288 research outputs found

    LIPIcs, Volume 251, ITCS 2023, Complete Volume

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    LIPIcs, Volume 251, ITCS 2023, Complete Volum

    LIPIcs, Volume 261, ICALP 2023, Complete Volume

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    LIPIcs, Volume 261, ICALP 2023, Complete Volum

    The Politics of Racial Translation : Negotiating Foreignness and Authenticity in Russophone Intersectional Feminism and Timati's Hip-hop (2012-2018)

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    Hva skjer med rase-, kjĂžnns- og seksualitetspolitikk i interseksjonell feminisme og hiphop nĂ„r de forflytter seg Ăžstover til postsovjetiske, russisksprĂ„klige kontekster? Denne avhandlingen utforsker oversettelsens betydning i sirkulasjonen av det amerikanske, engelsksprĂ„klige idiomet ‘rase som motstand’ i russisksprĂ„klige tilpasninger av hiphop og interseksjonalitet i perioden 2012-2018. Ved hjelp av digital etnografi, diskursanalyse og nĂŠrlesing av et utvalg musikkvideoer, analyseres to oversettelsesprosjekter empirisk: en russisksprĂ„klig grasrotside for interseksjonell feminisme, FIO (Feminist Intersectionality Against Oppression), og den – i Russland kontroversielle – tatarisk-jĂždiske hiphop-entreprenĂžren Timati. Denne avhandlingen, som befinner seg i skjĂŠringspunktet mellom kjĂžnns- og seksualitetsstudier, rase- og etnisitetsforskning og postsovjetiske kulturstudier, framhever oversettelse bĂ„de i sitt teoretiske rammeverk og i metodologisk forskningsdesign. Teoretisk er avhandlingens tilnĂŠrming til oversettelse inspirert av feministisk teori, feministisk antropologi og oversettelsesstudier, samt av transnasjonale perspektiver pĂ„ rasialisering og den voksende forskningen pĂ„ rase i Russland. Metodologisk trekker avhandlingen pĂ„ verktĂžy fra oversettelsesstudier og sosiolingvistikk. Ved Ă„ begrepsligjĂžre oversettelse som en forutsetning for geografisk forflytning av ideer, som et sted for forhandling der ting produseres som ‘fremmede’, og som en generativ snarere enn imiterende prosess, spĂžr den hva raseoversettelse frambringer og hvorfor noen oversettelsesprosjekter framstilles som mer fremmede enn andre. Metoden er Ă„ spore hvordan fremmedhet tilskrives ulike objekter, samt Ă„ undersĂžke de oversettelsesstrategiene som brukes i de to nevnte empiriske tilfellene nĂ„r de gjengir engelsksprĂ„klige rasekategorier som ‘white’, ‘black’, ‘people of color’ og ‘women of color’. I tillegg til Ă„ undersĂžke hvilke generative effekter oversettelsene har, bruker studien en multimodal tilnĂŠrming som overskrider de semantiske grensene til etnorasekategorier og muliggjĂžr utforsking av rasemessig oversettelse pĂ„ tvers av flere semiotiske moduser. Avhandlingen begrepsligjĂžr rasemessig oversettelse som gjennomsyret av kjĂžnns- og seksualitetsdynamikk, innebygd i geopolitiske konfrontasjoner og informert av russisk imperial arv, og argumenterer for at rasemessig oversettelse er generativ pĂ„ flere sentrale mĂ„ter. Den rasemessige oversettelsen skaper nye og moderne formsprĂ„k (russofon interseksjonell feminisme og russisk kommersiell hiphop), kronotopisk plasserte former for personlighet knyttet til bestemte oversettelsesstrategier eller motstand mot dem, samt affektive responser og bestridelser av oversettelsesvalg og oversettelsesprosjekter som stigmatiseres eller verdsettes som ‘fremmede’. De som oversetter, tilnĂŠrmer seg det engelsksprĂ„klige formsprĂ„ket ‘rase som motstand’ som ‘fremmed og moderne’, og indekserer en avansert tid og et avansert sted, USA, for Ă„ styrke, reparere og modernisere russisksprĂ„klig feminisme og russiske musikkscener. Begge oversettelsesprosjektene posisjonerer fremmedgjĂžring som en kilde til