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

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

Tras décadas de olvido de la escuela rural, y de la que hoy se denomina >, en los últimos tiempos, distintas voces han logrado que ambas hayan ganado una mayor visibilidad. Pese a ello, queda un largo camino que recorrer, y con un único objetivo: proporcionar a las escuelas rurales la importancia que tienen. Como respuesta, surge el presente estudio, en el cual se muestra un instrumento de medición de la percepción del profesorado de los Colegios Rurales Agrupados (en adelante (...) CRA) de la Comunidad Autónoma de Castilla-La Mancha. Validado, y aplicable a otras Comunidades que cuenten con CRA. (shrink)

Esta reseña invita a la lectura del ensayo de Dorte Katrin Jansen, dramaturga e investigadora teatral, quien presenta una cartografía de las dramaturgas mexicanas de mediados del siglo pasado hasta su fecha de publicación en 2018. Toma como punto de partida el trabajo de Elena Garro, Luisa Josefina Hernández y Sabina Berman para continuar con los procesos de más de ciento cincuenta dramaturgas. El esfuerzo de la autora por distinguir a las creadoras de acuerdo con su lugar de enunciación, así (...) como, la diferenciación entre escritura de las mujeres, femenina y feminista son tan solo algunos de los aportes que subrayo como relevantes en esta reseña. Con este trabajo la autora obtuvo el Premio Internacional de Ensayo Teatral. (shrink)

There is certainly no shortage of studies describing the unwanted effects of infidelity in the relevant literature. By contrast, this paper examines the previously unexplored face of infidelity – namely, the subjectively perceived positive effects. One hundred and four participants from Slovakia in emerging and/or young adulthood shared their relationship history through semi-structured interviews (transcribed verbatim). Sixty-nine of these were self-moderated in written form. The same topics were covered in the two types of interview. Using a categorical-content analysis method, four (...) categories were created. These described the constructive functions of infidelity, including enhancing relationship quality; aiding a desired breakup; satisfying unmet needs; and facilitating the decision-making process during the transition period before settling into a long-term relationship. For future research we recommend differentiating between beneficial episodes of infidelity, focusing on personal characteristics and subjective experiences of infidelity, and including non-heterosexual participants. (shrink)

The paper presents findings on primary teachers’ and other school actors’ constructions of the teacher and parental role. Specifically, it focuses on strategies for maintaining borders between the personal (parent) and professional (teacher) roles in school environments in Slovakia. We approached the concepts of role and identity from the perspective of social constructivism and symbolic interactionism. Thirty-one interviews and focus groups with school actors were analysed using critical discourse analysis. In the next step, discourses on managing the dual role were (...) analysed using thematic analysis. Results show participants described regulating or restricting verbal, emotional and behavioural expression, and engaged in favouritism avoidance as strategies for separating out the roles. All point to the need to eliminate favouritism as a key meaning in the construction of the teacher role through impartialness and parental role as favourably inclined to create inter-role conflict. We stress the importance of exploring teacher and parental roles in various circumstances in order to obtain a complex picture of negotiating these roles in everyday life. (shrink)

Humans are social beings. However, we are not alone in the realm of social reality; we share this space with diverse entities, including more than just animals. The term "social" has recently been applied to describe the collective behaviors of microorganisms and plants, as well as interactions among parts and groups of organisms. Therefore, there is a need to develop a framework that enables the study of social phenomena in a clearer and less restrictive manner. In this thesis, I lay (...) the groundwork for such a framework by describing the basic building blocks of social systems and their implications in the study of social behavior. This project necessitates breaking down disciplinary boundaries between the biological, cognitive, and social sciences to provide a more comprehensive perspective on the social phenomenon. In Part I, I review recent proposals that describe social systems based on interactions. I argue that these models can be extended to other interactive systems beyond animals, questioning the limits of the standard view of social systems. Also, by challenging an argument that supports a gap between humans and nature, I advocate for a broader understanding of social reality that includes both human and nonhuman beings. In Part II, I present a new framework for studying social systems consisting of three fundamental building blocks: interactions, relationships, and social units. I argue that interactions are vital components of social systems, highlighting their dynamic and entwined nature. Relationships, arising from distinctive patterns of interactions sensitive to the identity of the individuals, play a crucial role in these systems and encompass both objective and subjective components. Lastly, I develop an account of social units as cognitively autonomous individuals, drawing on biogenic approaches to cognition. Thus, I propose that a social system emerges when cognitively autonomous individuals (social units) engage in repeated interactions and form relationships. In Part III, I apply this framework to two entities that are subjects of contemporary debate: groups and plants. I argue that both groups and plants are potential social units. Specifically, plants interact repeatedly and demonstrate the ability to differentiate between individuals, providing evidence of their capacity to form social relationships. This framework serves as a guide for studying the social behavior of these entities and offers valuable insights into their interactive systems. Overall, this expanded framework establishes connections between social phenomena across different taxa and levels of organization, facilitating comparative investigations. It introduces new perspectives on social behavior, encourages interdisciplinary collaboration, and broadens our understanding of multi-species interactions. (shrink)

