Journal articles on the topic 'Limitlessness'

This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness.

In a well-known article, Hodnett pointed out that Virgil emphasizes the peacefulness and quiet of the sea, its immensity and limitlessness, in contrast to the view articulated by the Roman poets of the Republic, which presents the sea as deceptive and fearsome. Among the many terms used in theAeneidto denote the sea,aequorstands out precisely because it is the term most frequently used by Virgil in place of the wordmare.

Researcher identity has been widely studied as central to doctoral education. However, little is known about students’ emic conceptualization of what represents researcher identity based on their lived experience. Using a sample of 24 Chinese doctoral students in Australia, this study adopts volunteer-employed photography (VEP) to facilitate the participants’ delineation of their researcher identity. Findings reveal that researcher identity is indexed at three levels: belonging as being, doing as becoming, and limited limitlessness. It presents itself as a complex formulating process in which dichotomous, yet mutually constitutive, forces collide and merge. This study concretizes perceptions about the notion of researcher identity through photographs and corresponding revelatory dialogues in relation to people, objects, feelings, phenomena, and relationships. Some insights on visual research methodology are also discussed.

The encounter of environmental history and intellectual history is a union of two insidiously oceanic inquiries. “Oceanic” in the sense of limitlessness, or oneness with the universe. “All history is the history of thought”, and the history of thought is in modern intellectual history a universal investigation, of advertisements for sofas and Ayn Rand and adoption laws in early colonial Bihar. But all history is also the history of space, and of the environment that surrounds the sofas and the laws. It is apparent, now, that “history occurs in space as well as time”. Environmental history is everywhere as well as nowhere. It is a new universal understanding, which subverts even the historians' own anxieties about universalization: a “negative universal history”.

Derrida's work on hospitality presents particular local conventions of hospitality as in a necessary but impossible relationship with an absolute hospitality, the obligation to welcome the other without conditions. Although this absolute hospitality is commonly read as the aspiration to which all of our practices of hospitality should tend, Derrida proposes a series of examples that show the dangers implicit in an automatic or limitless welcoming. The most famous of these is that of the Old Testament patriarch, Lot. The aim of this paper is to show, however, that the Genesis story is not primarily a parable about correct and incorrect practices of hospitality. In fact, what is at stake in the visit of the angels to Lot is the covenant between Abraham's line and the divine and the coming into the world of God's absolute sovereign violence. Derrida's account of hospitality is thus part of his discussion of sovereignty, its limitlessness, force and danger.

Abstract Divided ownership gives rise to a number of problems. The reintroduction of the superficies solo cedit principle and the superficiary right of building into the Czech law does not, of course, mean the return of feudal relationships. However, it should be reminded that it disrupts indivisibility (exclusivity, completeness, limitlessness) of ownership, which is traditionally seen as the foundation of ownership right. The authors use primarily comparative and historical methods in their research on this topic. In its today form, we understand divided ownership as a simplification that serves as ideological abstraction for a situation where the owner is subject to a long-term limitation by a very broad in rem right of another, which is hereditary and alienable. In this context we talk about three approaches to divided ownership in jurisprudence: (a) it does not exist at all; (b) it is limited solely to the feudal era; (c) it is a general term without relation to any specific social situation.

In response to the shifts of communication following the COVID-19 lockdown restrictions, this research investigates the disorienting experience of navigating loneliness and intimacy in the digital space. Creative writing is a relatively unexplored but recently emerging field of academic inquiry (Skains 2018, 84). Poetry in particular involves research into the language and textures of the world—it is a critical way of thinking that incorporates not just the signified meaning of words, but also the phonaesthetics, placement, space, and textual structure. This practice-based creative work is presented in the form of a 9-part autoethnographic prose poem that echoes the fragmented and asynchronous nature of digital communication (Bonner 2016, 11). Through stream-of-consciousness vignettes that could be read in any order, I emulate the experience of scrolling through a feed. I explore ideas of limitlessness in the face of apocalyptic endings, where our desire for more is troubled by having too much. This experimental and experiential paper is ultimately an interrogation of the tension between affective relations and isolation, where mediated bodies are troubled by longing, loneliness, and looking.

Currently, the number of judicial proceedings on real and alleged offenses and disputes in area of provision of medical care has been exponentially increased. Some of such proceedings become publicly disclosed, but many more of them remain unnoted in mass media and civilian society as a whole. Increasing number of medical doctors has been accused of criminal offenses, being more often sentenced to real terms of imprisonment, showing a clear tendency to increase gravity of responsibility applied to medical doctors. This publication represents a peer-reviewed response of paramount importance to the book by A.A. Ponkina and I.V. Ponkin «Defects in the provision of medical care» raising ontological, value and technical issues for negative outcome of medical care – by the fault or in the absence of the fault of the doctor. The book puts the scientific basis beneath changes so much awaited by the Russian public health in relation to medical doctors, their social importance, objective limitlessness of their opportunities and capabilities in curing sick people and saving their lives.

Design fixation has been described as a lack of flexibility in relation to a limited set of design ideas. This study empirically sought to use different strategies to overcome various forms of design fixation. As strategic approaches to negating design fixation, a digital world that has no physical limitations was selected as a thinking expansion motif and an abstract task was given as a design problem. It was anticipated that combining limitlessness of the digital world with an abstract design task would break design fixation, leading to a creative design process. The results supported the usefulness of the adopted strategies. The combination of the digital context and the design task overcame participants’ design fixation and encouraged the creative design process by generating thinking expansion. Further, combining ‘Team Based Learning’ and an ‘abstract design task in a digital context’ led to natural brainstorming and problem solving that exhibited co-evolution. In conclusion, the digital context is one of promising strategies that could be used as a thinking motif to expand students’ design thinking and promote ‘creativity’ in education.

Following bell hooks’ submission that theory making is “a location for healing” (2017, 59) “The Shape of Humidity: Performing Black Atlantic Theory Making” riffs upon the historically critical and widely circulated subject of the black body politic and Atlantic waters informing but non-exclusive to performance, art history, and visual cultural discourses. The theory making performed here alternatively frames the black Atlantic body in relation to humidity, illustrating what Deleuze and Guattari might call the “possibles” evoked through “a contraction of earth and humidity” (Deleuze 1994, 76–78). The theory is shaped upon a discussion of Winslow Homer’s The Gulf Stream (1899), included in Kara Walker’s cultural-political opus, Kara Walker: After The Deluge (2006), mounted at the Metropolitan Museum of Art. Theory making confronts the painting’s adherence to the hegemonic tradition of rendering the black Atlantic body as a perennial form in peril, whose destiny in this instance is as matter consumed by the thermodynamic sublimity of the waters. Alternatively, the action of theory making here collapses space-time separations among black Atlantic flora, the healing processes of artists Lygia Clark and Wangechi Mutu, and modes of breath activation, to access states of limitlessness actualized through bodily openness to humidity’s grace.