modernisering, noe som forklarer predisposisjonen for fremmedgjĂžrende oversettelsesstrategier. FremmedgjĂžrende oversettelsesstrategier og motviljen mot bokstavtrohet i postsovjetiske, russisksprĂ„klige kontekster, kan imidlertid gjĂžre oversetterne selv fremmede, noe som fremmer jakten pĂ„ originalitet, forsĂžk pĂ„ Ă„ forhandle oversettelsens stigma og Ă„ reparere kronisk inautentisitet. PĂ„ nettsidene til det russisksprĂ„klige, interseksjonelle feministiske digitale fellesskapet, skaper moderatorenes tilbĂžyelighet til translitterasjoner en form for uro, beskyldninger om uforstĂ„elighet og en slags motvilje for sprĂ„kblanding. Moderatorenes rolle som en kosmopolitisk, tosprĂ„klig, feministisk elite skiller seg fra vanlige russisksprĂ„klige lesere. Interseksjonalitet sirkulerer som en feministisk kronotop, som FIO ser for seg som en feministisk fremtid, et botemiddel mot den russisksprĂ„klige feminismens rasisme, homofobi og transfobi. Feministiske kronotoper blir brukt i diskusjoner rundt oversettelse og blant annet utnyttet i lokale kronotopiske forestillinger om russisk bakstreverskhet og slavofil trangsynthet. Den bokstavelige oversettelsen av kategorien ‘hvit’ genererer figurer som ‘hvit mann’ og ‘hvite kvinner’ og inngĂ„r i det russisksprĂ„klige interseksjonelle feministiske formsprĂ„ket. Produksjonen av modererende antirasistisk hvithet-i-oversettelse mobiliserer kronotopiske figurer av tilbakestĂ„ende rasistiske andre som komparativ kontrast til mer moderne kunnskap. Den driver ogsĂ„ frem spĂžrsmĂ„l om grensene for oversettbarheten til kategorien ‘hvit’ for den situerte antirasistiske post-sovjetiske praksisen i kommentartrĂ„dene, inkludert den skiftende kategorien КаĐČĐșазцы/Kaukasiere. Manglende oversettelse av kategoriene ‘people of color’ og ‘women of color’ genererer blant annet sĂžken etter en postsovjetisk ‘woman of color’ som et russisksprĂ„klig interseksjonelt feministisk subjekt. Slik kanoniseres “rĂ„â€ oversettelse, den transsprĂ„klige spredningen av etno-rasistiske kategorier og instrumentaliseringen av figuren ‘trans woman of color’ av russisksprĂ„klige radfem som et tegn pĂ„ den russisksprĂ„klige interseksjonalitetens totale fremmedhet. Begrepet realia brukes i materialet som en sĂžken etter Ă„ lokalisere det amerikanske raseidiomet og for Ă„ belyse sĂŠrtrekkene ved den post-sovjetiske etnorasiske maktdynamikken. I undersĂžkelsen av raseoversettelse i Timatis hiphop, vises det hvordan Timati, ved Ă„ kombinere amerikansk svart hiphop-estetikk med russisk glamour pĂ„ 2000-tallet, brukte uoversatt amerikansk svarthet som en kosmopolitisk kulturell kapital for Ă„ motvirke volden i den post-sovjetiske rasialiseringen. Ved Ă„ nĂŠrme seg amerikansk svart estetikk gjennom direkte erfaring med ‘kilden’, fikk Timati transnasjonal suksess med sin etnorasiale formbarhet og evne til Ă„ formidle mellom postsovjetiske markeder, lokale Ăžkonomiske eliter, amerikansk raseautentisitet og amerikanske hiphop-kjendiser. Han bidro derimot neppe til Ă„ avhjelpe hiphopens kroniske inautentisitet i Russland. ForsĂžk pĂ„ Ă„ hĂ„ndtere stigmaet fremmedhet og imitasjon, og Ă„ oppnĂ„ sterkere hiphop-autentisitet pĂ„ hjemmebane, markerte en reorientering av Timatis prosjekt for rasemessig oversettelse. Fra 2012-2013 figurerer Kaukasus og kaukasiske maskuliniteter som ‘regionale originaler’, noe som gjĂžr det mulig for Timati Ă„ oversette den amerikanske svarte maskuliniteten som ligger til grunn for amerikansk hiphop-autentisitet. Han tar i bruk ulike strategier, som ‘vikarierende autentisitet’, memetikk og hiphop-homofobi, og skaper en homofobisk hiphop-meykhana-cipher og visuelle, imperiale troper av et kaukasisk sublim. Skjegget som rasemessig/seksuell metonymi er sentralt for