features of human mentality— anchors the critique of overreliance upon adaptive scenarios in evolutionary explanation. Causes of historical origin must always be separated from current utilities; their conf lation has seriously hampered the evolutionary analysis of form in the history of life. (shrink)

This study is based on the question of which factors some rural spaces build and eliminate existing social relations. Specifically, the social functions of places such as bridges, caravan roads, police offices, madrasah, watermills, and dams are focused subjects. It is examined how these spaces bring social groups together, how they are separated, and how they affect the displacement of these groups. On the other hand, the differences between the rural space stand out with its cultural aspects, and the (...) urban space stands out with its economic aspects are emphasized. A qualitative research design is used in this ethnographic study, which lasted more than a year. The study is limited to a certain number of places in the villages of Siirt and Batman. In this context, 35 villages in Batman and 37 villages in Siirt are visited. In these villages, a total of 72 people of different ages, genders, and occupations are interviewed. The participants are determined using the purposive sampling technique. Interviews are conducted with the participants using semi-structured interview forms. The obtained data are analyzed using the content analysis technique. As a result of the findings, it is concluded that the spaces in rural areas are consumed in a cultural sense, just like the urban spaces. Moreover, it is observed that some rural spaces, unlike urban spaces, provide individuals with new behavioral patterns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Acts of Askēsis, Scenes of PoiēsisThe Dramatic Phenomenology of Another Violence in a Muslim Painter-PoetNauman Naqvi (bio)[End Page 50]The Divinity is beautiful and loves beauty. Cultivate the ethos of the Divinity. Askēsis is my glory, and all askēsis is from me.— Hadith of the Prophet Muhammad, Sahih al-Bukhari>> Introduction: Presenting the Drama of the Gnostic Ontology of Violence in IslamIn current discourse on violence in Islam, the fundamental importance (...) of the Prophetic distinction—a distinction iterated in a number of hadith, or speech-events of the Prophet Muhammad—between the greater, inner jihad, against the ego (al-jihad al-akbar), and the lesser, outward jihad, against oppression and animosity (al-jihad al-asghar), has often been cited. Even so, an originary measure of the significance of this exemplary distinction—abyssal in its simplicity, disclosing as it does the divinity proper to the divinely ordained imperative of jihad (such disclosure of divinity being the very task and telos of the Prophetic speech-event, its very eventfulness (hadatha)—has hardly been taken or heeded.It has not, to begin with, been explored that both forms strikingly share the violent word, jihad: in Arabic, forceful effort or struggle. It is as if the reality and intensity of these two radically different forms of force are adequated a priori in the Prophetic speech-event—if anything, it is the former, the inner jihad, that has the greater reality, the more violent, imperative intensity. With their difference a matter of degree and quality, the two are at once intimately related and violently real, linguistically leaving us little space for the distinction between the metaphoric and the literal in this demanding economy, language, and ontology of violence.1The line that has been drawn between the two forms of violence in the Prophetic speech-event is not ontological per se—it is the axis of the stage of their dramatic encounter, the battle line of their distinction. This axis, this vertical battle line of distinction, is the strait, but upwardly infinite, dramaturgical space wherein is enacted the gnostic ontology of violence in Islam. It is the axial line of force emanating from Islam’s extraordinary emphasis on the radical purification of one’s intention, one’s very intentionality (i.e., the purification not just of the springing ground of one’s comportment, but of the anterior ground where one receives and apprehends the real as such), in a quest for the demanding Divinity that would hurl the Islamic subject both inside and outside itself in its own endless search and infinite encounter. It is the battle line of distinction that races through the world stage of Islam’s arts, knowledges, and practices—the auratic line of force pulsating through the fields of its charismatic inheritance of generous visions, discourses, and gestures. Indeed, it is the piercing erotic arrow of divine love and mercy that is the subtle motus animi continuus of Islam’s graceful works of poiēsis.For the violent task of askēsis assigned by the great imperative of inner jihad is closely related both to the imperative of beauty in Islam—where the effects of askēsis: virtue and virtuosity, are densely, passionately cathected and imbricated with the beautiful2 by [End Page 51] virtue of the latter’s manifestation of divinity—as well as to the imperative of knowledge, wherein theory and praxis are united in askēsis.3Beauty and its creation—the act of poiēsis —are also, then, violently real, as are knowledge and its effects, since together they all have a kenotically violent askēsis as the condition and telos of their possibility, as the very ground(s) of their emergence and potentiality. Thus, the significance of the greater jihad is (again) to be read potentially, in the entire range of the arts, gestures, habits, and letters of Islam, its artifacts and bodies, where generous, kenotic, sacrificial logics are on display, not just in the lesser archive of jihad (in acts of greater jihad on far bygone battlefields), but in the epic world-panorama of the acts and scenes of askēsis and poiēsis that are... (shrink)

Contemporary critical space theories as well as singular architectural experiments acknowledge a quest for renewing the most significant ways in which space design is conceptually elaborated, factually realised and socially perceived. Searching to seize the possibility and the meaning of a creative intervention in space-related practices, the paper aims at revisiting the manner in which modern times determined the relationship between architectural production and politics. The main reason is that this sequence of the argument allows for a (...) more accurate definition of transformations that build up contemporary experience and especially the ways in which common creative practices totally abandon existential and political concerns. We argue that a specific comprehension of anarchitecture in ontological terms could shed a new light on creative architectural gestures. Anarchitecture, as we understand it, interrupts the logic of manifestos, which distinguishes it from oppositional architecture. In supporting the idea that experienced spaces are more that mere reified presences, involved as they are in shaping and determining meaning, our approach is not prescriptive but, quite on the contrary, attempts to empirically construct minimal orientations for thought and practice. (shrink)

