The metaphysics of self in Praśastapāda's differential naturalism

In A Compendium of the Characteristics of Categories (Padārthadharmasaṃgraha) the classical Vaiśeṣika philosopher Praśastapāda (6th c. CE) presents an innovative metaphysics of the self. This article examines the defining metaphysical and axiological features of this conception of self and the dualist categorial schema in which it is located. It shows how this idea of the self, as a reflexive and ethical being, grounds a multinaturalist view of natural order and offers a conception of agency that claims to account for all the reflexive features of human mental and bodily life. Finally, it discusses the ends of self’s reflexivity and of human life as a return to the true self. It argues that at the heart of Praśastapāda’s metaphysics of self is the idea that ethics is metaphysics, and that epistemic practice is ethical practice.

Style, experimentation and Jingju (Beijing Opera) as a decentered multiplicity

Jingju (Beijing Opera) is widely considered to be a fundamentally non-naturalistic practice that became known in the West after it caught the attention of western practitioners in 1935 following Mei Lanfang’s performance in Moscow. Given the implication that its importance is largely historical, some non-specialists have implied that Jingju has little relevance to contemporary modes of thinking, particularly the multiplicities of experience as outlined by philosophers such as Deleuze and Guattari. This article seeks to demonstrate the multiplicity of Jingju for a wider readership through both a historical analysis and a deconstruction of the form. It will show how, at the same time that Mei Lanfang was providing a ‘non-realistic’ model for western practitioners eager to displace the dominance of naturalism, realistic settings were becoming an integral part of Jingju performances in Shanghai. The article also engages with the various acting pai/styles that weave Jingju into a complex, multiple form. The article demonstrates how Deleuzian models actually facilitate a greater understanding of Jingju.

Towards the design of a unified semantics model for OLTP and OLAP systems

The concepts of on-line transactional processing (OLTP) and on-line analytical processing (OLAP) are often confused with the technologies or models that are used to design transactional and analytics based information systems. This in some way has contributed to existence of gaps between the semantics in information captured during transactional processing and information stored for analytical use. In this paper, we propose the use of a unified semantics design model, as a solution to help bridge the semantic gaps between data captured by OLTP systems and the information provided by OLAP systems. The central focus of this design approach is on enabling business intelligence using not just data, but data with context.

Competing priorities: Singapore teachers’ perspectives on critical literacy

This paper explores a group of Singaporean English language teachers’ knowledge and beliefs about critical literacy as well as their perspectives on how best to teach literacy and critical literacy in Singapore schools. A face-to-face survey was conducted among 58 English language teachers by using open-ended questions. The survey covered various topics related to literacy instruction including text decoding, meaning construction, and critical analysis of texts. The participating teachers believed strongly that reading and writing are transactional and interactional practices. However, they were less certain in their beliefs about teaching critical literacy including the critical, analytical and evaluative aspects of text reading. Some teachers saw a conflict between using time on teaching critical literacy and preparing students to pass their exams. As critical literacy is not a requirement at exams, they found it difficult to justify using time teaching it. The results suggest that the teachers’ belief systems are strongly influenced by the broad macrostructure of the educational system in Singapore and their own educational experiences.

Design of a unified data with business rules storage model for OLTP and OLAP systems

This paper reviews the literature concerning the practice of using Online Analytical Processing (OLAP) systems to recall information stored by Online Transactional Processing (OLTP) systems. Such a review provides a basis for discussion on the need for the information that are recalled through OLAP systems to maintain the contexts of transactions with the data captured by the respective OLTP system. The paper observes an industry trend involving the use of OLTP systems to process information into data, which are then stored in databases without the business rules that were used to process information and data stored in OLTP databases without associated business rules. This includes the necessitation of a practice, whereby, sets of business rules are used to extract, cleanse, transform and load data from disparate OLTP systems into OLAP databases to support the requirements for complex reporting and analytics. These sets of business rules are usually not the same as business rules used to capture data in particular OLTP systems. The paper argues that, differences between the business rules used to interpret these same data sets, risk gaps in semantics between information captured by OLTP systems and information recalled through OLAP systems. Literature concerning the modeling of business transaction information as facts with context as part of the modelling of information systems were reviewed to identify design trends that are contributing to the design quality of OLTP and OLAP systems. The paper then argues that; the quality of OLTP and OLAP systems design has a critical dependency on the capture of facts with associated context, encoding facts with contexts into data with business rules, storage and sourcing of data with business rules, decoding data with business rules into the facts with the context and recall of facts with associated contexts. The paper proposes UBIRQ, a design model to aid the co-design of data with business rules storage for OLTP and OLAP purposes. The proposed design model provides the opportunity for the implementation and use of multi-purpose databases, and business rules stores for OLTP and OLAP systems. Such implementations would enable the use of OLTP systems to record and store data with executions of business rules, which will allow for the use of OLTP and OLAP systems to query data with business rules used to capture the data. Thereby ensuring information recalled via OLAP systems preserves the contexts of transactions as per the data captured by the respective OLTP system.

The Phantom Carriage (1921)

The reputation of The Phantom Carriage (Körkarlen) as one of the major films of Swedish silent cinema is in some respects securely established. Yet the film has attracted surprisingly little detailed discussion. It may be that its most striking stylistic features have deflected or discouraged closer scrutiny. Tom Gunning, for instance, in making the case for Sjöström’s Masterman, argues that ‘Körkarlen wears its technique on its sleeve, overtly displays its unquestionable mastery of superimposition and complex narrative structure. Mästerman tucks its mastery of editing and composition up its sleeve, so to speak’. This article makes an argument for a different evaluation of The Phantom Carriage, bringing a critical and interpretative understanding of the film’s style into conversation with the historical accounts of film form which predominate in the scholarship around silent cinema. It suggests that the film achieves ‘mastery of editing and composition’ with a flexibility and fluidity in the construction of dramatic space that is in itself remarkable for its period, but that Sjöström’s achievements extend well beyond his handling of film space. Specifically, it discusses a segment which is in several respects at the heart of the film: the first meeting between the two central characters, David Holm (Victor Sjöström) and Sister Edit (Astrid Holm); it spans the film’s exact mid-point; and at almost twelve and a half minutes it is the longest uninterrupted passage to take place in a single setting. The chapter argues that the dramatic and structural centrality of the hostel segment is paralleled by its remarkably rich articulation of the relationships between action, character and space. We show how Sjöström’s creation of a three-dimensional filmic space - with no hint of frontality - becomes the basis for a reciprocal relationship between spatial naturalism and performance style, and for a mise-en-scene that can take on discrete interpretive force. The argument also places the hostel sequences within the film as a whole in order to show how relationships articulated through the detailed decisions in this section take on their full resonance within patterns and motifs that develop across the film.