Ă„ forstĂ„ Timatis prosjekt for rasemessig oversettelse i 2014-2015, som er involvert i seksuell geopolitikk mellom Ăžst og vest. Gjennom hiphop-modernitet og tvillingfantasien om etnisk raseblanding og sentralasiatiske migranters Ăžkonomiske oppsving i Russland, oppvurderes den etniske andre fra Ă„ vĂŠre symbol pĂ„ en sikkerhetstrussel (skjeggete terrorister) til Ă„ bli moderne, homofob og kul – og slik i stand til Ă„ sikre Russlands organiske og multinasjonale fremtid mot et angivelig korrupt og seksuelt perverst Europa. HĂžydepunktet i Timatis prosjekt for rasemessig oversettelse i 2014-2016 resulterte i oppfinnelsen av en bevisst memetisk karakter, Teymuraz, som iscenesetter rasistiske klisjeer av kaukasiske og sentralasiatiske menn. Teymuraz, som en del av Russlands hybridkulturelle trend med estetisk populisme, resirkulerer elementer fra New East gopnik-stil, sovjetiske og postsovjetiske komedier om menn fra Kaukasus og Sentral-Asia, blander elementer av samfunnskritikk og tilegner seg de subalternes stemmer. Han utgjĂžr med dette et sĂŠregent patriotisk, antirasistisk prosjekt med motstridende implikasjoner. Timatis lekne fremfĂžringer av patriotisme og performativ disidentifikasjon fra USA som kilde til hiphop i 2015 forstĂ„r hiphop-patriotisme som en strategi for Ă„ lokalisere hiphop i den skiftende geopolitiske konteksten av Russlands vending bort fra Vesten. Russiske diskurser om hiphop-autentisitet, som er opptatt av Ă„ oppdage og avslĂžre plagiat i Timatis arbeid, gir stemme til et sĂŠregent arbeid med Ă„ skille ‘ekte’ hiphop fra ‘falsk’ hiphop. Dette arbeidet bygger pĂ„ rasistiske diskurser om handel og umoral, og markerer Timati som ‘fremmed’ - bĂ„de utenfor sjangerens og den russiske nasjonens grenser – og avslĂžrer en russisk etnonasjonal skjevhet som ligger til grunn for russiske diskurser om hiphop-autentisitet. NĂžkkelord: oversettelse, interseksjonalitet, rase, etnorasisk, postsovjetisk, russisk hiphop, rap, russisk rap, grasrotfeminisme, digital feminisme, feministiske kronotoper, feministisk oversettelse, feministisk aktivisme, populĂŠrmusikk, Russland, russofon, oversettelsesstrategier, litteralisme, translitterasjon, homofobi, transfobi, vikarierende autentisitet, memetikk, realia, rasemessig/seksuell metonymi, indeksikalitet, multimodalitet, den kalde krigen, russisk populĂŠrkultur, digital aktivisme, autentisitet, hiphop-maskuliniteter, rasialisering, Kaukasus, Sentral-Asia.What happens to race, gender, and sexuality politics of intersectional feminism and hip-hop when they travel eastwards into post-Soviet Russophone contexts? This thesis explores the role of translation in the circulations of the US Anglophone idiom ‘race as resistance’ in 2012-2018 Russophone adaptations of hip-hop and intersectionality. Drawing on the digital ethnography, discourse analysis, and close reading of a selection of music videos, it empirically analyzes two translation projects: a grassroots Russophone translation-based intersectional feminist page, FIO (Feminist Intersectionality Against Oppression) and – a controversial in Russia – Tatar-Jewish hip-hop entrepreneur, Timati. This thesis, situated at the intersection of gender and sexuality studies, race and ethnicity research, and post-Soviet cultural studies, foregrounds translation in its theoretical framework and methodological research design. Theoretically, the dissertation’s approach to translation is inspired by feminist theory, feminist anthropology, and translation studies, as well as by transnational perspectives on racialization and the growing scholarship on race in Russia. Methodologically it draws on the tools from translation studies and sociolinguistics. Conceptualizing translation as a precondition for travel, as a site of negotiation where things are produced as ‘foreign’ and as a generative rather than imitative process, this thesis asks what racial translation generates and why some translation projects are rendered as more foreign than others. The method is to track the attributions of foreignness and examine the translation strategies used by the two projects mentioned above when rendering English-language racial categories such as ‘white,’ ‘black,’ ‘people of color,’ and ‘women of color.’ The study also uses the multimodal approach that goes beyond the limits of the semantics of ethnoracial categories, allowing for the exploration of racial translation across multiple semiotic modes. Conceptualizing racial translation as saturated in gender and sexuality dynamics, embedded in geopolitical confrontations, and informed by Russian imperial legacies, the thesis argues that racial translation is generative in several central ways. It creates novel and modern idioms (Russophone intersectional feminism and Russian commercial hip-hop), chronotopically positioned types of personhood associated with particular translation strategies or resistance to them, as well as affective responses and contestations of translation choices and translation projects stigmatized or valorized as ‘foreign.’ The translators approach the Anglophone idiom of ‘race as resistance’ as ‘foreign and modern,’ indexing advanced time and place, the USA, brought up to invigorate, repair, and modernize Russophone feminisms and Russian music scenes. Both translation projects position foreignization as a source of modernization, explaining the predisposition for foreignizing translation strategies. However, foreignizing translation strategies and the aversion to literalism within post-Soviet Russophone contexts may render translators themselves foreign, propelling the search for originality, the attempts to negotiate the stigma of translation, and to repair chronic inauthenticity. On the pages of the Russophone intersectional feminist community, the moderators’ predisposition to transliterations generates visceral unease, accusations of unintelligibility, anxieties about the language mixing, and the roles of moderators as cosmopolitan bilingual feminist elites different from ordinary Russophone readers. Intersectionality circulates as a feminist chronotope, envisioned by FIO as a feminist future, a remedy against exclusions within Russophone feminisms such as racism, homophobia, and transphobia. Circulating feminist chronotopes are used in contestations around translation, harnessed on local chronotopic imaginaries such as Russian peasant backwardness and Slavophile parochialism. The literal translation of the category ‘white’ generates figures such as ‘white man’ and ‘white women,’ which enter the Russophone intersectional feminist idiom. The production of anti-racist whiteness-in-translation mobilizes chronotopic figures of backward racist others in comparative contrast with more modern bodies of knowledge and types of personhood. It also propels the questioning of the limits of the translatability of the category ‘white’ for the situated anti-racist post-Soviet praxis in the comment threads, including the shifting category КаĐČĐșазцы/Caucasians. Non-translation of the categories ‘people of color’ and ‘women of color’ generates, amongst other things, the search for a post-Soviet ‘woman of color’ as a Russophone intersectional feminist subject, the canonization of raw translation, the translingual proliferation of ethnoracial categories and the instrumentalization of the figure of ‘trans woman of color’ by Russophone radfem as a mark of Russophone intersectionality’s total foreignness. Finally, the term