Reflexión dialéctica sobre las relaciones entre Ilustración y feminismo. Reconoce la herencia ilustrada del feminismo pero subraya cómo la Ilustración contiene también las bases teóricas que definen la sujeción de la mujer, una vez que lo femenino se sitúa en el reino de la naturaleza a dominar, frente al espacio emancipatorio de la razón.

The Uniform Determination of Death Act (UDDA) provides that “an individual who has sustained either (1) irreversible cessation of circulatory and respiratory functions or (2) irreversible cessation of all functions of the entire brain, including the brain stem, is dead.” We show that the UDDA contains two conflicting interpretations of the phrase “cessation of functions.” By one interpretation, what matters for the determination of death is the cessation of spontaneous functions only, regardless of their generation by artificial means. By the (...) other, what matters is the cessation of both spontaneous and artificially supported functions. Because each UDDA criterion uses a different interpretation, the law is conceptually inconsistent. A single consistent interpretation would lead to the conclusion that conscious individuals whose respiratory and circulatory functions are artificially supported are actually dead, or that individuals whose brain is entirely and irreversibly destroyed may be alive. We explore solutions to mitigate the inconsistency. (shrink)

Requiring family authorization for apnea testing subtracts health professionals control over death determination, a procedure that has traditionally been considered a matter of clinical expertise alone. In this commentary, we first provide evidence showing that health professionals’ (HPs) disposition to act on death determination without family’s prior consent could be much lower than that referred to by Berkowitz and Garrett (2020). We hypothesize that HPs may have reservations about their own expertise as regards death, and may thus hesitate to impose (...) their views on patients’ families. We then address the theoretical question of clinical expertise in death determination by distinguishing judgments about facts (e.g., the presence or absence of spontaneous breathing) from interpretations given of these facts (i.e., their meaning for the vital status of an individual). We argue that, while clinicians may claim some expert authority on the former, they hold no particular authority on the latter. (shrink)

El presente artículo hace una lectura de la obra dramatúrgica Bandada de pájaros: segundo ensayo sobre la memoria (2016) de Jorgelina Cerritos (San Salvador, 1974) desde una perspectiva tanatopolítica. Se indaga acerca del poder que ejerce el Estado salvadoreño en la vida de la ciudadanía, representada por personajes que, desprovistos de su categoría de persona, ven interrumpidos todos sus derechos. Estos sujetos son miembros de una comunidad que se convierten en una amenaza potencial a suprimir por parte del Estado. Además, (...) se analiza la vulnerabilidad de la mujer ante el aparato bélico heteropatriarcal y las posibilidades del teatro como espacio para la construcción de una memoria que restituya el recuerdo y la identidad de los miles de desaparecidos durante la guerra civil salvadoreña. (shrink)