Modified state of consciousness (MSC) is defined as a mental state that can be subjectively recognized by an individual or by an objective observer of the individual, as representing a difference in the psychological functioning of the “normal” state, alert and awake of the individual. Drugs are products with definitions and conceptual boundaries, historically defined. The use of psychoactive drugs is related to the increased plasticity of human subjectivity which is reflected in various technical means to change the perception, cognition, affect and mood. The authors propose to conduct a literature review on the types of MSC, the way to achieve them and their implications in drug consumption pattern.A MSC consists of dimensions such as self-oceanic limitlessness, agonizing self-dissolution and visionary restructuring.Normal MSC includes dreams, hypnagogic state and sleep. Others may be induced by hypnosis, meditation or psychoactive substances. Those achieved by drugs allow the subject to access feelings and sensations which go beyond the everyday reality or, on the other hand, leakage of reality.Anthropological studies show that in almost all civilizations, man sought ways to induce MSC.What characterizes the problematic or abusive use of certain substances is not necessarily the amount and frequency of drug use, but the disharmony in the socio-cultural, family and psychosocial contexts of the individual.Disclosure of interestThe authors have not supplied their declaration of competing interest.

The proposed work examines the media analysis of the modern creolized text of the media from the standpoint of classical hermeneutics of the German philosophers of the XVIII-XIX centuries and their modern followers. The aim of the author was to show the possibilities of interpreting a polycode media text using a hermeneutic approach, namely one of its leading methods – the hermeneutic circle. In connection with the study of the creolized media text, the author pays special attention to such a concept as a representative form of the object of interpretation, combining both linguistic and extralinguistic means of producing and perceiving meaning. The author analyzes both verbal and visual components of the media text from the standpoint of hermeneutics. The novelty of the research lies in the consideration of diametrically opposed points of view on the process of interpretation, from the "limitlessness" of the possibilities of this process to the complete denial of the idea itself to comprehend the meaning contained in the text, from the stimulation of newly emerging possibilities of interpretation in the form of not only verbal, but also extralinguistic means, which are so rich in the creolized media text, to nostalgia for the old "respectful" model of interpretation. The idea runs through the whole article that not only hermeneutics is the optimal basis for media analysis, but also the modern creolized media text is the best suited for the practical refraction of the principles of hermeneutics.

Abstract The early twenty-first century has seen a radical shift in how the aesthetic form of the novel addresses the abstraction of labor and the precarity of minority communities that have come to epitomize neoliberal capital. Novels increasingly attempt to formulate institutions apart from the privatizing drive that seeks to corporatize all civil society. This ambition to differentiate the novel from the primary ideology of this period has been marked by the emergence of a particular mode of critical rejoinder to the pervasive corporatist mind-set, a mode called limit thinking, in which novels draw attention to themselves as texts with which to produce new forms of thinking rather than as storehouses of information or political treatises. The writer Kazuo Ishiguro's novels Remains of the Day and Never Let Me Go present limit thinking as a means to offset the prevailing form of totalizing thinking in the West: corporate personhood. That corporate body, with its obvious intentions toward absolute privatization, has been allowed a unique form of embodiment. The imagined body of the corporation has been gifted the presumption of thought. Understanding the limits of the novel—and by contrast the seeming limitlessness of the corporate state of mind—prepares us to understand how the novel resists an epistemological system into which it incorporated and how, in doing so, it shifts the kinds of questions we ask of the novel from those of what does the novel know? to how is the novel thinking?

We analyze the features of onomastic units functioning, which are cultural-onomastic constants, in the A. Platonov’s story “The Sluices of Epifany”. We substantiate the special attention that is drawn to the specificity of the introduction by the author of onomastic units of different categories. We show that a proper name is a special artistic element that does not exist indepen-dently in the text and is always interconnected with other elements of the text, since it is necessary for the author to create an artistic image. An interaction analysis of all these systems makes it possible to more accurately understand the author’s intention and the purpose of introducing one or another onomastic unit into the text. We reveal the features of onymic vocabulary functioning as an identifier of the chronotope in A. Platonov’s story “The Sluices of Epifany”. It is obvious that the introduction by the author of specific onomastic units into a work is always not accidental, such a choice is always caused directly by the author’s associations related to a particular name. The analysis of the author’s use of hydronyms as onomastic units as chronotope markers in the story “The Sluices of Epifany” gives the following results: by the means of hydronyms denoting the names of rivers and seas, A. Platonov verbalizes the scale of the described space, emphasizes its limitlessness; introducing the hydronym Ivan-lake into the text, the author verbalizes the chronotope of abyss. We conclude that space as a category in A. Platonov’s picture of the world occupies an important place.

This paper will introduce the basic methods of soil-structure dynamic interaction at home and abroad, and analysis the advantages and disadvantages of these methods. Finally, the paper will put forward opinions on the research tendency of soil-structure dynamic interaction. With the development of urbanization, the urban population, planning area and urban environment are faced with tremendous stress, so developing and utilizing the underground space becomes the concerns of many cities. In recent decades, the underground structure has been widely used in urban construction, transportation, national defense engineering, and hydraulic engineering and so on. Especially in the urban construction, with underground railway which has been seemed as the large-capacity backbone and fast public transport system has become an important issue of urban passenger traffic solution. In our country, there are still large potential in developing and utilizing the underground structure and the structure forms will become more and more complicated. China is a strong and frequent earthquake country, the earthquake-proof problems about the underground structures such as Long-span subway station has become city astigmatic engineering and the important research content on disaster prevention and mitigation. These researches can ensure the safe use of underground structures and reduce natural disasters to humankind. To the subway station and the tunnel structure, soil characteristics significantly influence the structure seismic response and destruction features. In seismic response process, the overburden of gravitational can greatly affect on the structural seismic response. The solution to the underground structure seismic problem should focus on two aspects: on one hand we should focus on the research of soil-structure dynamic interaction; on the other hand, we should deal with soil’s half-limitlessness simulation problem.

Korea's quarantine and response to Coronavirus Infection-19 is currently in the spotlight as an exemplary model worldwide. The success of Korea's quarantine against Corona 19 pandemic based on Use of personal information. But the Corona 19 pandemic brings a new problem in the ‘use and protection of personal information’. The question of how to reconcile the conflict between the public interest of preventing infectious diseases and the human rights of individuals is very important. 「Infectious Disease Control and Prevention Act 」Article 76-2 regulates Request for Provision of Information. It states that the head of the Korea Centers for Disease Control Agency or a Mayor/Do Governor may request an information about the location of suspected persons, including a patients of an infectious disease, to the head of a police station if necessary. The Article 76-2 ② states that the Organization and Operation of National Police and Autonomous Police to provide location information of patients of an infectious disease, etc. and persons suspected of contracting an infectious disease, may request any personal location information from the telecommunication service provider and the provider cannot reject such request without justifiable reason. But, these regulations have the following problems: First, the right of Request for Provision of Information is a suspicion of violation of the principle of prohibition of excess. The system for requesting personal information bases on Article 76-2 is, from the point of view of the breadth of the subject, spatial limitlessness, object of information, a suspicion of violation of the principle of prohibition of excess. Second, regarding the concept of person suspected of contracting an infectious disease, there is a suspicion of violation of the principle of clarity

