On the Adams Spectral Sequence for R-modules

We discuss the Adams Spectral Sequence for R-modules based on commutative localized regular quotient ring spectra over a commutative S-algebra R in the sense of Elmendorf, Kriz, Mandell, May and Strickland. The formulation of this spectral sequence is similar to the classical case and the calculation of its E_2-term involves the cohomology of certain `brave new Hopf algebroids' E^R_*E. In working out the details we resurrect Adams' original approach to Universal Coefficient Spectral Sequences for modules over an R ring spectrum. We show that the Adams Spectral Sequence for S_R based on a commutative localized regular quotient R ring spectrum E=R/I[X^{-1}] converges to the homotopy of the E-nilpotent completion pi_*hat{L}^R_ES_R=R_*[X^{-1}]^hat_{I_*}. We also show that when the generating regular sequence of I_* is finite, hatL^R_ES_R is equivalent to L^R_ES_R, the Bousfield localization of S_R with respect to E-theory. The spectral sequence here collapses at its E_2-term but it does not have a vanishing line because of the presence of polynomial generators of positive cohomological degree. Thus only one of Bousfield's two standard convergence criteria applies here even though we have this equivalence. The details involve the construction of an I-adic tower R/I <-- R/I^2 <-- ... <-- R/I^s <-- R/I^{s+1} <-- ... whose homotopy limit is hatL^R_ES_R. We describe some examples for the motivating case R=MU.Comment: Published 7 April 2001 by Algebraic and Geometric Topology at http://www.maths.warwick.ac.uk/agt/AGTVol1/agt-1-9.abs.html . Erratum added 9 May 200

Introduction : gender and geopolitics in the Eurovision Song Contest

From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per-year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state. In research on Eurovision as it stands today, it would almost go without saying that Eurovision and the performances it contains have reflected, communicated and been drawn into narratives of national and European identity which were and are – by their very nature as a nexus between imaginaries of culture and territory – geopolitical

Open-source, custom interfaces and devices with live coding in participatory performance

This conference paper is available to download from the publisher’s website at the link below.This paper will discuss the use of open-source, custom interfaces and live coding in artworks and performance practices, using emerging devices that focus on revealing hidden, intimate and sensuous code of the body for manipulation and play. This paper review the new landscape of open-source artworks, with recent examples of such artworks, as well as one by the author, resulting in a new performance aesthetic that uses 'hacked' commercial, mobile and gaming devices for live coding, performance and interactive artworks. It discusses how dancers, live artists, musicians and others are participating in the DIY and 'Maker' movement, to create exciting wearable electronics and mobile applications for performance enhancement. The author will consider the possibilities of playful, expressive, gestural, and live coding, as well as using the DIY Maker ethos in multi-sensory particpatory performances with new devices. The author's own artistic research has involved re-combinatory practices and hybridisations of participatory performance, mobile media, wearable biofeedback sensors and live database interaction in a recent performance project MINDtouch. Her new collaborative work Hacking the Body, is about making participatory performances and interactive dance pieces that expose 'code' of the inner body

The Productivity to Paycheck Gap: What the Data Show

This report makes a series of adjustments to the most common measure of U.S. productivity growth (i.e., non-farm business sector) as well as to measures of wage growth, to determine the extent to which lagging wages can be blamed on weak productivity growth vs. income redistribution. Weak wage growth between 1973 and 2006 has generally been attributed to a redistribution of income from typical workers to higher paid workers. However, the report shows that, along with a redistribution of income, lagging wage growth has also been caused by slow productivity growth

Hong Kong Employment Law Update - April 2017

In This Issue: EOC successfully appeals decision to pay gratuity to former employee who lobbied against expansion of anti-discrimination laws Court of First Instance allows appeal from Labour Tribunal for Presiding Officer\u27s failure to investigate relevant documentary material Employer who wrongfully dismissed an employee without notice required to pay only one month’s damages, despite 12 month notice period Chief Executive announces plans to enhance retirement protection system Statutory Minimum Wage to rise to HKD 34.50 per hour Standard Working Hours Committee submits report to government Increased compensation for employees injured at wor

[Review of] Jim Zwick. Inuit Entertainers in the United States

The stories documented in this book about Inuit entertainers in the United States reveals important events and circumstances pertaining to the lived experiences of Esther Eneutseak and her daughter Columbia, the only Eskimo born in the United States, during a time period (1890s-1920s) when the indigenous peoples to North America participated in world fairs and expositions as living exhibits. Were these indigenous people as cultural performers in control of their own lives? Did they possess the power and authority to make their own decisions on their own terms? In an attempt to answer these questions, the author, Jim Zwick, makes use of primary sources, newspapers, magazines, ship manifests, and census records to piece together the lives of these two Inuit women who, according to him, were more than objects of curiosity to the people that viewed them and saw their performances. Rather, he asserts that they, as well as Inuit entertainers in general, possessed various levels of control and were neither passive nor powerless despite the fact that they experienced some of the worst conditions faced by performers in ethnic villages at world\u27s fairs and expositions (pp. 4-5)