3,526 research outputs found

    Non-Market Food Practices Do Things Markets Cannot: Why Vermonters Produce and Distribute Food That\u27s Not For Sale

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    Researchers tend to portray food self-provisioning in high-income societies as a coping mechanism for the poor or a hobby for the well-off. They describe food charity as a regrettable band-aid. Vegetable gardens and neighborly sharing are considered remnants of precapitalist tradition. These are non-market food practices: producing food that is not for sale and distributing food in ways other than selling it. Recent scholarship challenges those standard understandings by showing (i) that non-market food practices remain prevalent in high-income countries, (ii) that people in diverse social groups engage in these practices, and (iii) that they articulate diverse reasons for doing so. In this dissertation, I investigate the persistent pervasiveness of non-market food practices in Vermont. To go beyond explanations that rely on individual motivation, I examine the roles these practices play in society. First, I investigate the prevalence of non-market food practices. Several surveys with large, representative samples reveal that more than half of Vermont households grow, hunt, fish, or gather some of their own food. Respondents estimate that they acquire 14% of the food they consume through non-market means, on average. For reference, commercial local food makes up about the same portion of total consumption. Then, drawing on the words of 94 non-market food practitioners I interviewed, I demonstrate that these practices serve functions that markets cannot. Interviewees attested that non-market distribution is special because it feeds the hungry, strengthens relationships, builds resilience, puts edible-but-unsellable food to use, and aligns with a desired future in which food is not for sale. Hunters, fishers, foragers, scavengers, and homesteaders said that these activities contribute to their long-run food security as a skills-based safety net. Self-provisioning allows them to eat from the landscape despite disruptions to their ability to access market food such as job loss, supply chain problems, or a global pandemic. Additional evidence from vegetable growers suggests that non-market settings liberate production from financial discipline, making space for work that is meaningful, playful, educational, and therapeutic. Non-market food practices mend holes in the social fabric torn by the commodification of everyday life. Finally, I synthesize scholarly critiques of markets as institutions for organizing the production and distribution of food. Markets send food toward money rather than hunger. Producing for market compels farmers to prioritize financial viability over other values such as stewardship. Historically, people rarely if ever sell each other food until external authorities coerce them to do so through taxation, indebtedness, cutting off access to the means of subsistence, or extinguishing non-market institutions. Today, more humans than ever suffer from chronic undernourishment even as the scale of commercial agriculture pushes environmental pressures past critical thresholds of planetary sustainability. This research substantiates that alternatives to markets exist and have the potential to address their shortcomings

    Experience, evidence and what counts in UK music therapy – an arts-based autoethnographic study

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    The field of music therapy is not bland: therapists train because of deep belief in the dignity of people and the power of music; participants begin therapy because something significantly challenging is present in their lives; fundraisers share stories which are painful, life affirming, uncomfortable; receptionists juggle quiet spaces with loud spaces with stimulation without sensory triggers; carers listen, absorb, give and give some more, often beyond the limits of their energy. And pulse and meter and melody and dynamics and bodies and voices and wood and skin and metal are the raw materials.However, it might be argued that the search for evidence in music therapy has led to something akin to a parallel reality, - one in which measured, analytical reporting of certain aspects of the work is shared, often in official documents. The vital, sensory, embodied, relational experience which is music making, and which lies at the heart of the therapy is rendered in careful and dispassionate text. There are good reasons for this, and for the steady growth of ‘evidence-based practice’, which lie in the history of the profession and its search for validation. Yet the evidence which is shared in these texts has tended to become increasingly disconnected from many features of the musical therapeutic encounter that music therapists value.In this study, conceived from a critical realist perspective, I ask ‘what is experience in music therapy’, ‘what is evidence in music therapy’, ‘are evidence and experience in fact the same thing, or could they be’? I look at my own experiences, and evidencing of these experiences, gained across 24 years of working as a music therapist. In so doing, I find I cannot maintain a single role or persona. Unexpectedly, in the course of this reflexive exploration, four Roles arrive noisily and will not go away (Music Therapist, Researcher, Musician and Carer). They debate, argue and probe at the heart of what counts, and at the cultures of music therapy which systematise and perpetuate what counts. They consider the turn to evidence-based practice in music therapy and ask ‘what is the evidence of’, and ‘does this make sense to insiders, outsiders, either, both’?This multivocal, dialogical approach allows me to adopt the different positions taken by each of the four Roles as they ask ‘does this make sense to me’, and to advocate for culture change in both music therapy and academia. It resonates with the focus of this research – experience, evidence and what counts in music therapy, and invites various different methodological approaches - autoethnography, arts-based research, phenomenology, and Aesthetic Critical Realism which is introduced to the field of music therapy for the first time. A complex web of different kinds of experience and evidence emerges through poems, stories, vignettes, images and mobile making and results in a concept of four phases of experience, leads to defined categories of different kinds of experience, and to the proposition that in music therapy, experience is evidence of personhood.The thesis is relational: those engaging with it are part of the network of experiences in the field of music therapy, because I conceptualise this field as including all musical, logistical, contractual, academic, public and informal encounters of all stakeholders, from participants to next-door neighbours. Because you are engaging with this thesis, I regard you as a Collaborator, but it is not necessary for you to be familiar with the field. Thank you for your involvement