Fichte wie auch später Sartre gewinnen vergleichbare Resultate auf der theoretischen Ebene hinsichtlich der ethischen Fundierung der Intersubjektivität im Selbstbewusstsein. Die Rolle der Ästhetik wird von beiden Denkern aufgrund ethischer Implikationen so bestimmt, dass sie die durch sie bestimmte Intersubjektivität auf praktischer Ebene zum Vorschein bringt. Die Ästhetik stellt bei beiden Autoren nicht einen Selbstzweck dar, sondern spielt eine herausragende Rolle für die Bildung der Menschen. Sartre wie auch Fichte brauchen die Ästhetik, um die Ethik zu fundieren. Während Sartre ein (...) unmittelbar lebensbezogenes ästhetisches Denken hat, in dem er ethische Aspekte in seiner Literatur anhand konkreter Beispiele verarbeitet, geht es Fichte in seinen Ausführungen zur Ästhetik vornehmlich um die Frage nach der Bedingung der Möglichkeit des ästhetischen Bewusstseins und darum, dieses als Voraussetzung des ethischen Bewusstseins zu bestimmen. Sartres Ethik offenbart sich vor allem in seinem ästhetischen Schaffen. Dem ästhetischen Moment in Sartres Ethik kommt die zentrale Aufgabe für die Entwicklung des ethischen Individualismus des Menschen und der gesamten Menschheit zu. Die Analogie zu Fichtes transzendentalkritischem Idealismus liegt in der Fundierungsrolle der Ästhetik für die Ethik in beiden philosophischen Konzeptionen, woraus eine aussagefähige Ethik in Sartres Existenzphilosophie resultiert. So zeigt sich In Sartres Literatur der direkte Wechselbezug zwischen praktischer Ethik und produktiver Ästhetik. Die Funktion der Ästhetik wird von Sartre dadurch bestimmt, dass in seinem Konzept mittels der Ästhetik die Vermittlung zwischen theoretischer und praktischer Vernunft geleistet wird. (shrink)

En el presente ensayo se propone una lectura de la obra Taberna y otros lugares (1969) de Roque Dalton. Se considera que es oportuno pensar la figura del poeta salvadoreño a la luz, no simplemente de los exilios políticos, sino también de la privación (en términos genéricos) de la figura del poeta de sus antiguas funciones en –lo que Ángel Rama denominó– la ciudad letrada. La ciudad modernizada (Rama, 1984) expulsó al poeta de su lugar privilegiado, lo que provoca un (...) trauma y una búsqueda novedosa. En ese contexto, el poeta redefine su voz y la literatura sufre una reterritorialización, es decir, redefine sus márgenes. En América Latina, el problema fue abordado por José Martí que incluso propuso nuevos desafíos a la disciplina (como el problema de la identidad latinoamericana). Se cree que Taberna y otros lugares (1969) retoma estas búsquedas y se arriesga la hipótesis ue, al redefinir su campo, la obra de Dalton puede ser leída no solo en clave literaria, sino también historiográfica desde una mirada benjaminiana. (shrink)

This paper describes a practice innovation: the addition of formal weekly discussions of patients with prolonged PICU stay to reduce healthcare providers’ moral distress and decrease length of stay for patients with life-threatening illnesses. We evaluated the innovation using a pre/post intervention design measuring provider moral distress and comparing patient outcomes using retrospective historical controls. Physicians and nurses on staff in our pediatric intensive care unit in a quaternary care children's hospital participated in the evaluation. There were 60 patients in (...) the interventional group and 66 patients in the historical control group. We evaluated the impact of weekly meetings to establish goals of care for patients with longer than 10 days length of stay in the ICU for a year. Moral distress was measured intermittently and reported moral distress thermometer scores fluctuated. "Clinical situations" represented the most frequent contributing factor to moral distress. Post intervention, overall moral distress scores, measured on the moral distress scale revised, were lower for respondents in all categories, and on three specific items. Patient outcomes before and after PEACE intervention showed a statistically significant decrease in PRISM indexed LOS, a statistically significant increase in both code status changes DNR, and in-hospital death, with no change in patient 30 or 365 day mortality. The addition of a clinical ethicist and senior intensivist to weekly inter-professional team meetings facilitated difficult conversations regarding realistic goals of care. The study demonstrated that the PEACE intervention had a positive impact on some factors that contribute to moral distress and can shorten PICU length of stay for some patients. (shrink)

Argentina’s recent trajectory has provoked several discussions in the last few years. Most of them have centred on the character of the new mode of development presumed to have appeared in the wake of the crisis of neoliberal rule. This article provides an analysis of the changes and continuities in capitalist development in Argentina after the crisis of 2001. We provide extensive evidence regarding changes in the mode of development which, we propose, has shifted towards a neo-developmentalist alternative. While we (...) argue that this strategy perpetuates capitalist domination, more importantly we stress that it also implies significant changes from the previous pattern of development. Particularly, the new mode of capitalist development creates a new set of public policies that mediate class-conflict in renewed ways. (shrink)