Complexity vs. limitlessness – are there limits to linguistics, linguistic interpretation, i.e. limits to a specific academic discourse? Summary: This article attempts to answer the question whether there are limits to linguistics, to linguistic interpretation, i.e. limits to a specific academic discourse? The understanding of the term "discourse" adopted in this study is a reference to the theory of culture put forward by Fleischer and Labocha, in which discourse appears to be a cultural category. The adopted understanding of this concept also makes reference to the French School of Discourse Analysis. The concept of discourse is thus identified with the area of human socio-linguistic activity. In order to answer the title question the author of the article identifies three dimensions of academic discourse: cognitive (intellectual), biological and technological. In their context, the author refers to the problem of the limits of linguistics, limits of linguistic interpretation, i.e. the limits of a specific academic discourse. The multiparadigmatism of science, i.e. the multiplicity of research methods and conceptual frameworks describing the vision of the world, the variability of theories, and, therefore, the fact that academic discourse is a cyclical, emergent process with an open outcome, indicate, be it with undeniable limitations, the lack of limits of linguistics and the lack of limits of linguistic interpretation. Streszczenie: Celem artykułu jest próba odpowiedzi na pytanie: czy istnieją granice lingwistyki, granice interpretacji lingwistycznej, czyli określonego dyskursu naukowego? Przyjęte rozumienie dyskursu stanowi odwołanie do teorii kultury, gdzie jawi się ono jako kategoria kulturowa. Odsyła również do francuskiej Szkoły Analizy Dyskursu. Dyskurs zostaje tym samym utożsamiony z dziedziną ludzkiej aktywności społeczno-językowej. Aby odpowiedzieć na postawione pytanie autorka artykułu wyróżnia trzy wymiary dyskursu: poznawczy (intelektualny), biologiczny i technologiczny. W ich kontekście odnosi się do zagadnienia granic lingwistyki, interpretacji lingwistycznej, czyli określonego dyskursu naukowego. Wieloparadygmatyczność nauki jako takiej, tzn. wielość metod badawczych i ram pojęciowych opisujących wizję świata, zmienność teorii, a zatem fakt, iż dyskurs naukowy jest cyklicznym, emergentnym procesem o otwartym wyniku wskazuje, przy niepodważalnych ograniczeniach, na brak granic lingwistyki i interpretacji lingwistycznej.

The Ukrainian terminological system of architecture is a definitely organised, historically caused, communicative system of elements which functions, constantly changing internal and external communication at different levels of consistency. The terminological fund of representation of architecture knowledge demands settlement, therefore its research gets a special relevance. The national terminological system of architecture changes and updates constantly, because there are new concepts which are necessary to name, and there are new terms accordingly. Despite it, there is no clearness in formulation of definitions even for key concepts in this area of human activity, the choice of use and systematization of certain terminological units is not always successful, and synonymy of terms is actively used for base standard documents, the scientific special literature, lexicographic editions on architecture. Architecture terminology is a considerable layer of the Ukrainian terminological system with inherent common features for a system (presence of system elements, system signs, the criteria which are inherent for a system) and original Characteristics (specificity of concepts and terms’ relations, the special thematic and structural organisation which is the basis for allocation of architecture terminological system and allocates features of the language system organisation of(word-formation, grammatical, lexical). Elements of architectural terminological system form systems of objective realities, systems of terms, systems of corresponding concepts, systems of definitions of these concepts. When these systems function, they limit architectural terminology. It is very important to understand architectural terminology not simply as the mechanical sum of corresponding terminological units, terms and terminological word combinations, and accurate terminological system which has certain logic communications between its elements, structural components. There is a direct or indirect communication between terms which limits terminological system of architecture. Constant development and increase in quantity of terminological units, quantitative and qualitative changes of terms which unite in terminological system, define limitlessness of modern Ukrainian architecture terminological system. Exploring the practical problems of education terms and problems of architectural terms’ standardization the professional norm is fixed in the special literature (educational, methodical, statutory acts, state standards, scientific articles). Not always dictionaries in standard terminology consider professional terminological norm. The modern Ukrainian terminological fund of architecture makes specific, quantitatively big and qualitatively various layer of terminological lexicon in the typological characteristic of system. Architecture terminology is a component of Ukrainian terminological system with characteristic common features for system both the especial thematic and structural organisation which has differences in the language organisation of system.

The notion of utopia which is came from ancient to the present day in a historical perspective as an unreal place and which is intended to reach to perfection by the effect of social realities could not provide the critical environment necessitated for the 20th-century problems. Patriarchy, capitalism, colonialism and other realities which hold on in historical perspective touch the formations of gender, race or class consciousness off around feminist theory, and they make them the focus of the epoch. The narratives of the late 20th century rather than search for the ideal, achieve perfection, they destroy all positions not only search for those who are different from all positions but also aim to create a critical environment by seeing the irreducible together.Michel Foucault draws attention to fantastic, untroubled and homogeneous structure of the concept of utopia and liken utopias to the flowing order with the distinctive features of the language. The late 20th century formations and the environment required by these formations are expressed as the desire to construct polyphonic, heterogeneous environments and he defines these environments as heterotopia. If the narratives of the ancient period are discussed through the concept of utopia, the narratives of the late 20th century are discussed through the concept of heterotopia that is a new formation pointed out by Foucault, the texts of different periods which exhibit structurally very different positions (homogeneous and heterogeneous) are structured by collaborating on dialectical thinking. Dialectical thought continues to exist on the basis of the way of thinking both in the late 20th century narratives and in ancient texts. Getting a foothold of vague, ambiguous, transient forms which exist in the environment to human thoughts provides clues about dialectics. The human creates a series of binary oppositions, during thinking in order to find meaning in it with the motivation of rationalization. This study aims to trace different forms of dialectical thought through the texts of the different epoch (homogeneous / heterogeneous), which exhibited very different stances from each other.Considering the structural differences between antiquity and late 20th century texts, how do the limitlessness and limits of dialectical thought between binaries play a role in the construction of these differences (homogeneous/ heterogeneous)? For highlighting these differences, the narrative of The Republic of Plato as a homogeneous text is examined comparatively with the late 20th-century heterogeneous text of Triton with regard to fictionalizing dialectics over sex / gender binary opposition which is the notional focus of the late 20th-century.

This article is dedicated to the urgency topic of preservation and study of cultural heritage. Because of the limitlessness of the cultural heritage area, the authors took the opportunity to structure the cultural space. They singled out the complex of architecture and urban planning and defined it as an architectural heritage. The named complex includes buildings and structures that incorporate the high construction and artistic skills of their creators and form the surrounding inhabited space. Using the scientific works of N.M. Karamzin, D.S. Likhachev and other investigators, some written and visual sources, the authors of the article reveal the features of the architectural appearance of such medieval cities as Moscow, Novgorod, Pskov, Vologda. It must be note that the close relationship between urban practices and the natural environment as the most important characteristic of architectural heritage is defined. So reviewing historical materials about the ancient Novgorod, academician D.S. Likhachev wrote that unforgettable image of the developed, inhabited country was created. It is important to note that the article contains materials about the death and destruction of architectural monuments, which required their protection. An overview of the monument protection activity in Russia made known that the Imperial Russian Archaeological Society, established in 1846, was pioneered in it. It is noted that the Moscow Archaeological Society achieved the greatest success in the protection and restoration of monuments of church and civil architecture in the middle of the 19th and early 20th centuries. Its creators and leaders, spouses A.S. and P.S. Uvarov, had the right to permit or prohibit the restoration and conversion of ancient structures in many cities of the country, and they used this right actively. The events of the 1917 Revolution changed the situation in the architectural heritage area. Identification and protection of architectural monuments was transferred to the state structures. A department for museums and protection of art and antiquities was established as part of the National Education Commissariat (Narcomat of Education). Units of this department formed around the country were called as committees for museums and protection of monuments of art and antiquities. The article reports on the results of the identification and preservation of architectural monuments in Siberian cities Tomsk and Kuznetsk. It is known that in the 1930s many church monuments and civil structures were destroyed in Russia. Still in 1940–1990s the monument protection activity received serious legislative support from the state power. So facts and their interpretation taken together allow the authors to talk about architectural heritage as a phenomenon of Russian history, requiring study and preservation.

