11,221 research outputs found

    How the Philosophy of Friedrich Nietzsche can be succinctly encapsulated within his Apollonian-Dionysian dichotomy

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    This thesis aims to illustrate that the broad philosophy of Friedrich Nietzsche can be subordinated to his conceptual dichotomy: the Apollonian-Dionysian dichotomy. Through an analysis of the Birth of Tragedy, Beyond Good and Evil, Twilight of the Idols, as well as a brief analysis of the Will to Power, I will make the case that the dichotomy is the umbrella under which all Nietzschean concepts are to be read and understood. The texts that were chosen represent key stages in Nietzsche’s intellectual development – from the Birth of Tragedy, which marks the beginning of Nietzschean philosophy; to Twilight of the Idols, which represents the end. The constituent parts of the dichotomy are to be understood in two contexts: firstly, the terms (Apollonian/Dionysian) are used to denote the forces required for the creation of art; secondly, the terms come to signify the type of individual who makes use of those forces as it is the case that different types of art can be created by different types of men. Nietzschean philosophy is to be understood through art as it is explicitly stated that the essence of existence is one of a perpetual Becoming wherein there exists only that which is created by man, for man, in service of man’s own will to power. All attempts to discern a fixed Being in-itself existing outside of this will to power are false and are indicative of a weak and sickly disposition, the symptoms of which are found in the progenitors’ art (be it a morality, table of categories, or a transcendent deity). Through the positing of the thing-in-itself as the will to power Nietzsche conceptualises the world of Becoming as a canvas onto which two different types of men imprint a Being which reveals, physiologically, their endowment as either Apollonian or Dionysian

    Human-Art: A Versatile Human-Centric Dataset Bridging Natural and Artificial Scenes

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    Humans have long been recorded in a variety of forms since antiquity. For example, sculptures and paintings were the primary media for depicting human beings before the invention of cameras. However, most current human-centric computer vision tasks like human pose estimation and human image generation focus exclusively on natural images in the real world. Artificial humans, such as those in sculptures, paintings, and cartoons, are commonly neglected, making existing models fail in these scenarios. As an abstraction of life, art incorporates humans in both natural and artificial scenes. We take advantage of it and introduce the Human-Art dataset to bridge related tasks in natural and artificial scenarios. Specifically, Human-Art contains 50k high-quality images with over 123k person instances from 5 natural and 15 artificial scenarios, which are annotated with bounding boxes, keypoints, self-contact points, and text information for humans represented in both 2D and 3D. It is, therefore, comprehensive and versatile for various downstream tasks. We also provide a rich set of baseline results and detailed analyses for related tasks, including human detection, 2D and 3D human pose estimation, image generation, and motion transfer. As a challenging dataset, we hope Human-Art can provide insights for relevant research and open up new research questions.Comment: CVPR202

    The Disputation: The Enduring Representations in William Holman Hunt's “The Finding of the Saviour in the Temple,” 1860

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    This interdisciplinary thesis problematizes the Jewish presence in the painting The Finding of the Saviour in the Temple (1860) by William Holman Hunt. This “Jewish presence” refers to characters within the painting, Jews who posed for the picture and the painting’s portrayal of Judaism. The thesis takes a phenomenological and hermeneutical approach to The Finding providing careful description and interpretation of what appears in the painting. It situates the painting within a newly configured genre of disputation paintings depicting the Temple scene from the Gospel of Luke (2:47 – 52). It asks two questions. Why does The Finding look the way it does? And how did Holman Hunt know how to create the picture? Under the rubric of the first question, it explores and challenges customary accounts of the painting, explicitly challenging the over reliance upon F.G. Stephens’s pamphlet. Additionally, it examines Pre-Raphaelite and Victorian religious contexts and bringing hitherto unacknowledged artistic contexts to the fore. The second question examines less apparent influences through an analysis of the originary Lukan narrative in conjunction with the under-examined genre of Temple “disputation” paintings, and a legacy of scholarly and religious disputation. This demonstrates a discourse of disputation informing The Finding over and above the biblical narrative. In showing that this discourse strongly correlates with the painting’s objectifying and spectacular properties, this thesis provides a new way to understand The Finding’s orientalism which is further revealed in its typological critical reworking of two Christian medieval and renaissance paintings. As a demonstration of the discourse, the thesis includes an examination of Jewish artists who addressed the theme of disputation overtly or obliquely thereby engaging with and challenging the assumptions upon which the disputation rests

    Metaphors of London fog, smoke and mist in Victorian and Edwardian Art and Literature