The debate on the decline of the terms of trade in dependent countries was never fully integrated into the Marxist theory of dependency. The attempt to articulate it through the category of unequal exchange was not particularly systematic. This paper seeks to recover those debates and will attempt to account for the relevant articulations in the light of a present revitalisation of studies in the field of Marxist dependency theory. To this end, we will recover the classical discussions around unequal (...) exchange in order to discuss their points of contact with the Marxist theory of dependency and some contemporary debates around the transfer of value and the super-exploitation of labour and nature. (shrink)

El estudio examina mediante una revisión sistemática la literatura científica. La metodología se basó en la aplicación de los principios de la declaración PRISMA. Los resultados indicaron que la mayor producción de estudios fue en 2021, con predominancia de idioma inglés, España como el mayor productor, Reino Unido con el mayor número de revistas y el uso de realidad aumentada como la estrategia más estudiada. La producción científica en educación, y más particularmente en metodologías aplicada a la educación, ha generado (...) una serie de estudios bibliométricos, los cuales han demostrado la evolución de las mismas en lapsos de tiempo diversos. (shrink)

La expansión de las actividades informales de feriantes en el conurbano bonaerense constituye una de las manifestaciones del fenómeno de la heterogeneidad no regulada del aprovisionamiento de bienes de consumo, que a su vez, emergen como intermediarios económicos que atienden a necesidades y demandas de consumidores territorialmente segregados y no articulados a los mercados formales, en su mayoría.Es en ese sentido que el presente artículo quiere rescatar y señalar los componentes centrales que asoman en un proceso que parte con el (...) supuesto de que la confianza constituye un elemento central cuando otras formas que actuarían como garante de las interacciones aparecen débiles, ausentes o no primordiales como garantía de las interacciones sociales, como es el caso de la feria de Solano. (shrink)

En este artículo se presenta un abordaje general de la teoría de la justicia social de John Rawls. Revisamos algunas críticas desde diversos frentes teóricos. Consideramos que la justicia social permite enjuiciar las consecuencias regresivas para la humanidad del capitalismo en su fase neoliberal y comenzar a imaginar otros mundos posibles.

Moral distress is a well-documented phenomenon for health care providers (HCPs). Exploring HCPs’ perceptions of participation in moral distress interventions using qualitative and quantitative methods enhances understanding of intervention effectiveness. The purpose of this study was to measure and describe the impact of a two-phased intervention on participants’ moral distress. Using a cross-over design, the project aimed to determine if the intervention would decrease moral distress, enhance moral agency, and improve perceptions about the work environment. We used quantitative instruments and (...) explored participants’ perceptions of the intervention using semi-structured interviews. Participants were from inpatient settings, within three major hospitals of a large, urban healthcare system in the Midwest, United States. Participants included nurses (80.6%) and other clinical care providers. Using generalized linear mixed modeling we assessed the change in each of the outcome variables over time controlling for groups. Interviews were audiotaped and professionally transcribed. The written narratives were coded into themes. The change in scores on study instruments trended in the desired direction however did not meet statistical significance. Qualitative interviews revealed that intervention effectiveness was derived from a combination of learning benefits, psychological benefits, and building community that promoted moral agency. Findings demonstrate a clear link between moral distress and moral agency and suggest that Facilitated Ethics Conversations can enhance the work environment. Findings provide insight for developing evidenced-based approaches to address moral distress of hospital nurses. (shrink)

In late February and early March 2020, Italy became the European epicenter of the COVID-19 pandemic. Despite increasingly stringent containment measures enforced by the government, the health system faced an enormous pressure, and extraordinary efforts were made in order to increase overall hospital beds’ availability and especially ICU capacity. Nevertheless, the hardest-hit hospitals in Northern Italy experienced a shortage of ICU beds and resources that led to hard allocating choices. At the beginning of March 2020, the Italian Society of Anesthesia, (...) Analgesia, Resuscitation, and Intensive Care issued recommendations aimed at supporting physicians in prioritizing patients when the number of critically ill patients overwhelm the capacity of ICUs. One motivating concern for the SIAARTI guidance was that, if no balanced and consistent allocation procedures were applied to prioritize patients, there would be a concrete risk for unfair choices, and that the prevalent “first come, first served” principle would lead to many avoidable deaths. Among the drivers of decision for admission to ICUs, age, comorbidities, and preexisting functional status were included. The recommendations were criticized as ageist and potentially discriminatory against elderly patients. Looking forward to the next steps, the Italian experience can be relevant to other parts of the world that are yet to see a significant surge of COVID-19: the need for transparent triage criteria and commonly shared values give the Italian recommendations even greater legitimacy. (shrink)