Purpose The use of physical 3D models has been used in the industry for a while, fulfilling the function of prototypes in the majority of cases where the designers, engineers and manufacturers optimize their designs before taking them into production. In recent years, there has been an increasing number of reports on the use of 3D models in medicine for preoperative planning. In some highly complex surgeries, the possibility of using printed models to previously perform operations can be determining in the success of the surgery. With the aim of providing new functionalities to an anatomical 3D-printed models, in this paper, a cost-effective manufacturing process has been developed. A set of tradition of traditional techniques have been combined with 3D printing to provide a maximum geometrical freedom to the process. By the use of an electroluminescent set of functional paints, the tumours and vessels of the anatomical printed model have been highlighted, providing to this models the possibility to increase its interaction with the surgeon. These set of techniques has been used to increase the value added to the reproduced element and reducing the costs of the printed model, thus making it more accessible. Design/methodology/approach Successfully case in where the use of a low-cost 3D-printed anatomical model was used as a tool for preoperative planning for a complex oncological surgery. The said model of a 70-year-old female patient with hepatic metastases was functionalized with the aim of increasing the interaction with the surgeons. The analysis of the construction process of the anatomical model based on the 3D printing as a tool for their use in the medical field has been made, as well as its cost. Findings The use of 3D printing in the construction of anatomical models as preoperative tools is relatively new; however, the functionalization of these tools by using conductive and electroluminescent materials with the aim of increasing the interaction with it by the surgeons is a novelty. And, based on the DIY principles, it offers a geographical limitlessness, reducing its cost without losing the added value. Originality/value The process based on 3D printing presented in this paper allows to reproduce low-cost anatomical models by following a simple sequence of steps. It can be done by people with low qualification anywhere with only access to the internet and with the local costs. The interaction of these models with the surgeon based on touch and sight is much higher, adding a very significant value it, without increasing its cost.

В статье рассматривается басенное творчество Николая Егоровича Тиникова. Актуальность басенного жанра обуславливается функциональным универсализмом, тематической безграничностью, этической проблематикой. Басни Н. Тиникова до сих пор не переведены на русский язык, а значит, круг читателей крайне ограничен. Как известно, басня - жанр дидактической литературы: короткий рассказ в стихах или прозе с отчетливо сформулированной моралью, придающей произведению аллегорический смысл. В данной работе отмечено, что в конце или в начале басни обязательно содержится краткое нравоучение, то есть доминирующим признаком басни является назидательность - дидактизм, а основные проблемы - этические. Наряду с этим, следует отметить повествовательность, типичность описываемой ситуации, осмеяние человеческих пороков. В статье определены художественно - изобразительные средства, которые были использованы баснописцем: аллегория, намеки, «эзоповский язык», сатира, ирония, сарказм, эпитеты, метафоры, сравнения, разговорная лексика - диалоги, монологи, авторская речь. На основе анализа басен «Ворона и Кукушка», «Лиственница и Чернотал». «Разные судьбы», «Сорока и Галка», «Помощница Лиса» и др. автор статьи приходит к выводу, что особенностью мастерства Н. Тиникова как баснописца можно считать его умение выражать мысль через противопоставление разнотипных героев. Его басни не имеют в конце текста морали - она заключена в самом произведении. Басни Н. Тиникова, написанные в 1980-е годы, до сих пор актуальны, дают обобщенную картину мира, в которой присутствует национальный колорит и индивидуальный образ мышления. The article examines the fable creative work of Nikolai Yegorovich Tinikov. The relevance of a fable genre is conditioned by functional universalism, thematic limitlessness, and ethical issues. N. Tinikov’s fables have not yet been translated into Russian, which means that the number of readers is extremely limited. As it is known, a fable is a genre of didactic literature: a short story in verse or prose with a clearly formulated morality that gives the work an allegorical meaning. This worknotes that at the end or at the beginning of a fable, a brief moral lesson is necessarily contained, i.e., the dominant feature of a fable is edification - didacticism, and the main problems are ethnic. Along with this, it should be noted the narration, the typicality of the described situation, the ridicule of human vices. The article defines the artistic and visual means that were used by the fabulist: allegory, hints, “Aesopian language”, satire, irony, sarcasm, epithets, metaphors, comparisons, colloquial vocabulary - dialogues, monologues, an author’s speech. Based on the analysis of fables “The Crow and the Cuckoo”, “The Larch and the Blackthorn”, “Different Destinies”, “The Magpie and the Jackdaw”, “The Assistant Fox”, etc., the author of the article comes to the conclusion that the characteristic feature of N. Tinikov’s mastery, as a fabulist, can be considered his ability to express thought through the opposition of different - type heroes, that his fables do not have morality at the end of the text - it is contained in the work itself. N. Tinikov’s fables, written in the 1980s, are still relevant, they show a generalized picture of the world, where there is a national identity and an individual way of thinking.

The article presents the main directions of the domestic psychological science development which are devoted to the psychology of the Ukrainian person and the Ukrainian people in the context of methodolohems of their self-cognition and self-affirmation. It is noted that the changeability of the meanings of the same word forms reflects the peculiarities of human thinking of each era and therefore, through the existence of the mental, determines the meaningfulness of being which in the case of the Ukrainian understanding is characterized by both the limitlessness of the human soul cognition and the importance of comprehension the common and different in the spiritual organization of other peoples. In particular, the multi-sense mosaic of the ethno-Ukrainian self-awareness of the soul existence as life, love, dream, person, part of the body and embodied desire is argued, the inexhaustibility of the meaning of the soul as a word, term, concept and psychological category is underlined, in addition, it is substantiated the thesis that the exit of feeling and understanding beyond the limits of any scientific cognition is possible in the same way that personally present life creates itself by its existence in the infinity of its own incarnations and meanings. The reaction of the Ukrainian soul to a foreign hiding of faces under the masks of “guise” and “persona” is revealed in an adequate borrowing of the protective method of salvation from insincerity, slyness and deception in the form of the modified Latin concepts of “parsuna” and “portrait”, the dichotomy of borrowed and own is clarified, which accompanies the development of the spiritual identity of Ukrainians in the dualism of the soul-for-oneself and the psyche as a general depersonalized category-for-all that exists in parallel in soul language and psychology, without crossing in its purpose and embodiment. The attention is paid to the fact that over the centuries, an established action on the meaning of the soul remains unanswered, each time acquiring different incarnations: in soulwords as a verbal expression of the soul, expression and appeal to it; in soulsalvation as the return of the soul to itself; in spiritualizing as an active comprehensiveness of mental life in its conscious, subconscious, unconscious and superconscious dimensions. And yet, despite the wide range of forms of spiritual, a soul of a living being remains immeasurable as the soul of life, which will always be the more incomprehensible, the more specific the attempts to grasp it completely and entirely become. The statement that the whole world of a person is embodied in his soul and exists as long as a personal experience continues, as well as the life of the peoples – all those born and related by its psychosocial flow – is reflected. It has been proven that the manifestations of the peoples’ life in its past and present are covered by the concept of the soul and, in a conscious expression, are embodied in interactions on a common field – in the spherical space of communication, which acquires infinite variations of speech existence. Based on this, the need to mark the essence of the soul of everyone who belongs to one of the peoples of the world is inherent in each of these peoples, although it is realized and implemented differently, including going beyond its own borders, which involves capturing as many individuals as possible by imposing your identity on them, embodied in the monopolistic form of cosmopolitanism, chauvinism, fascism, communism, internationalism, globalism or other fluctuations of the ethnic spirit that insatiable by struggle for the primacy. Under the favorable conditions of military expansion for this spirit, it expanded beyond its own phenomenal horizons, always parasitizing on the original ethnic language base – Arabic, Greek, Persian, Latin, French, German, English, Russian and many others. The need in cognition the essence of the Ukrainian soul and its defining properties is revealed, primarily in its desire for deeper self-cognition, the fundamental research basis of which is the joint work of the Ukrainian scientists’ team of the middle of the 20th century “Ukrainian soul” that reflects the main dimensions of the ultra-complex, multi-subject object of study chosen by five scientists: “Ukrainian emotionality” – Ye. Onatskiy, “Ukrainian’s perception of the world” – O. Kulchytskiy, “Family and soul of the peoples” – B. Tsymbalisty, “Soul and song” – M. Shlemkevych, “Bibliographic review” – V. Doroshenko. It is concluded that psychology of the Ukrainian person, the Ukrainian peoples needs a creation of, an adequate for psychosophical cognition-construction, methodology of discovering unknown dimensions of their own development in which the self-movement of psycho-spiritual is possible on the path of self-reflection of its own essence in the boundless vectors of human development that must find and harmonize its own sensory-intellectual soulwords.