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    Julian Wolfreys has argued that after 1850 writers employed stock images of the city without allowing them to transform their texts. This thesis argues, on the contrary, that metaphorical uses of London fog were complex and subtle during the Victorian and Edwardian periods, at least until 1914. Fog represented, in particular, formlessness and the dissolution of boundaries. Examining the idea of fog in literature, verse, newspaper accounts and journal articles, as well as in the visual arts, as part of a common discourse about London and the state of its inhabitants, this thesis charts how the metaphorical appropriation of this idea changed over time. Four of Dickens's novels are used to track his use of fog as part of a discourse of the natural and unnatural in individual and society, identifying it with London in progressively more negative terms. Visual representations of fog by Constable, Turner, Whistler, Monet, Markino, O'Connor, Roberts and Wyllie and Coburn showed an increasing readiness to engage with this discourse. Social tensions in the city in the 1880s were articulated in art as well as in fiction. Authors like Hay and Barr showed the destruction of London by its fog because of its inhabitants' supposed degeneracy. As the social threat receded, apocalyptic scenarios gave way to a more optimistic view in the work of Owen and others. Henry James used fog as a metaphorical representation of the boundaries of gendered behaviour in public, and the problems faced by women who crossed them. The dissertation also examines fog and individual transgression, in novels and short stories by Lowndes, Stevenson, Conan Doyle and Joseph Conrad. After 1914, fog was no more than a crude signifier of Victorian London in literature, film and, later, television, deployed as a cliche instead of the subtle metaphorical idea discussed in this thesis

    Coloniality and the Courtroom: Understanding Pre-trial Judicial Decision Making in Brazil

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    This thesis focuses on judicial decision making during custody hearings in Rio de Janeiro, Brazil. The impetus for the study is that while national and international protocols mandate the use of pre-trial detention only as a last resort, judges continue to detain people pre-trial in large numbers. Custody hearings were introduced in 2015, but the initiative has not produced the reduction in pre-trial detention that was hoped. This study aims to understand what informs judicial decision making at this stage. The research is approached through a decolonial lens to foreground legacies of colonialism, overlooked in mainstream criminological scholarship. This is an interview-based study, where key court actors (judges, prosecutors, and public defenders) and subject matter specialists were asked about influences on judicial decision making. Interview data is complemented by non-participatory observation of custody hearings. The research responds directly to Aliverti et al.'s (2021) call to ‘decolonize the criminal question’ by exposing and explaining how colonialism informs criminal justice practices. Answering the call in relation to judicial decision making, findings provide evidence that colonial-era assumptions, dynamics, and hierarchies were evident in the practice of custody hearings and continue to inform judges’ decisions, thus demonstrating the coloniality of justice. This study is significant for the new empirical data presented and theoretical innovation is also offered via the introduction of the ‘anticitizen’. The concept builds on Souza’s (2007) ‘subcitizen’ to account for the active pursuit of dangerous Others by judges casting themselves as crime fighters in a modern moral crusade. The findings point to the limited utility of human rights discourse – the normative approach to influencing judicial decision making around pre-trial detention – as a plurality of conceptualisations compete for dominance. This study has important implications for all actors aiming to reduce pre-trial detention in Brazil because unless underpinning colonial logics are addressed, every innovation risks becoming the next lei para inglĂȘs ver (law [just] for the English to see)

    TOWARDS AN UNDERSTANDING OF EFFORTFUL FUNDRAISING EXPERIENCES: USING INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS IN FUNDRAISING RESEARCH

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    Physical-activity oriented community fundraising has experienced an exponential growth in popularity over the past 15 years. The aim of this study was to explore the value of effortful fundraising experiences, from the point of view of participants, and explore the impact that these experiences have on people’s lives. This study used an IPA approach to interview 23 individuals, recognising the role of participants as proxy (nonprofessional) fundraisers for charitable organisations, and the unique organisation donor dynamic that this creates. It also bought together relevant psychological theory related to physical activity fundraising experiences (through a narrative literature review) and used primary interview data to substantiate these. Effortful fundraising experiences are examined in detail to understand their significance to participants, and how such experiences influence their connection with a charity or cause. This was done with an idiographic focus at first, before examining convergences and divergences across the sample. This study found that effortful fundraising experiences can have a profound positive impact upon community fundraisers in both the short and the long term. Additionally, it found that these experiences can be opportunities for charitable organisations to create lasting meaningful relationships with participants, and foster mutually beneficial lifetime relationships with them. Further research is needed to test specific psychological theory in this context, including self-esteem theory, self determination theory, and the martyrdom effect (among others)

    Translating erasure: Proposing auto-theory as a practice for artistic enquiry and analysis while comprehending personal grief

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    Erasure as an artistic technique has developed in my moving image work after my father's passing. I export videos into sequences of thousands of images and erase outlines of the targeted objects in each frame. The repetitive and low conscious labour is a way to ease the agony and to grieve my father. Hours compressed into thousands of frames, turning into a glimpse of illusion and leaving a ghostly emptiness on the images. Both its visual presentation and making reflect the life events and encounters I've experienced in the UK and Taiwan in the past years. I consider an artwork embodies interconnected relationships between one's personal impulses and artistic training. As an art student, I have found it challenging to describe such a creative process with conventional academic writing. Within a construct that inclines to present thoughts as reasonable and rational arguments, my personal experiences and the intensity of feeling seem out of place. Within an academic framework, how can I make an argument out of how I have developed the erasure in my artwork to perform the grief, fading memories of a loved one, existential crisis and what's in-between? Through auto-theoretical approaches to writing and making of moving image work, this research aims to build a structure that can express both the intimate and intellectual aspects of an art practice. This writing up process interweaves my personal stories that motivate my artistic expression into art theories. The memories about my late father, my relationship with languages, and my lives between the UK and Taiwan meet with different artists' uses of erasure. As the conversations between the introspections and theoretical analysis accumulate, my writing and moving image work unravel an art journey that encompasses the nuances and struggles I've experienced as an international student. Within the search for an ideal model to illustrate an art practice, this research further generates profound understandings of memory, grief, loss, language, conflicted identities and cultural belonging

