Proceedings of the XIII Global Optimization Workshop: GOW'16

[Excerpt] Preface: Past Global Optimization Workshop shave been held in Sopron (1985 and 1990), Szeged (WGO, 1995), Florence (GO’99, 1999), Hanmer Springs (Let’s GO, 2001), Santorini (Frontiers in GO, 2003), San José (Go’05, 2005), Mykonos (AGO’07, 2007), Skukuza (SAGO’08, 2008), Toulouse (TOGO’10, 2010), Natal (NAGO’12, 2012) and Málaga (MAGO’14, 2014) with the aim of stimulating discussion between senior and junior researchers on the topic of Global Optimization. In 2016, the XIII Global Optimization Workshop (GOW’16) takes place in Braga and is organized by three researchers from the University of Minho. Two of them belong to the Systems Engineering and Operational Research Group from the Algoritmi Research Centre and the other to the Statistics, Applied Probability and Operational Research Group from the Centre of Mathematics. The event received more than 50 submissions from 15 countries from Europe, South America and North America. We want to express our gratitude to the invited speaker Panos Pardalos for accepting the invitation and sharing his expertise, helping us to meet the workshop objectives. GOW’16 would not have been possible without the valuable contribution from the authors and the International Scientific Committee members. We thank you all. This proceedings book intends to present an overview of the topics that will be addressed in the workshop with the goal of contributing to interesting and fruitful discussions between the authors and participants. After the event, high quality papers can be submitted to a special issue of the Journal of Global Optimization dedicated to the workshop. [...

Cultural frontiers: women directors in post-revolutionary New Wave Iranian cinema

Iranian New Wave Cinema (1969 to present) has risen to international fame, especially in post-revolutionary years, for its social realist themes and contribution to national identity. This film movement boasts a number of successful women directors, whose films have impressed audiences and film festivals worldwide. This study examines the works of three Iranian women directors, Rakhshan Bani-Etemad, Tamineh Milani, and Samira Makhmalbaf, for their films’ social, political, and cultural themes and commentary while also investigating the directors’ techniques in managing censorship codes that regulate their production and content. Importantly, these women directors must also navigate the Islamic Republic’s Ministry of Culture and Islamic Guidance’s censorship laws, which dictate that challenging the government’s law or Islamic law is illegal and punishable. These women directors make films that highlight the issues and social status of Iranian women, the working class, and the under-privileged; they touch upon motherhood, love, marriage, abuse, war, and more. Moreover, they are social films that compose the genre of “women’s films,” though the characters and filmmakers are both men and women. While scholars have looked at the way Iranian women directors challenging both the traditional, one-dimensional representations of women in cinema, such as those in filmfarsi, this research draws upon feminist theory to argue that women directors utilize a number of strategies to elude or challenge censorship codes, which range from creative shooting to simply skipping the censorship review process altogether. Films by Iranian women directors reject the Orientalist conception of Iranian women as Muslim women who are prisoners of their culture and society

Ón gCos go Cluas : From Dancing to Listening

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