This essay offers a reading of Pedro Costa’s first feature-length film, O sangue (1989). It explores the representation of different sorts of walls, their semantic inferences and functions, arguing that Costa's "mural imagination" speaks to the limits—or perceived limitlessness—of contemporary filmmaking. I show that in O sangue, walls emerge as tools for defining realism and its relation to cinema. Beyond this, they work as rhetorical strategies to interrogate the threshold between fact and fiction and between socio-political realities and artistic filmmaking. For Costa, walls emphasize the authenticity of fictional worlds and highlight the ways in which audiences relate to the realities and communities represented on screen.

This article explains how Netflix has transformed the ways in which we interact with media in the contemporary milieu. I argue that Netflix works through a process of planned differentiation, designing unique customization experiences to create a new type of media user that participates in its global and regional release and production strategies. This leads me into a discussion of how the Netflix interface manages the spectators’ experience through a series of connected features. Thus, I detail Netflix’ personalization mechanisms, proposing that, ultimately, its users ‘pay to buy themselves’, or the version of themselves its interface offers back to users upon systematically gathering data on their habits. Finally, I remark that the key characteristics of the current streaming service/spectator relationship are deceptive limitlessness, customization, the automation of content flow and ubiquity, weaving a form of audiovisual engagement that has partially and, at times completely, conquered our everyday.

Social media is a medium that removes time and space limitations. It has gained popularity over the last two decades, especially among young adults. With the growing popularity of social media, researchers have turned their attention to study social media addiction, which is a new type of addiction. However, no study has been conducted to examine the relationship of social media addiction with rules and boundaries. The aim of this study is to understand the experiences of social media addicts related to rules and boundaries. For this purpose, the Interpretive Phenomenological Analysis (IPA), which is a qualitative research method, was chosen. Accordingly, semi-structured interviews were conducted with six participants. The obtained data were analyzed in accordance with IPA guideline. As a result of the analysis, two themes emerged: (1) social media as a medium of limitlessness and (2) positioning with respect to the authority figures. These emerging themes are discussed within the framework of Lacanian Psychoanalytic theory.

This article explores the impact of online crime victimisation. A literature review and 41 interviews – 19 with victims and 22 with experts – were carried out to gain insight into this. The interviews show that most impacts of online offences correspond to the impacts of traditional offline offences. There are also differences with offline crime victimisation. Several forms of impact seem to be specific to victims of online crime: the substantial scale and visibility of victimhood, victimisation that does not stop in time, the interwovenness of online and offline, and victim blaming. Victims suffer from double, triple or even quadruple hits; it is the accumulation of different types of impact, enforced by the limitlessness in time and space, which makes online crime victimisation so extremely invasive. Furthermore, the characteristics of online crime victimisation greatly complicate the fight against and prevention of online crime. Finally, the high prevalence of cybercrime victimisation combined with the severe impact of these crimes seems contradictory with public opinion – and associated moral judgments – on victims. Further research into the dominant public discourse on victimisation and how this affects the functioning of the police and victim support would be valuable.

<p class="MsoBodyText" style="margin: 0in 0.5in 0pt;"><span style="font-style: normal; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Times New Roman;">Internet marketing is still an experimental area that continues to grow, evolve and adapt.<span style="mso-spacerun: yes;">&nbsp; </span>With the virtual limitlessness space of the WWW, the strategic placement of internet advertisements is much more complex and goes beyond the traditional marketing approach of researching demographics.<span style="mso-spacerun: yes;">&nbsp; </span>Several attempts have been made through the fields of technology and marketing to overcome the anonymousness of the computer user&rsquo;s interests and preferences to move toward a direct behavioral approach to online marketing; more specifically, identifying the users on the internet, collecting profiles of their interests and delivering advertisements that appeal to their specific preferences.<span style="mso-spacerun: yes;">&nbsp; </span>This paper reviews the current approaches to Internet behavioral marketing and its shortcomings as well as biometrics and its potential for more effective Internet marketing.</span></span></span></p>

The objective of this study is to explore and interpret Kurt Schwitters’ outside-the-surface Merzbau works in terms of form-meaning relationship. The study was carried on according to hermeneutic model. Documents were used as data collection tool. The study group consists of Merzbau works by Kurt Schwitters. It has been found out by the data obtained that the Merzbau works the artist made in Hannover, Germany and Norway were destroyed, and that his work in England, which he started making in 1947, is his only Merzbau work that survives until today. In the study, analyses were made based on the photographs left from the works and correlations were made with other artists’ works produced at the time. It has been observed that Schwitters composed his works by assembling trashes and found objects to which he assigned his own meaning. It has been seen that this resembles Cabinet of Curiosities in Renaissance. By placing his Merz works on a space, Schwitters transformed them into installations. Therefore, it has been found out that there is a connection between V. Tatlin’s corner counter-reliefs and his transforming the object into an artwork by isolating its worldly task. It has also been observed that the artist influenced Art Povera with the materials he used. It has been stated that throughout his lifetime, some additions could be made on Merzbau works that he created on the basis of concepts such as limitlessness-irregularity-infinity, and therefore, the endpoint of his works can be related to his moment of death. Keywords: Kurt Schwitters, Dada, Installation, Inherent, Avant-garde

Michel Foucault (1926-1984) was indisputably one of the most significant theorists of the twentieth century. His work is generally interdisciplinary in nature delving especially into the humanities, and to a greater extent it includes philosophically oriented historical research in philosophy, history and theology. All this was in a quest for truth and to reflect on humanity which is the focus. Foucault recurrently pursued a manner in which to comprehend the ideas that form our present. In the materialist and consumer driven world of the 21st Century, spiritual practices in Christianity are often viewed by growing numbers of subjects as being based on what are considered to be obsolete religious traditions. The article focuses on the notion that Christianity indeed has a huge role to play in life and in understanding contemporary spirituality and religious life. Foucault was seemingly motivated by a strong yearning to discover a substitute for intimacy with the creator God and a desire to see power relations made devoid of the ability to limit a subjects freedom and domination by, for example, churches and their doctrines and dogmas. He argued that self-awareness was not a goal in itself, but rather something that is pursued in order for one to care for oneself in a world in which there are power relations in existence. Foucault maintained that by caring for oneself, one could transform oneself into a more ethical person. Through considering one’s previous and imminent actions and by evaluating if the actions align with ones ethics and goals, one can get to realise how insignificant one is when compared to the limitlessness creation. A standpoint on spirituality and Christianity per se, is advanced based on Michel Foucault’s work on spiritual observances in Christianity.