    Rights on news : expanding copyright on the internet

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    Defence date: 18 February 2020Examining Board: Prof. Giovanni Sartor, EUI (Supervisor); Prof. Pier Luigi Parcu, EUI; Prof. Lionel Bently, University of Cambridge; Prof. Christophe Geiger, University of StrasbourgThe internet and digital technologies have irreversibly changed the way we find and consume news. Legacy news organisations, publishers of newspapers, have moved to the internet. In the online news environment, however, they are no longer the exclusive suppliers of news. New digital intermediaries have emerged, search engines and news aggregators in particular. They select and display links and fragments of press publishers’ content as a part of their services, without seeking the news organisations’ prior consent. To shield themselves from exploitation by digital intermediaries, press publishers have begun to seek legal protection, and called for the introduction of a new right under the umbrella of copyright and related rights. Following these calls, the press publishers’ right was introduced into the EU copyright framework by the Directive on Copyright in the Digital Single Market in 2019

    Proceedings of the 10th International congress on architectural technology (ICAT 2024): architectural technology transformation.

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    The profession of architectural technology is influential in the transformation of the built environment regionally, nationally, and internationally. The congress provides a platform for industry, educators, researchers, and the next generation of built environment students and professionals to showcase where their influence is transforming the built environment through novel ideas, businesses, leadership, innovation, digital transformation, research and development, and sustainable forward-thinking technological and construction assembly design

    Separately, Connectedly: Exploring Trauma Through Ekphrasis in Contemporary Novels

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    This thesis examines ekphrasis as a rhetorical tool to explore, represent, and contemplate trauma affect in contemporary novels. From the Greek phrase for ‘description,’ ekphrasis is part of a long and ancient literary tradition, dating as far back as the ancient depictions of art on urns, weaponry, as well as more disambiguated descriptions of scenes and people. The uses of ekphrasis as a literary device are broad and complex, but its use is under-researched in contemporary novels, and there is a near total absence of investigation into ekphrasis within the novel as a means of contemplating and understanding the affect of a condition that is inherently abstract and disorienting.Literary trauma theory has evolved considerably in recent years. In keeping with important findings in psychology and psychiatric research, there is a broad recognition that rethinking trauma representation beyond the recitation and reliving of events and into textured descriptions of trauma affect is essential for thoughtful, nuanced explorations of an experience that resists narrative convenience. As a result, there are increased calls to accept and represent its inherent fractured nature and resist the authorial temptation to forge a story around it that fits neatly into a cohesive whole. This thesis proposes a framework for considering how various aspects of ekphrastic descriptions of real and imagined art as well as their connotative and denotative significance in the novel reveals nuance in the representation of trauma affect through the activation of language and image. The contemporary novels explored herein are: The Goldfinch by Donna Tartt, What I Loved by Siri Hustvedt, and How to Be Both by Ali Smith. Each of these novels present ekphrasis and affect differently, which enables broader testing of the flexibility of the proposed framework

    Conversations on Empathy

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    In the aftermath of a global pandemic, amidst new and ongoing wars, genocide, inequality, and staggering ecological collapse, some in the public and political arena have argued that we are in desperate need of greater empathy — be this with our neighbours, refugees, war victims, the vulnerable or disappearing animal and plant species. This interdisciplinary volume asks the crucial questions: How does a better understanding of empathy contribute, if at all, to our understanding of others? How is it implicated in the ways we perceive, understand and constitute others as subjects? Conversations on Empathy examines how empathy might be enacted and experienced either as a way to highlight forms of otherness or, instead, to overcome what might otherwise appear to be irreducible differences. It explores the ways in which empathy enables us to understand, imagine and create sameness and otherness in our everyday intersubjective encounters focusing on a varied range of "radical others" – others who are perceived as being dramatically different from oneself. With a focus on the importance of empathy to understand difference, the book contends that the role of empathy is critical, now more than ever, for thinking about local and global challenges of interconnectedness, care and justice

    LIPIcs, Volume 251, ITCS 2023, Complete Volume

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    LIPIcs, Volume 251, ITCS 2023, Complete Volum

