The problem of measurement indeterminacy in complex neurobiological movement systems

In the study of complex neurobiological movement systems, measurement indeterminacy has typically been overcome by imposing artificial modelling constraints to reduce the number of unknowns (e.g., reducing all muscle, bone and ligament forces crossing a joint to a single vector). However, this approach prevents human movement scientists from investigating more fully the role, functionality and ubiquity of coordinative structures or functional motor synergies. Advancements in measurement methods and analysis techniques are required if the contribution of individual component parts or degrees of freedom of these task-specific structural units is to be established, thereby effectively solving the indeterminacy problem by reducing the number of unknowns. A further benefit of establishing more of the unknowns is that human movement scientists will be able to gain greater insight into ubiquitous processes of physical self-organising that underpin the formation of coordinative structures and the confluence of organismic, environmental and task constraints that determine the exact morphology of these special-purpose devices.

Art and the sublime : the paradox of indeterminacy unknowing and (dis)orientation in the presentation of the unpresentable

the (dis)orientation of thought in its encounter with art can be understood as the direct result of an encounter with indeterminacy as a lack in meaning. As an artist I am aware of how this indeterminacy impacts on the perceived value and authority of the artistic voice and in particular its value as a research voice. This paper explores this indeterminacy of meaning, as a profound and disturbing unknowing characteristic of the sublime and argues its value to advanced thought and for any methodological understanding of practice-led research. Lyotard described the sublime as an ‘understanding’ through which art and its associated practices may be able to resist an all too easy assimilation by the public as just a consumer commodity. His thought represents an attempt to both politically and philosophically understand art’s, and particularly abstract painting’s, affect as a state of profound and positive unknowing. To talk of the sublime in art is to speak of the suspension of any comfortable certainty in being and instead to engage with the real as a limit to meaning and knowing. It is to talk of the presentation of the unpresentable as a momentary but significant dissolution of representation. This understanding of the sublime is then further explored through the cultural phenomena of the monochrome painting and applied to the work of the two contemporary artists, Franz Erhard Walter and Günter Umberg. Initially the monochrome was understood as an attempt to go beyond traditional representation and present the unpresentable. In the one hundred years or so since that initial move this understanding has broadened. The monochrome now presents itself as a genre or even project within visual art but it still has much to teach us. In the concretely abstract and performative artworks of Franz Erhard Walter and Günter Umberg, traces of this ambition remain and their work can be seen to pose questions probing our understandings and experiences of artistic meaning, its value and the real.

The passage of indeterminacy in the intensification of being

The passage of indeterminacy in the intensification of being is a digital video projection by Daniel McKewen. The work used digital visual effects and experimentation with time-based video synchronisation to manipulate images of celebrities plundered from the internet and television. The result was a sequence of images that served as both portrait of the constructed nature of screen-based imagery, as well as portrait of the pop culture audience that consumes such constructions.

Negotiating indeterminacy in studio teaching: Using the zones of material and immaterial play to shape pedagogies and practices in art

The processes of studio-based teaching in visual art are often still tied to traditional models of discrete disciplines and largely immersed in skill-based learning. These approaches to training artists are also tied to an individual model of art practice that is clearly defined by the boundaries of those disciplines. This paper will explain how the open studio program at QUT can be broadly understood as an action research model of learning that ‘plays’ with the post-medium, post-studio genealogies and zones of contemporary art. This emphasises developing conceptual, contextual and formal skills as essential for engaging with and practicing in the often-indeterminate spatio-temporal sites of studio teaching. It will explore how this approach looks to Sutton-Smith’s observations on the role of play and Vygotsky’s zone of proximal development in early childhood learning as a way to develop strategies for promoting creative learning environments that are collaborative and self sustainable. Social, cultural, political and philosophical dialogues are examined as they relate to art practice with the aim of forming the shared interests, aims, and ambitions of graduating students into self initiated collectives or ARIs.

Optimal Taxation and Indeterminacy in the Uzawa-Lucas Model with Sector-specific Externalities

Documento de trabajo

On the Border of Indeterminacy: The Separation Wall in East Jerusalem

Drawing on a perspective which takes into account the convergences of sovereign and biopolitical ruling apparatuses, the aim of this article is to provide a comprehensive view of the Separation Wall constructed by Israel in East Jerusalem, and, through it, of Israeli control of Palestinian East Jerusalem. Neither a comprehensive border, nor a mere barrier, the Separation Wall which is being constructed in Jerusalem operates to reinstates sovereign power in arrays of governmentality for the purpose of drawing on the ability of sovereignty to appropriate legitimacy for the territorialisation of governmentality. This article claims that these territorialised arrays of governmentality give rise to processes of racialisation, by maintaining a grip on the communities of Palestinians in East Jerusalem and sustaining them in an intermediate position, standing in the way of their full integration into the Israeli population while severing their existing connections with the Palestinians in the West Bank. © Taylor & Francis Group, LLC.