Abstract Background Family caregivers, such as partners or other family members, are highly important to people who desire to stay at home in the last phase of their life-limiting disease. Despite the much-investigated challenges of family caregiving for a patient from one’s direct social network, lots of caregivers persevere. To better understand why, we aimed to specify how normative elements – i.e. what is considered good or valuable – shape family caregivers’ experiences in Dutch home settings. Methods From September 2017 to February 2019, a total of 15 family caregivers, 13 bereaved family caregivers, and 9 patients participated in one-time in-depth interviews. The data were qualitatively analyzed following a grounded theory approach. Results Central to this study is the persistent feeling of being called to care. By whom, why, and to what? Family caregivers feel called by the patient, professionals entering normal life, family and friends, or by oneself; because of normative elements of love, duty, or family dynamics; to be constantly available, attentive to the patient while ignoring their own needs, and assertive in managing the caring situation. The prospect of death within the palliative care context intensifies these mechanisms with a sense of urgency. Conclusions Our analysis showed a difference between feeling called upon in the caring situation on the one hand, and how caregivers tend to respond to these calls on the other. Taking into account the inherent normative and complex nature of family caregiving, the pressing feeling of being called cannot – and perhaps should not – simply be resolved. Caring might be something families just find themselves in due to being related. Rather than in feeling called upon per se, the burden of care might lie in the seeming limitlessness to which people feel called, reinforced by (implicit) social expectations. Support, we argue, should enable caregivers to reflect on what norms and values guide their responses while acknowledging that caring, despite being burdensome, can be a highly important and rewarding part of the relationship between partners or family members.

The issue of human actions is among the subjects that almost all scholarly and philosophical schools of thought focus on staidly. This issue is directly or indirectly related to many issues such as the morality of human actions, the fairness of juristic propositions, the reasonableness of religious responsibility, the possibility of causal explanation of God’s acts and judgments, whether there is a necessary and causal relationship between natural phenomena. The disciplines of kalām, philosophy and sufism in Islamic thought have examined the issue from their own peculiar perspectives and developed solutions to the problems related to the subject. Basically, two problems draw attention in the evaluation of all three disciplines on the subject. The first problem is the absoluteness and limitlessness of God’s attributes of knowledge, will and power. The second problem is whether a person has the power to affect the actualization of his act in order to demonstration the religious responsibility. Sham ad-dīn as-Samarqandī, the 14th century Māturīdī theologian, finds a solution to the problem by considering both problems. According to him, both natural phenomena have the power to act and man has an forceful power in his natural structure. In addition, God is the source of the forces of natural cases and human actions. Because he is the source of all forceful forces. According to this explanation, while God’s power covers all actions, man also has the power to bring about his action. This approach of Samarqandī is examined under two headings in the study. Under the first title, his thoughts on divine attributes are discussed within the framework of His relationship with the issue of human actions. Regarding adjectives, dwells on some issues. Firstly, he argues that God is not a necessary cause for the universe, on the contrary, he is an maker with willpower. In this context he criticizes philosophers. Samarqandī says that God’s being a necessary cause will cause no motion to occur in the world. For, in this case, motion cannot occur, since what is first created will always be present because of the necessary cause. Samarqandī associates God’s willpower with His competence (kamāl) and argues that God’s willpower encompasses everything. A willful maker prefers the superior things; and this is an indication of competence in action. Willpower also requires knowing what is willed. Accordingly, God must know in advance/ previously what He wills and creates. However, according to him, God’s foreknowledge of all the things He will create does not necessitate the actions of people. Because, as it is generally accepted in the kalām, knowledge is subject to event. God knows the actions of human made at all times in the way they prefer and do the actions. Under the second title of the study, according to Samarqandī’s the original and eclectic approach to the relationship between divine power and human power has been examined. Samarqandī also accepts that God’s power is causing the all human actions. However, this does not mean that people do not have forceful power over their actions. According to him, the actions of people occur with two powers. Samarqandī explains this situation through the concept of chain of causes (silsila). As in the functioning of all natural structures in the world, human actions also occur with natural force. All actions in the world occur with forces in nature. In this direction, the creation of man is endowed with the power to do certain acts and leave them. However, the forces that exist in nature and in the natural structure of man are in need of divine power that overflows from the generosity of God at every moment. Accordingly, while God’s power is causing on natural forces, natural forces are also forceful on actions in the realm of being. Samarqandī example this this situation of the pain inflicted by a stick on the body. Even though the cause of the pain is really the stick, it is the person holding the stick who gives the force to the stick with the act of hitting. Similarly, although man’s actions are truly dependent on man’s power, it is God who gives man this power. In this context, Samarqandī also criticizes the theory of kasb (effort), which includes the idea that man does not have the power to create the act, and expresses that man only directs the power created by God to a certain event at the moment of action.