The rise of mathematical developments in the theories of consciousness has led to new measures to detect consciousness in a system. The Integrated Information Theory is one of the best mathematical rooted attempts to quantify the level of consciousness in a system with Φ as the effective information generated in a system above its parts. Recently, the IIT has inspired the Perturbational Complexity Index to detect conscious states in patients with disorders of consciousness, and it has shown to have almost (...) perfect classification accuracy. In this study, we explore the statistical correspondence between the theoretical Φ and the experimental PCI through a neurocomputational model of coupled oscillators that can be artificially perturbed, which mainly focuses on the dynamics of collective synchronization between subsets of brain areas. Our results reveal that both measures are statistically related but, in principle, this relationship is far to be perfect. These results are discussed in the context of the model of coupled oscillators, which mainly focuses on the dynamics of collective synchronization between subsets of brain areas. (shrink)

En este texto se trata de pensar el proyecto que Foucault inició con el análisis de la parrhesía. Se aborda ese problema en relación a otros dos elementos de su obra: la reflexión sobre la función de los intelectuales y sus escritos sobre la noción de crítica. Desde esa perspectiva trataré de mostrar que las investigaciones sobre la parrhesía reflejan el intento de pensar una nueva política de la verdad.

Many published instruments for assessing adolescent adjustment can be implemented in the school context. However, most of them fail to include a comprehensive and positive theoretical perspective of adolescent development and, even when they do, priority is often given to the clinical perspective, or problems with ecological validity and cost-effectiveness emerge. The Magallanes Adaptation Scale is a 90-item Likert-instrument designed for Spanish-speaking adolescents in order to screen several adjustment areas from a holistic and positive perspective of development. Although some evidence (...) of its psychometric robustness has been tested, no confirmatory analysis of its structure has been published. This paper analyzes the items and the factor structure (exploratory factor analysis and confirmatory factor analysis, using the split-half method) of the scales. Participants were 948 Spanish adolescents (49.84% girls) aged between 11 and 17 and stratified sampled. Thirty-six items were removed from the item analysis. The results of the exploratory factor analysis revealed five factors, excluding mother’s adaptation. Several models were tested during the confirmatory factor analyses, with a 24-item second-order four-factor solution being found to have the best adjustment indicators. The short version proposed in this paper can constitute a helpful tool with screening purposes to help school teachers to assess students’ overall development beyond mere academic performance, although further validity research is needed. (shrink)

El objetivo de este texto es investigar sobre los posibles puntos de encuentro entre la psicoterapia existencial, un paradigma psicológico arraigado en las filosofías de la existencia, y el posicionamiento del profesor Marino Pérez Álvarez, quien se define a sí mismo como conductista radical, respecto a su manera de entender la existencia humana y el modelo más adecuado de psicoterapia. Para ello se proponen seis puntos de encuentro: necesidad de una fundamentación filosófica para la psicología, crítica al cientificismo y al (...) modelo médico, interpretación de los trastornos mentales como problemas de la vida cotidiana, recuperación del paciente como protagonista de la terapia, crítica a la psicología positiva y crítica al dualismo cartesiano. (shrink)

Resumen Este artículo intentará contribuir a la discusión teórica y filosófica política sobre la emancipación y la democracia en base a la producción intelectual reciente de Étienne Balibar y Jacques Rancière. Las nociones con las que ambos autores acompañan la idea de emancipación, por una parte, iluminan sobre otros modos posibles de pensar la política, las luchas y la transformación, y, por otra parte, permiten re-significar la filosofía y la política, así como la inclusión de la igualdad radical entre los (...) seres hablantes en el centro de la disputa teórica y política.This article will attempt to contribute to the theoretical and philosophical political discussion on emancipation and democracy based on the recent intellectual production of Étienne Balibar and Jacques Rancière. The notions with which both authors accompany the idea of emancipation, on the one hand, illuminate on other possible ways of thinking about politics, struggles and transformation, and, on the other hand, allow us to re-signify philosophy and politics, thus as the inclusion of radical equality between speaking beings at the center of the theoretical and political dispute. (shrink)