    Connecting the Dots in Trustworthy Artificial Intelligence: From AI Principles, Ethics, and Key Requirements to Responsible AI Systems and Regulation

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    Trustworthy Artificial Intelligence (AI) is based on seven technical requirements sustained over three main pillars that should be met throughout the system's entire life cycle: it should be (1) lawful, (2) ethical, and (3) robust, both from a technical and a social perspective. However, attaining truly trustworthy AI concerns a wider vision that comprises the trustworthiness of all processes and actors that are part of the system's life cycle, and considers previous aspects from different lenses. A more holistic vision contemplates four essential axes: the global principles for ethical use and development of AI-based systems, a philosophical take on AI ethics, a risk-based approach to AI regulation, and the mentioned pillars and requirements. The seven requirements (human agency and oversight; robustness and safety; privacy and data governance; transparency; diversity, non-discrimination and fairness; societal and environmental wellbeing; and accountability) are analyzed from a triple perspective: What each requirement for trustworthy AI is, Why it is needed, and How each requirement can be implemented in practice. On the other hand, a practical approach to implement trustworthy AI systems allows defining the concept of responsibility of AI-based systems facing the law, through a given auditing process. Therefore, a responsible AI system is the resulting notion we introduce in this work, and a concept of utmost necessity that can be realized through auditing processes, subject to the challenges posed by the use of regulatory sandboxes. Our multidisciplinary vision of trustworthy AI culminates in a debate on the diverging views published lately about the future of AI. Our reflections in this matter conclude that regulation is a key for reaching a consensus among these views, and that trustworthy and responsible AI systems will be crucial for the present and future of our society.Comment: 30 pages, 5 figures, under second revie

    Kinetic energy fluctuation-driven locomotor transitions on potential energy landscapes of beam obstacle traversal and self-righting

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    Despite contending with constraints imposed by the environment, morphology, and physiology, animals move well by physically interactingwith the environment to use and transition between modes such as running, climbing, and self-righting. By contrast, robots struggle to do so in real world. Understanding the principles of how locomotor transitions emerge from constrained physical interaction is necessary for robots to move robustly using similar strategies. Recent studies discovered that discoid cockroaches use and transition between diverse locomotor modes to traverse beams and self-right on ground. For both systems, animals probabilistically transitioned between modes via multiple pathways, while its self-propulsion created kinetic energy fluctuation. Here, we seek mechanistic explanations for these observations by adopting a physics-based approach that integrates biological and robotic studies. We discovered that animal and robot locomotor transitions during beam obstacle traversal and ground self-righting are barrier-crossing transitions on potential energy landscapes. Whereas animals and robot traversed stiff beams by rolling their body betweenbeam, they pushed across flimsy beams, suggesting a concept of terradynamic favorability where modes with easier physical interaction are more likely to occur. Robotic beam traversal revealed that, system state either remains in a favorable mode or transitions to one when energy fluctuation is comparable to the transition barrier. Robotic self-righting transitions occurred similarly and revealed that changing system parameters lowers barriers over which comparable fluctuation can induce transitions. Thetransitionsof animalsin both systems mostly occurred similarly, but sensory feedback may facilitate its beam traversal. Finally, we developed a method to measure animal movement across large spatiotemporal scales in a terrain treadmill.Comment: arXiv admin note: substantial text overlap with arXiv:2006.1271

    Posthuman Creative Styling can a creative writer’s style of writing be described as procedural?

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    This thesis is about creative styling — the styling a creative writer might use to make their writing unique. It addresses the question as to whether such styling can be described as procedural. Creative styling is part of the technique a creative writer uses when writing. It is how they make the text more ‘lively’ by use of tips and tricks they have either learned or discovered. In essence these are rules, ones the writer accrues over time by their practice. The thesis argues that the use and invention of these rules can be set as procedures. and so describe creative styling as procedural. The thesis follows from questioning why it is that machines or algorithms have, so far, been incapable of producing creative writing which has value. Machine-written novels do not abound on the bookshelves and writing styled by computers is, on the whole, dull in comparison to human-crafted literature. It came about by thinking how it would be possible to reach a point where writing by people and procedural writing are considered to have equal value. For this reason the thesis is set in a posthuman context, where the differences between machines and people are erased. The thesis uses practice to inform an original conceptual space model, based on quality dimensions and dynamic-inter operation of spaces. This model gives an example of the procedures which a posthuman creative writer uses when engaged in creative styling. It suggests an original formulation for the conceptual blending of conceptual spaces, based on the casting of qualities from one space to another. In support of and informing its arguments are ninety-nine examples of creative writing practice which show the procedures by which style has been applied, created and assessed. It provides a route forward for further joint research into both computational and human-coded creative writing
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