IntroductionFor Gilles Deleuze, computational processes cannot yield the anomalous, or that which is unprecedented in form and content. He suggests that because computing functions are mechanically standardised, they always share the same ontic character. M. Beatrice Fazi claims that the premises of his critique are flawed. Her monograph Contingent Computation: Abstraction, Experience, and Indeterminacy in Computational Aesthetics presents an integrative reading of thinkers including Henri Bergson, Alfred North Whitehead, Kurt Gödel, Alan Turing, and Georg Cantor. From this eclectic basis, Fazi demonstrates that computers differ from humans in their modes of creation, yet still produce qualitative anomaly. This article applies her research to the cultural phenomenon of live-coded music. Live coding artists improvise music by writing audio computer functions which produce sound in real time. I draw from Fazi’s reading of Deleuze and Bergson to investigate the aesthetic mechanisms of live coding. In doing so, I give empirical traction to her argument for the generative properties of computers.Part I: Reconciling the Discrete and the Continuous In his book Difference and Repetition, Deleuze defines “the new” as that which radically differs from the known and familiar (136). Deleuzean novelty bears unpredictable creative potential; as he puts it, the “new” “calls forth forces in thought which are not the forces of recognition” (136). These forces issue from a space of alterity which he describes as a “terra incognita” and a “completely other model” (136). Fazi writes that Deleuze’s conception of novelty informs his aesthetic philosophy. She notes that Deleuze follows the etymological origins of the word “aesthetic”, which lie in the Ancient Greek term aisthēsis, or perception from senses and feelings (Fazi, “Digital Aesthetics” 5). Deleuze observes that senses, feelings, and cognition are interwoven, and suggests that creative processes beget new links between these faculties. In Fazi’s words, Deleuzean aesthetic research “opposes any existential modality that separates life, thought, and sensation” (5). Here, aesthetics does not denote a theory of art and is not concerned with such traditional topics as beauty, taste, and genre. Aesthetics-as-aisthēsis investigates the conditions which make it possible to sense, cognise, and create anomalous phenomena, or that which has no recognisable forebear.Fazi applies Deleuzean aesthetics towards an ontological account of computation. Towards this end, she challenges Deleuze’s precept that computers cannot produce the aesthetic “new”. As she explains, Deleuze denies this ability to computers on the grounds that computation operates on discrete variables, or data which possess a quantitatively finite array of possible values (6). Deleuze understands discreteness as both a quantitative and ontic condition, and implies that computation cannot surpass this originary state. In his view, only continuous phenomena are capable of aisthēsis as the function which yields ontic novelty (5). Moreover, he maintains that continuous entities cannot be represented, interpreted, symbolised, or codified. The codified discreteness of computation is therefore “problematic” within his aesthetic framework “inasmuch it exemplifies yet another development of the representational”. or a repetition of sameness (6). The Deleuzean act of aisthēsis does not compute, repeat, or iterate what has come before. It yields nothing less than absolute difference.Deleuze’s theory of creation as differentiation is prefigured by Bergson’s research on multiplicity, difference and time. Bergson holds that the state of being multiple is ultimately qualitative rather than quantitative, and that multiplicity is constituted by qualitative incommensurability, or difference in kind as opposed to degree (Deleuze, Bergsonism 42). Qualia are multiple when they cannot not withstand equivocation through a common substrate. Henceforth, entities that comprise discrete data, including all products and functions of digital computation, cannot aspire to true multiplicity or difference. In The Creative Mind, Bergson considers the concept of time from this vantage point. As he indicates, time is normally understood as numerable and measurable, especially by mathematicians and scientists (13). He sets out to show that this conception is an illusion, and that time is instead a process by which continuous qualia differentiate and self-actualise as unique instances of pure time, or what he calls “duration as duration”. As he puts it,the measuring of time never deals with duration as duration; what is counted is only a certain number of extremities of intervals, or moments, in short, virtual halts in time. To state that an incident will occur at the end of a certain time t, is simply to say that one will have counted, from now until then, a number t of simultaneities of a certain kind. In between these simultaneities anything you like may happen. (12-13)The in-between space where “anything you like may happen” inspired Deleuze’s notion of ontic continua, or entities whose quantitative limitlessness connects with their infinite aesthetic potentiality. For Bergson, those who believe that time is finite and measurable “cannot succeed in conceiving the radically new and unforeseeable”, a sentiment which also appears to have influenced Deleuze (The Creative Mind 17).The legacy of Bergson and Deleuze is traceable to the present era, where the alleged irreconcilability of the discrete and the continuous fuels debates in digital media studies. Deleuze is not the only thinker to explore this tension: scholars in the traditions of phenomenology, critical theory, and post-Marxism have positioned the continuousness of thought and feeling against the discreteness of computation (Fazi, “Digital Aesthetics” 7). Fazi contributes to this discourse by establishing that the ontic character of computation is not wholly predicated on quantitatively discrete elements. Drawing from Turing’s theory of computability, she claims that computing processes incorporate indeterminable and uncomputable forces in open-ended processes that “determine indeterminacy” (Fazi, Contingent Computation 1). She also marshals philosopher Stamatia Portanova, whose book Moving Without a Body: Digital Philosophy and Choreographic Thoughtsindicates that discrete and continuous components merge in processes that digitise bodily motion (Portanova 3). In a similar but more expansive maneuver, Fazi declares that the discrete and continuous coalesce in all computational operations. Although Fazi’s work applies to all forms of computing, it casts new light on specific devices, methodologies, and human-computer interfaces. In the next section, I use her reading of Bergsonian elements in Deleuze to explore the contemporary artistic practice of live coding. My reading situates live coding in the context of studies on improvisation and creative indeterminacy.Part II: Live Coding as Contingent Improvisational PracticeThe term “live coding” describes an approach to programming where computer functions immediately render as images and/or sound. Live coding interfaces typically feature two windows: one for writing source code and another which displays code outcomes, for example as graphic visualisations or audio. The practice supports the rapid evaluation, editing, and exhibition of code in progress (“A History of Live Programming”). Although it encompasses many different activities, the phrase “live coding” is most often used in the context of computer music. In live coding performances or “AlgoRaves,” musicians write programs on stage in front of audiences. The programming process might be likened to playing an instrument. Typically, the coding interface is projected on a large screen, allowing audiences to see the musical score as it develops (Magnusson, “Improvising with the Threnoscope” 19). Technologists, scholars, and educators have embraced live coding as both a creative method and an object of study. Because it provides immediate feedback, it is especially useful as a pedagogical aide. Sonic Pi, a user-friendly live coding language, was originally designed to teach programming basics to children. It has since been adopted by professional musicians across the world (Aaron). Despites its conspicuousness in educational and creative settings, scholars have rarely explored live coding in the context of improvisation studies. Programmers Gordan Kreković and Antonio Pošćic claim that this is a notable oversight, as improvisation is its “most distinctive feature”. In their view, live coding is most simply defined as an improvisational method, and its strong emphasis on chance sets it apart from other approaches to computer music (Kreković and Pošćić). My interest with respect to live coding lies in how its improvisational mechanisms blend computational discreteness and continuous “real time”. I do not mean to suggest that live coding is the only implement for improvising music with computers. Any digital instrument can be used to spontaneously play, produce, and record sound. What makes live coding unique is that it merges the act of playing with the process of writing notation: musicians play for audiences in the very moment that they produce a written score. The process fuses the separate functions of performing, playing, seeing, hearing, and writing music in a patently Deleuzean act of aisthēsis. Programmer Thor Magnusson writes that live coding is the “offspring” of two very different creative practices: first, “the formalization and encoding of music”; second, “open work resisting traditional forms of encoding” (“Algorithms as Scores” 21). By “traditional forms of encoding”, Magnusson refers to computer programs which function only insofar as source code files are static and immutable. By contrast, live coding relies on the real-time elaboration of new code. As an improvisational art, the process and product of live-coding does not exist without continuous interventions from external forces.My use of the phrase “real time” evokes Bergson’s concept of “pure time” or “duration as duration”. “Real time” phenomena are