Au cours des années 1970, le développement de la vente directe à domicile a donné lieu à la formation de cercles de sociabilité entre femmes dans le cadre des réunions Tupperware. Ces rencontres ont contribué à diffuser par capillarité nombre d’idées et pratiques féministes. Elles n’ont pas été sans incidence sur le déroulement de certaines trajectoires de femmes des classes moyennes et populaires. Le partage d’expériences de la soumission féminine, conjugale, et la confrontation aux modèles de femmes professionnalisées, les démonstratrices, (...) ont ainsi parfois ouvert à la prise de conscience du sentiment de soi et permis d’accéder à une certaine autonomie. (shrink)

What is space? It isn't a question that most of us normally stop to ask. Space is the venue of physics; it's where things exist, where they move and take shape. Yet over the past few decades, physicists have discovered a phenomenon that operates outside the confines of space and time. The phenomenon-the ability of one particle to affect another instantly across the vastness of space-appears to be almost magical. Einstein grappled with this oddity and couldn't (...) quite resolve it, describing it as "spooky action at a distance." But this strange occurrence has direct connections to black holes, particle collisions, and even the workings of gravity. If space isn't what we thought it was, then what is it?In Spooky Action at a Distance, George Musser sets out to answer that question, offering a provocative exploration of nonlocality and a celebration of the scientists who are trying to understand it. Musser guides us on an epic journey of scientific discovery into the lives of experimental physicists observing particles acting in tandem, astronomers discovering galaxies that look statistically identical, and cosmologists hoping to unravel the paradoxes surrounding the big bang. Their conclusions challenge our understanding not only of space and time but of the origins of the universe-and their insights are spurring profound technological innovation and suggesting a new grand unified theory of physics. (shrink)

The purpose of the following investigation is to understand how children from the old historic district El Refugio (or Barrio del Refugio) of the city of Puebla (Mexico) live in public spaces and what their days and nights look like. It is extremely important to understand the reasons for their appropriation of various places in the city because it allows one to explore the conditions in which they manifest autonomous attitudes. This article is therefore not only about customs and culture, (...) but also about everyday relationships with the environment. Children are also involved in the activities of the group Re Genera Espacio (RGE) and the team of Benemérita Universidad Autónoma de Puebla (BUAP) in the development of all kinds of educational, artistic, and social activities. Among the most important results obtained is the observation that safety conditions are created by children in independent groups which move to other neighbourhoods (“barrios”), such as San Antonio and Santa Anita. Children make the street their space because they have important knowledge of the area. (shrink)

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical (...) approach. Bakhtin often draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

This article proposes a communicative, imitative, and reflective account of musical learning and expertise. It starts from an affirmative yet critical reading of Høffding and collaborators, notably their idea of a musical arch, meant to bridge distinctions between low-level procedural enactment and high-level reflective cognition. While we embrace much of their analysis, we argue that they uphold tensions between these levels. Drawing on recent enactivist thought, phenomenological and hermeneutic resources, and developmental psychology, we propose a ‘linguistic turn’ that allows us (...) to situate the enactive body in what has been called an ‘original communication-situation’. The original communication-situation encompasses procedural proto-linguistic behaviour and a reflexive level of linguistic co-intentionality procedurally coupled with other bodies. From this perspective, musical co-creation within the normative space of the musical arch is a dialectical actualization of vertical and horizontal experience, reflecting transformative accomplishments of symbolic bodies within a linguistic field of participatory sense-making. The normative space of musical performance is the result of emergent features of music as embodied social practice. (shrink)

Joseph Margolis, known for his considerable contributions to the philosophy of art and aesthetics, pragmatism, and American philosophy, has focused primarily on the troublesome concepts of culture, history, language, agency, art, interpretation, and the human person or self. For Margolis, the signal problem has always been the same: how can we distinguish between physical nature and human culture? How do these realms relate? _The Cultural Space of the Arts and the Infelicities of Reductionism_ identifies a conceptual tendency that can (...) be drawn from the work of the twentieth century's best-known analytic philosophers of art: Arthur Danto, Richard Wollheim, Kendall Walton, Nelson Goodman, Monroe Beardsley, Noël Carroll, and Jerrold Levinson, among others. This trend threatens to impoverish our grasp and appreciation of the arts by failing to do justice to the culturally informed nature of the arts themselves. Through his analysis, Margolis sets out to retrieve an adequate picture of the essential differences between physical nature and human culture—particularly through language, history, meaning, significance, the emergence of the human self or person, and the essential features of human life—all to explain how such difference bears on our perception of paintings and literature. Clearly argued and provocatively engaging, Margolis's work reestablishes what is essential to a productive encounter with art. (shrink)

In this paper we shall introduce the variety FWHA of frontal weak Heyting algebras as a generalization of the frontal Heyting algebras introduced by Leo Esakia in [10]. A frontal operator in a weak Heyting algebra A is an expansive operator r preserving finite meets which also satisfies the equation?? b V, for all a,b? A. These operators were studied from an algebraic, logical and topological point of view by Leo Esakia in [10]. We will study frontal operators in weak (...) Heyting algebras and we will consider two examples of them. We will give a Priestley duality for the category of frontal weak Heyting algebras in terms of relational spaces where is a WH space [6], and R is an additional binary relation used to interpret the modal operator. We will also study the WH- algebras with successor and the WTf- algebras with gamma. For these varieties we will give two topological dualities. The first one is based on the representation given for the frontal weak Heyting algebras. The second one is based on certain particular classes of WH-spaces. (shrink)