realia emerged in the empirical materials as the quest for localizing the US idiom of race, adjusting intersectionality to the specificities of post-Soviet ethnoracial power dynamics. Within the project of racial translation in Timati’s hip-hop, I show how Timati marrying of US black hip-hop aesthetics and Russian glamour in the 2000s deployed untranslated foreign US blackness as a cosmopolitan cultural capital to alleviate the violence of post-Soviet racialization. Approximating US black aesthetics through the direct experience of ‘the source,’ Timati’s ethnoracial malleability and capacity to mediate between post-Soviet markets, local economic elites, US racial authenticity, and US hip-hop celebrities brought him international success, yet hardly helped alleviate chronic hip-hop inauthenticity in Russia. Attempts to manage the stigma of foreignness and imitation and hence achieve a stronger hip-hop authenticity domestically marked a reorientation of Timati’s project of racial translation. From 2012-2013, the Caucasus and Caucasian masculinities figure as ‘regional originals,’ allowing Timati to translate the US black masculinity underpinning US hip-hop authenticity through the strategies of vicarious realness, memetics, and hip-hop homophobia in a gay bashing hip-hop meykhana cipher and visual Imperial tropes of the Caucasian sublime. The beard as racial/sexual metonymy is central for understanding Timati’s project of racial translation involved in East-West sexual geopolitics in the period of 2014-2015: through hip-hop modernity and the twin fantasy of ethnoracial mixing and Central Asian migrant economic uplift in Russia, the ethnoracial other is revalorized away from the image of the security threat (bearded terrorist) as modern, homophobic and cool, able to secure Russia’s organic and multinational future against corrupt and sexually perverse Europe. The pinnacle of Timati’s project of racial translation in 2014-2016 resulted in the invention of a deliberately memetic character, Teymuraz, enacting racialized cliches of Caucasian and Central Asian men. Teymuraz, as part of Russia’s hybrid cultural trend of aesthetic populism, recycles the elements of New East gopnik style, Soviet and post-Soviet comedies about men from the Caucasus and Central Asia, mixes elements of social critique, and appropriates the voices of the subaltern, performing a peculiar patriotic anti-racist project with contradictory implications. Timati’s 2015 ludic performances of hip-hop patriotism, coupled with performative disidentifications from the USA as a source of hip-hop, are read as a strategy of hip-hop localization in the changing geopolitical context of Russia’s turn away from the West. Russian discourses of hip-hop authenticity, preoccupied with detecting and exposing plagiarism in Timati’s work, serve to discern ‘real’ hip-hop from ‘fake’ hip-hop. These acts of discernment draw on the racialized discourses of commerce and immorality, marking Timati as ‘foreign’ - both outside the borders of the genre and the Russian nation – thus exposing the Russian ethnonational bias underpinning Russian discourses of hip-hop authenticity. Keywords: translation, intersectionality, race, ethnoracial, post-Soviet, Russian hip-hop, hip-hop, rap, Russian rap, grassroots feminism, digital feminism, feminist chronotopes, feminist translation, feminist activism, popular music, Russia, Russophone, translation strategies, literalism, transliteration, homophobia, transphobia, vicarious realness, memetics, realia, racial/sexual metonymy, indexicality, multimodality, Cold War, Russian popular culture, digital activism, authenticity, hip-hop masculinities, racialization, Caucasus, Central Asia.Doktorgradsavhandlin