    Investigating and mitigating the role of neutralisation techniques on information security policies violation in healthcare organisations

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    Healthcare organisations today rely heavily on Electronic Medical Records systems (EMRs), which have become highly crucial IT assets that require significant security efforts to safeguard patients’ information. Individuals who have legitimate access to an organisation’s assets to perform their day-to-day duties but intentionally or unintentionally violate information security policies can jeopardise their organisation’s information security efforts and cause significant legal and financial losses. In the information security (InfoSec) literature, several studies emphasised the necessity to understand why employees behave in ways that contradict information security requirements but have offered widely different solutions. In an effort to respond to this situation, this thesis addressed the gap in the information security academic research by providing a deep understanding of the problem of medical practitioners’ behavioural justifications to violate information security policies and then determining proper solutions to reduce this undesirable behaviour. Neutralisation theory was used as the theoretical basis for the research. This thesis adopted a mixed-method research approach that comprises four consecutive phases, and each phase represents a research study that was conducted in light of the results from the preceding phase. The first phase of the thesis started by investigating the relationship between medical practitioners’ neutralisation techniques and their intention to violate information security policies that protect a patient’s privacy. A quantitative study was conducted to extend the work of Siponen and Vance [1] through a study of the Saudi Arabia healthcare industry. The data was collected via an online questionnaire from 66 Medical Interns (MIs) working in four academic hospitals. The study found that six neutralisation techniques—(1) appeal to higher loyalties, (2) defence of necessity, (3) the metaphor of ledger, (4) denial of responsibility, (5) denial of injury, and (6) condemnation of condemners—significantly contribute to the justifications of the MIs in hypothetically violating information security policies. The second phase of this research used a series of semi-structured interviews with IT security professionals in one of the largest academic hospitals in Saudi Arabia to explore the environmental factors that motivated the medical practitioners to evoke various neutralisation techniques. The results revealed that social, organisational, and emotional factors all stimulated the behavioural justifications to breach information security policies. During these interviews, it became clear that the IT department needed to ensure that security policies fit the daily tasks of the medical practitioners by providing alternative solutions to ensure the effectiveness of those policies. Based on these interviews, the objective of the following two phases was to improve the effectiveness of InfoSec policies against the use of behavioural justification by engaging the end users in the modification of existing policies via a collaborative writing process. Those two phases were conducted in the UK and Saudi Arabia to determine whether the collaborative writing process could produce a more effective security policy that balanced the security requirements with daily business needs, thus leading to a reduction in the use of neutralisation techniques to violate security policies. The overall result confirmed that the involvement of the end users via a collaborative writing process positively improved the effectiveness of the security policy to mitigate the individual behavioural justifications, showing that the process is a promising one to enhance security compliance

    Conscience and Consciousness: British Theatre and Human Rights.

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    This research project investigates a paradigm of human rights theatre. Through the lens of performance and theatre-making, this thesis explores how we came to represent, speak about, discuss, and own human rights in Britain. My framework of ‘human rights theatre’ proposes three distinctive features: firstly, such works dramatise real-world issues and highlights the role of the state in endangering its citizens; secondly, ethical ruptures are encountered within and without the drama, and finally, these performances characteristically aspire to produce an activist effect on the collective behaviours of the audience. This thesis interrogates the strategies theatre-makers use to articulate human rights concerns or to animate human rights intent. The selected case-studies for this investigation are ice&fire’s testimonial project, Actors for Human Rights; Badac Theatre; Jonathan Holmes’ work as director of Jericho House; Cardboard Citizens’ youth participation programme, ACT NOW; and Tony Cealy’s Black Men’s Consortium. Deliberately selecting companies and performance events that have received limited critical attention, my methodology constellates case-studies through original interviews, durational observation of creative working methods and proximate descriptions of practice. The thesis is interested in the experience of coming to ‘consciousness’ through human rights theatre, an awakening to the impacts of rights infringements and rights claiming. I explore consciousness as a processual, procedural, and durational happening in these performance events. I explore the ‘éffect’ of activist art and examine the ways in which makers of human rights theatre aim to amplify both affective and effective qualities in their work. My thesis also considers the articulation of activist purpose and the campaigning intent of the selected theatre-makers and explores how their activism is animated in their productions. Through the rich seam of discussion generated by the identification and exploration of the traits of a distinctive human rights theatre, I affirm the generative value of this typological enquiry
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