understood to occur instantaneously, that is, at no degree of temporal removal from those who produce and experience them. However, Bergson suggests that instantaneity is a myth. By his account, there always exists some degree of removal between events as they occur and as they are perceived, even if this gap is imperceptibly small. Regardless of size, the indelible space in time has important implications for theories of improvisation. For Deleuze and Bergson, each continuous particle of time is a germinal seed for the new. Fazi uses the word “contingent” to describe this ever-present, infinite potentiality (Contingent Computation, 1). Improvisation studies scholar Dan DiPiero claims that the concept of contingency not only qualifies future possibilities, but also describes past events that “could have been otherwise” (2). He explains his reasoning as follows:before the event, the outcome is contingent as in not-yet-known; after the event, the result is contingent as in could-have-been-otherwise. What appears at first blush a frustrating theoretical ambiguity actually points to a useful insight: at any given time in any given process, there is a particular constellation of openings and closures, of possibilities and impossibilities, that constitute a contingent situation. Thus, the contingent does not reference either the open or the already decided but both at once, and always. (2)Deleuze might argue that only continuous phenomena are contingent, and that because they are quantitatively finite, the structures of computational media — including the sound and notation of live coding scores — can never “be otherwise” or contingent as such. Fazi intervenes by indicating the role of quantitative continuousness in all computing functions. Moreover, she aligns her project with emerging theories of computing which “focus less on internal mechanisms and more on external interaction”, or interfaces with continuous, non-computational contexts (“Digital Aesthetics,” 19). She takes computational interactions with external environments, such as human programmers and observers, as “the continuous directionality of composite parts” (19).To this point, it matters that discrete objects always exist in relation to continuous environments, and that discrete objects make up continuous fluxes when mobilised as part of continuous temporal processes. It is for this reason that Portanova uses the medium of dance to explore the entanglement of discreteness and temporal contingency. As with music, the art of dance depends on the continuous unfolding of time. Fazi writes that Portanova’s study of choreography reveals “the unlimited potential that every numerical bit of a program, or every experiential bit of a dance (every gesture and step), has to change and be something else” (Contingent Computation, 39). As with the zeroes and ones of a binary computing system, the footfalls of a dance materialise as discrete parts which inhabit and constitute continuous vectors of time. Per Deleuzean aesthetics-as-aisthēsis, these parts yield new connections between sound, space, cognition, and feeling. DiPiero indicates that in the case of improvised artworks, the ontic nature of these links defies anticipation. In his words, improvisation forces artists and audiences to “think contingency”. “It is not that discrete, isolated entities connect themselves to form something greater”, he explains, “but rather that the distance between the musician as subject and the instrument as object is not clearly defined” (3). So, while live coder and code persist as separate phenomena, the coding/playing/performing process highlights the qualitative indeterminacy of the space between them. Each moment might beget the unrecognisable — and this ineluctable, ever-present surprise is essential to the practice.To be sure, there are elements of predetermination in live coding practices. For example, musicians often save and return to specific functions in the midst of performances. But as Kreković and Pošćić point out all modes of improvisation rely on patterning and standardisation, including analog and non-computational techniques. Here, they cite composer John Cage’s claim that there exists no “true” improvisation because artists “always find themselves in routines” (Kreković and Pošćić). In a slight twist on Cage, Kreković and Pošćić insist that repetition does not make improvisation “untrue”, but rather that it points to an expanded role for indeterminacy in all forms of composition. As they write,[improvisation] can both be viewed as spontaneous composition and, when distilled to its core processes, a part of each compositional approach. Continuous and repeated improvisation can become ingrained, classified, and formalised. Or, if we reverse the flow of information, we can consider composition to be built on top of quiet, non-performative improvisations in the mind of the composer. (Kreković and Pošćić)This commentary echoes Deleuze’s thoughts on creativity and ontic continuity. To paraphrase Kreković and Pošćić, the aisthēsis of sensing, feeling, and thinking yields quiet, non-performative improvisations that play continuously in each individual mind. Fazi’s reading of Deleuze endows computable phenomena with this capacity. She does not endorse a computational theory of cognition that would permit computers to think and feel in the same manner as humans. Instead, she proposes a Deleuzean aesthetic capacity proper to computation. Live coding exemplifies the creative potential of computers as articulated by Fazi in Contingent Computation. Her research has allowed me to indicate live coding as an embodiment of Deleuze and Bergson’s theories of difference and creativity. Importantly, live coding affirms their philosophical premises not in spite of its technologised discreteness — which they would have considered problematic — but because it leverages discreteness in service of the continuous aesthetic act. My essay might also serve as a prototype for studies on digitality which likewise aim to supersede the divide between discrete and continuous media. As I have hopefully demonstrated, Fazi’s framework allows scholars to apprehend all forms of computation with enhanced clarity and openness to new possibilities.Coda: From Aesthetics to PoliticsBy way of a coda, I will reflect on the relevance of Fazi’s work to contemporary political theory. In “Digital Aesthetics”, she makes reference to emerging “oppositions to the mechanization of life” from “post-structuralist, postmodernist and post-Marxist” perspectives (7). One such argument comes from philosopher Bernard Stiegler, whose theory of psychopower conceives “the capture of attention by technological means” as a political mechanism (“Biopower, Psychopower and the Logic of the Scapegoat”). Stiegler is chiefly concerned with the psychic impact of discrete technological devices. As he argues, the habitual use of these instruments advances “a proletarianization of the life of the mind” (For a New Critique of Political Economy 27). For Stiegler, human thought is vulnerable to discretisation processes, which effects the loss of knowledge and quality of life. He considers this process to be a form of political hegemony (34).Philosopher Antoinette Rouvroy proposes a related theory called “algorithmic governmentality” to describe the political effects of algorithmic prediction mechanisms. As she claims, predictive algorithms erode “the excess of the possible on the probable”, or all that cannot be accounted for in advance by statistical probabilities. In her words,all these events that can occur and that we cannot predict, it is the excess of the possible on the probable, that is everything that escapes it, for instance the actuarial reality with which we try precisely to make the world more manageable in reducing it to what is predictable … we have left this idea of the actuarial reality behind for what I would call a “post-actuarial reality” in which it is no longer about calculating probabilities but to account in advance for what escapes probability and thus the excess of the possible on the probable. (8)In the past five years, Stiegler and Rouvroy have collaborated on research into the politics of technological determinacy. The same issue concerned Deleuze almost three decades ago: his 1992 essay “Postscript on the Societies of Control” warns that future subjugation will proceed as technological prediction and enclosure. He writes of a dystopian society which features a “numerical language of control … made of codes that mark access to information, or reject it” (5). The society of control reduces individuals to “dividuals”, or homogenised and interchangeable numeric fractions (5). These accounts of political power equate digital discreteness with ontic finitude, and suggest that ubiquitous digital computing threatens individual agency and societal diversity. Stiegler and Deleuze envision a sort of digital reification of human subjectivity; Rouvroy puts forth the idea that algorithmic development will reduce the possibilities inherent in social life to mere statistical likelihoods. While Fazi’s work does not completely discredit these notions, it might instead be used to scrutinise their assumptions. If computation is not ontically finite, then political allegations against it must consider its opposition to human life with greater nuance and rigor.ReferencesAaron, Sam. “Programming as Performance.” Tedx Talks. YouTube, 22 July 2015. <https://www.youtube.com/watch?v=TK1mBqKvIyU&t=333s>.“A History of Live Programming.” Live Prog Blog. 13 Jan. 2013. <liveprogramming.github.io/liveblog/2013/01/a-history-of-live-programming/>.Bergson, Henri. The Creative Mind: An Introduction to Metaphysics. Trans. Mabelle L. Andison. New York City: Carol Publishing Group, 1992.———. Time and Free Will: An Essay on the Immediate Data of Consciousness. Trans. F.L. Pogson. Mineola: Dover Publications, 2001.Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. New York City: Columbia UP, 1994.———. "Postscript on the Societies of Control." October 59 (1992): 3-7.———. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. 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