    Computer Aided Verification

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    This open access two-volume set LNCS 13371 and 13372 constitutes the refereed proceedings of the 34rd International Conference on Computer Aided Verification, CAV 2022, which was held in Haifa, Israel, in August 2022. The 40 full papers presented together with 9 tool papers and 2 case studies were carefully reviewed and selected from 209 submissions. The papers were organized in the following topical sections: Part I: Invited papers; formal methods for probabilistic programs; formal methods for neural networks; software Verification and model checking; hyperproperties and security; formal methods for hardware, cyber-physical, and hybrid systems. Part II: Probabilistic techniques; automata and logic; deductive verification and decision procedures; machine learning; synthesis and concurrency. This is an open access book

    Contemporary Materialism: Its Ontology and Epistemology

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    Materialism has been the subject of extensive and rich controversies since Robert Boyle introduced the term for the ïŹrst time in the 17th century. But what is materialism and what can it oïŹ€er today? The term is usually deïŹned as the worldview according to which everything real is material. Nevertheless, there is no philosophical consensus about whether the meaning of matter can be enlarged beyond the physical. As a consequence, materialism is often deïŹned in stark exclusive and reductionist terms: whatever exists is either physical or ontologically reducible to it. This conception, if consistent, mutilates reality, excluding the ontological signiïŹcance of political, economic, sociocultural, anthropological and psychological realities. Starting from a new history of materialism, the present book focuses on the central ontological and epistemological debates aroused by today’s leading materialist approaches, including some little known to an anglophone readership. The key concepts of matter, system, emergence, space and time, life, mind, and software are checked over and updated. Controversial issues such as the nature of mathematics and the place of reductionism are also discussed from different materialist approaches. As a result, materialism emerges as a powerful, indispensable scientifically-supported worldview with a surprising wealth of nuances and possibilities

    From wallet to mobile: exploring how mobile payments create customer value in the service experience

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    This study explores how mobile proximity payments (MPP) (e.g., Apple Pay) create customer value in the service experience compared to traditional payment methods (e.g. cash and card). The main objectives were firstly to understand how customer value manifests as an outcome in the MPP service experience, and secondly to understand how the customer activities in the process of using MPP create customer value. To achieve these objectives a conceptual framework is built upon the Grönroos-Voima Value Model (Grönroos and Voima, 2013), and uses the Theory of Consumption Value (Sheth et al., 1991) to determine the customer value constructs for MPP, which is complimented with Script theory (Abelson, 1981) to determine the value creating activities the consumer does in the process of paying with MPP. The study uses a sequential exploratory mixed methods design, wherein the first qualitative stage uses two methods, self-observations (n=200) and semi-structured interviews (n=18). The subsequent second quantitative stage uses an online survey (n=441) and Structural Equation Modelling analysis to further examine the relationships and effect between the value creating activities and customer value constructs identified in stage one. The academic contributions include the development of a model of mobile payment services value creation in the service experience, introducing the concept of in-use barriers which occur after adoption and constrains the consumers existing use of MPP, and revealing the importance of the mobile in-hand momentary condition as an antecedent state. Additionally, the customer value perspective of this thesis demonstrates an alternative to the dominant Information Technology approaches to researching mobile payments and broadens the view of technology from purely an object a user interacts with to an object that is immersed in consumers’ daily life

    Stinging the Predators: A collection of papers that should never have been published

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    This ebook collects academic papers and conference abstracts that were meant to be so terrible that nobody in their right mind would publish them. All were submitted to journals and conferences to expose weak or non-existent peer review and other exploitative practices. Each paper has a brief introduction. Short essays round out the collection

    How Consciousness Creates Reality. The Full Version

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    The main argument in this book is the undeniable openness of every system to the unknown. And the fundamental question goes: What does this openness produce? We are a part of the infinite universe and an incorporation of its wholeness. Both for us means an individualized reality, through which the universe expresses itself and on the other hand through which it is built up with. It also means our necessity, importance and indestructibility for the sum of its incorporations. Most connections among ourselves are hardly conscious for us. Meanwhile the infinitesimality structure of all consciousness guarantees not only the logical lack of inconsistency of these connections but also the freedom of choice of every individual. Our goal by no means can be to decide completely consciously. Responsibility contains spontaneity or rather trust in a meaningful working together of the forces. We increasingly become aware of our role in the entire relationship and we learn to contribute optimally to the value fulfillment of all individuals, ourselves included. Beyond the supposed differences between objective and subjective reality, we at some point of awareness comprehend that we create our reality out of our innermost depths
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