The philosophy of European Law with "chaos out of order" set-up and functioning

In reconsideration of the composition and operation of European law, it is the description of its underlying mentality that may cast best light on the query whether European law is the extension of domestic laws or a sui generis product. As to its action, European law is destructive upon the survival of traditions of legal positivism, for it recalls post modern clichés rather. Like a solar system with planets, it is two-centred from the beginning, commissioning both implementation and judicial check to member states. As part of global post modernism, a) European law stems from artificial reality construction freed from particular historical experience and, indeed, anything given hic et nunc. By its operation, b) it dynamises large structures and sets in motion that what is chaos itself. It is owing to reconstructive human intent solely that any outcome can at all be seen as fitting to some ideal of order, albeit neither operation nor daily management strives for implementing any systemicity. This is the way in which the European law becomes adequate reflection of the underlying (macro) economic basis, which it is to serve as superstructure. Accordingly, c) the entire construct is operated (as integrated into one well-working unit) within the framework of an artificially animated dynamism. With its “order out of chaos” philosophy it assures member states’ standing involvement and competition, achieving a flexibly self-adapting (and unprecedentedly high degree of) conformity

Whiteface

This study originates in the observation that improv comedy or improvised theater has such a vast majority of white people practicing it, while other improvisational or comedic art forms (jazz, freestyle rap, stand up) are historically grounded in and marked as Black cultural production. What it is about improv that makes it such a white space? Can an absence be an object of study? If so, what is there to study? Where should one look

Whiteface

This study originates in the observation that improv comedy or improvised theater has such a vast majority of white people practicing it, while other improvisational or comedic art forms (jazz, freestyle rap, stand up) are historically grounded in and marked as Black cultural production. What it is about improv that makes it such a white space? Can an absence be an object of study? If so, what is there to study? Where should one look

Exploring the Lived-Experience of business model innovation

Due to increasingly complex and uncertain environments, businesses must deal with multiple competing and often opposing models, what we may call 'ontological relativity'. To deal with this, the practice of innovation management requires a new type of practical-epistemology. The best insight into these new types of knowledge is an exploration of lived experience of innovation management practitioners. This research then explores the phenomena involved in the practice of business model innovation in the context of two innovation projects. To achieve these goals, a phenomenological method is used to uncover fundamental aspects of the innovation process. The outcome of the inquiry is a set a set of phenomena that hope to contribute to the discourse around this emerging field of management knowledge

Complete Volume (36)

Complete digitized volume (volume 36) of Communication and Theater Association of Minnesota Journal

How the Mind of Christ is Formed in Community: The Ecclesial Ethics of Richard Hooker

How do practices contribute to the formation of the mind of Christ in community such that the community truly becomes the body of Christ?” This dissertation demonstrates that Christ acts on his Church through a complex interaction of community and practices to generate the identity, diversity, and virtue of his body. This is a controversial claim because many hold that the matter of virtue rightly consists of adherence to cherished foundations like Scripture and tradition accompanied by calls to obedience. Nonetheless, this study seeks to identify resources to help the Church imagine a virtue ethics appropriate to a 21st century communion ecclesiology. It does so by reading Richard Hooker as an ecclesial ethicist. Examining Hooker’s accounts of Scripture, participation, and liturgical practices, the dissertation develops a Hookerian account that extends the ecclesial ethics of Stanley Hauerwas and Sam Wells on both ends. On the front end, it derives from first principles an account of how humans come to see themselves as part of the theodrama in which improvisation is required. On the back end, it grounds improvisation in a theory of mimetic virtue. Along the way it shows how a largely Barthian Christology coheres with a positive account of sacramental practices and that a Hauerwasian emphasis on practices is not sectarian. Hooker’s repudiation of appeals to timeless absolutes in ethical reasoning and his demonstration that the self-ordering of the Church is phronetic action means that contemporary “liberal accommodationism” and “postliberal traditionalism” can no longer coopt Hooker to justify their ideologies

The Axioms of Petroculture: Art and Political Transformation in the Second Age of Oil

This thesis aims to tackle three interrelated questions; does the genre of contemporary art have a distinct logic to the extent that it can be described as being axiomatic? Do these axioms relate to the socio-political conditions of our era as they are understood to be shaped by the politics of the extraction, sale and burning of petroleum hydrocarbons, and the attendant externalities of this process? And, if these questions can be answered in the affirmative, what is the politically transformative potential for Contemporary Art? The thesis understands the tentacular reach of oil into culture through the political economy of extractive accumulation and how it is reliant on the huge value drawn from fossil fuel exploitation from the early 1970s to now, and the exhaustion of this commodity. It argues that, at an axiomatic level, Contemporary Art has been conditioned by, and conditions, current variants of Liberalism that emerged in the latter part of the twentieth century, and that these variants are underwritten by the oil industry. It does this through a reading of economic theory, art theory, critical race studies and their intersections with ecological thought. This approach differs from multiple other adjacent projects in that it attempts to synthesise a critique of the logics of contemporary art and questions of political transformation in relation to the growing literature on the oil industry and climate change, rather than seeking to point to artistic practices that deal with issues of the climate

Dancing against the grain: new visions of masculinity in dance.

The last quarter of the twentieth century witnessed an important development in contemporary theatre dance practice and its study. Since the early 1970s an increased level of concern with'masculinily' has directed dance makers and scholars alike, resulting in a number of new and challenging dance works alongside a significant growth in publications devoted to gender and identity politics. This activity has led to a change in a cultural practice that had previously been dominated by women practitioners and of critical interest mainly to feminist scholars. The impact of this shift towards a concern with 'masculinity' directs this studys exploration into the ways in which selected contemporary dance works represent forms of male identity that resist being categorised according to established models. Set within a framework of current thought on gender drawn from debates in the visual arts, dance literature and other non-dance sources, this research project investigates the extent to which these alternative models contribute to the development of a greater understanding of what it means to be a man in todays society. Furthermore, by paying close attention to the ways in which meaning is articulated in individual works, and setting subsequent findings against a historical perspective, this study questions some of the essentialist rhetoric used in dance scholarship and other critical disciplines which describe representations of masculinity. Through an interdisciplinary approach that is sensitive to how aspects of masculinity are articulated in dance, this study uncovers a diversity of representations hitherto unacknowledged by other analytical models. Moreover, this project raises awareness of how dance not only reflects cultural norms of gender and sexuality but resists them and presents new ones. This is the visionary capability of dance wherein works can be read as working'against the grain' of old-fashioned and essentialist attitudes about men in dance and in society

Implementing Industry 4.0 in SMEs

This open access book addresses the practical challenges that Industry 4.0 presents for SMEs. While large companies are already responding to the changes resulting from the fourth industrial revolution , small businesses are in danger of falling behind due to the lack of examples, best practices and established methods and tools. Following on from the publication of the previous book ‘Industry 4.0 for SMEs: Challenges, Opportunities and Requirements’, the authors offer in this new book innovative results from research on smart manufacturing, smart logistics and managerial models for SMEs. Based on a large scale EU-funded research project involving seven academic institutions from three continents and a network of over fifty small and medium sized enterprises, the book reveals the methods and tools required to support the successful implementation of Industry 4.0 along with practical examples