How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

'The Rich Harmonics of Past Time': Memory and Montage

This article examines John Sommerfield’s 1936 novel, May Day, a work that experiments with multiple perspectives, voices and modes. The article examines the formal experiments of the novel in order to bring into focus contemporary debates around the aesthetics of socialist realism, the politics of Popular Front anti-fascism and the relationship between writers on the left and the legacies of literary modernism. The article suggests that while leftist writers’ appropriations of modernist techniques have been noted by critics, there has been a tendency to assume that such approaches were in contravention of the aesthetics of socialist realism. Socialist realism is shown to be more a fluid and disputed concept than such readings suppose, and Sommerfield’s adaptations of modernist textual strategies are interpreted as key components of a political aesthetic directed towards the problems of alienation and social fragmentation.

Simulation model for driving dynamics, energy use and power supply

Dissertação para obtenção do grau de Mestre em Engenharia Electrotécnica Ramo de Energia

Subjective, behavioural and electrophysiological measurements of the time-course and intensity of sleep inertia after a full night of sleep /

Several recent studies have described the period of impaired alertness and performance known as sleep inertia that occurs upon awakening from a full night of sleep. They report that sleep inertia dissipates in a saturating exponential manner, the exact time course being task dependent, but generally persisting for one to two hours. A number of factors, including sleep architecture, sleep depth and circadian variables are also thought to affect the duration and intensity. The present study sought to replicate their findings for subjective alertness and reaction time and also to examine electrophysiological changes through the use of event-related potentials (ERPs). Secondly, several sleep parameters were examined for potential effects on the initial intensity of sleep inertia. Ten participants spent two consecutive nights and subsequent mornings in the sleep lab. Sleep architecture was recorded for a fiiU nocturnal episode of sleep based on participants' habitual sleep patterns. Subjective alertness and performance was measured for a 90-minute period after awakening. Alertness was measured every five minutes using the Stanford Sleepiness Scale (SSS) and a visual analogue scale (VAS) of sleepiness. An auditory tone also served as the target stimulus for an oddball task designed to examine the NlOO and P300 components ofthe ERP waveform. The five-minute oddball task was presented at 15-minute intervals over the initial 90-minutes after awakening to obtain six measures of average RT and amplitude and latency for NlOO and P300. Standard polysomnographic recording were used to obtain digital EEG and describe the night of sleep. Power spectral analyses (FFT) were used to calculate slow wave activity (SWA) as a measure of sleep depth for the whole night, 90-minutes before awakening and five minutes before awakening.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Life and labor, or characteristics of men of industry, culture and genius

UANL

On the design of customized risk measures in insurance, the problem of capital allocation and the theory of fluctuations for Lévy processes

Dans cette thèse, nous étudions quelques problèmes fondamentaux en mathématiques financières et actuarielles, ainsi que leurs applications. Cette thèse est constituée de trois contributions portant principalement sur la théorie de la mesure de risques, le problème de l’allocation du capital et la théorie des fluctuations. Dans le chapitre 2, nous construisons de nouvelles mesures de risque cohérentes et étudions l’allocation de capital dans le cadre de la théorie des risques collectifs. Pour ce faire, nous introduisons la famille des "mesures de risque entropique cumulatifs" (Cumulative Entropic Risk Measures). Le chapitre 3 étudie le problème du portefeuille optimal pour le Entropic Value at Risk dans le cas où les rendements sont modélisés par un processus de diffusion à sauts (Jump-Diffusion). Dans le chapitre 4, nous généralisons la notion de "statistiques naturelles de risque" (natural risk statistics) au cadre multivarié. Cette extension non-triviale produit des mesures de risque multivariées construites à partir des données financiéres et de données d’assurance. Le chapitre 5 introduit les concepts de "drawdown" et de la "vitesse d’épuisement" (speed of depletion) dans la théorie de la ruine. Nous étudions ces concepts pour des modeles de risque décrits par une famille de processus de Lévy spectrallement négatifs.

Stochastic Inventory with/without Service Time, Reneging and Retrial of Customers

This thesis Entitled Stochastic modelling and analysis.This thesis is divided into six chapters including this introductory chapter. In second chapter, we consider an (s,S) inventory model with service, reneging of customers and finite shortage of items.In the third chapter, we consider an (s,S) inventoiy system with retrial of customers. Arrival of customers forms a Poisson process with rate. When the inventory level depletes to s due to demands, an order for replenishment is placed.In Chapter 4, we analyze and compare three (s,S) inventory systems with positive service time and retrial of customers. In all these systems, arrivals of customers form a Poisson process and service times are exponentially distributed. In chapter 5, we analyze and compare three production inventory systems with positive service time and retrial of customers. In all these systems, arrivals of customers form a Poisson process and service times are exponentially distributed.In chapter 6, we consider a PH /PH /l inventory model with reneging of customers and finite shortage of items.

Learning-Based Approach to Real Time Tracking and Analysis of Faces

This paper describes a trainable system capable of tracking faces and facialsfeatures like eyes and nostrils and estimating basic mouth features such as sdegrees of openness and smile in real time. In developing this system, we have addressed the twin issues of image representation and algorithms for learning. We have used the invariance properties of image representations based on Haar wavelets to robustly capture various facial features. Similarly, unlike previous approaches this system is entirely trained using examples and does not rely on a priori (hand-crafted) models of facial features based on optical flow or facial musculature. The system works in several stages that begin with face detection, followed by localization of facial features and estimation of mouth parameters. Each of these stages is formulated as a problem in supervised learning from examples. We apply the new and robust technique of support vector machines (SVM) for classification in the stage of skin segmentation, face detection and eye detection. Estimation of mouth parameters is modeled as a regression from a sparse subset of coefficients (basis functions) of an overcomplete dictionary of Haar wavelets.