Improvisation, Indeterminacy and Game-Mediated Participation in Network Music Performance

This chapter focuses on the relationship between improvisation and indeterminacy. We discuss the two practices by referring to play theory and game studies and situate it in recent network music performance. We will develop a parallel with game theory in which indeterminacy is seen as a way of articulating situations where structural decisions are left to the discernment of the performers and discuss improvisation as a method of play. The improvisation-indeterminacy relationship is discussed in the context of network music performance, which employs digital networks in the exchange of data between performers and hence relies on topological structures with varying degrees of openness and flexibility. Artists such as Max Neuhaus and The League of Automatic Music Composers initiated the development of a multitude of practices and technologies exploring the network as an environment for music making. Even though the technologies behind “the network” have shifted dramatically since Neuhaus’ use of radio in the 1960’s, a preoccupation with distribution and sharing of artistic agency has remained at the centre of networked practices. Gollo Föllmer, after undertaking an extensive review of network music initiatives, produced a typology that comprises categories as diverse as remix lists, sound toys, real/virtual space installations and network performances. For Föllmer, “the term ‘Net music’ comprises all formal and stylistic kinds of music upon which the specifics of electronic networks leave considerable traces, whereby the electronic networks strongly influence the process of musical production, the musical aesthetic, or the way music is received” (2005: 185).

A poetics of apprehension : indeterminacy in Gertrude Stein, Emily Dickinson and Caroline Bergvall

Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète.

Floral meristem indeterminacy depends on flower position and is facilitated by acarpellate gynoecium development in Impatiens balsamina

Floral meristems are generally determinate. Termination of their activity varies with species, occurring after carpel or ovule development, depending on the placentation type. In terminal flowering Impatiens balsamina (cv. Dwarf Bush Flowered) some flowers exhibit meristem indeterminacy; they produce organs from the placenta after ovule development. Here we provide a detailed description of gynoecium development in this line and explore the basis of the indeterminate nature of some of its floral meristems. We find that the placenta is sometimes established without complete carpel fusion. Proliferative growth derives from meristematic remnants of the placenta and is more common in the terminal inflorescence. RNA in situ hybridization reveals that IbLFY (Impatiens LFY homologue) is expressed in all meristem states, even in proliferating meristems. Expression of IbAG in axillary flowers is as expected in the meristem, stamens and carpels but absent from the proliferating meristem. We conclude that I. balsamina has cauline placentation. Incomplete suppression of inflorescence identity in flowers of the terminal inflorescence leads to floral meristem proliferation after ovule development in this species.

The hanging man: death, indeterminacy and the event

This article discusses approaches to the interpretation and analysis an event that is poised between reality and performance. It focuses upon a real event witnessed by the author while driving out of Los Angeles, USA. A body hanging on a rope from a bridge some 25/30 feet above the freeway held up the traffic. The status of the body was unclear. Was it the corpse of a dead human being or a stuffed dummy, a simulation of a death? Was it is tragic accident or suicide or was it a stunt, a protest or a performance? Whether a real body or not, it was an event: it drew an audience, it took place in a defined public space bound by time and it disrupted everyday normality and the familiar. The article debates how approaches to performance can engage with a shocking event, such as the Hanging Man, and the frameworks of interpretation that can be brought to bear on it. The analysis takes account of the function of memory in reconstructing the event, and the paradigms of cultural knowledge that offered themselves as parallels, comparators or distinctions against which the experience could be measured, such as the incidents of self-immolation related to demonstrations against the Vietnam War, the protest by the Irish Hunger Strikers and the visual impact of Anthony Gormley’s 2007 work, 'Event Horizon'. Theoretical frameworks deriving from analytical approaches to performance, media representation and ethical dilemmas are evaluated as means to assimilate an indeterminate and challenging event, and the notion of what an ‘event’ may be is itself addressed.

Attention, visual consciousness and indeterminacy

I propose a new argument showing that conscious vision sometimes depends constitutively on conscious attention. I criticise traditional arguments for this constitutive connection, on the basis that they fail adequately to dissociate evidence about visual consciousness from evidence about attention. On the same basis, I criticise Ned Block's recent counterargument that conscious vision is independent of one sort of attention (‘cognitive access'). Block appears to achieve the dissociation only because he underestimates the indeterminacy of visual consciousness. I then appeal to empirical work on the interaction between visual indeterminacy and attention, to argue for the constitutive connection.

Simulation-based Approach to Verification of Logical Descriptions with Functional Indeterminacy

A verification task of proving the equivalence of two descriptions of the same device is examined for the case, when one of the descriptions is partially defined. In this case, the verification task is reduced to checking out whether logical descriptions are equivalent on the domain of the incompletely defined one. Simulation-based approach to solving this task for different vector forms of description representations is proposed. Fast Boolean computations over Boolean and ternary vectors having big sizes underlie the offered methods.

Operating Model of Knowledge Quantum Engineering for Decision-Making in Conditions of Indeterminacy

The operating model of knowledge quantum engineering for identification and prognostic decision- making in conditions of α-indeterminacy is suggested in the article. The synthesized operating model solves three basic tasks: Аt-task to formalize tk-knowledge; Вt-task to recognize (identify) objects according to observed results; Сt-task to extrapolate (prognosticate) the observed results. Operating derivation of identification and prognostic decisions using authentic different-level algorithmic knowledge quantum (using tRAKZ-method) assumes synthesis of authentic knowledge quantum database (BtkZ) using induction operator as a system of implicative laws, and then using deduction operator according to the observed tk-knowledge and BtkZ a derivation of identification or prognostic decisions in a form of new tk-knowledge.