Aggravating the Political? // Edith Brunette : faut-il se couper la langue (Must We Cut Off Our Tongues?)

Text commissionned by Skol for Edith Brunette's exhibition Faut-il se couper la langue

Exploration phénoménologique de l’idée suicidaire

La mort confère à l'idée suicidaire une forte charge émotive, qui fait souvent confondre suicidaire et suicidé. Liée parfois à la dépression ou aux troubles de personnalité, l'idée suicidaire a néanmoins un sens, qu'il faut rechercher. Le suicide peut apparaître comme une solution à un problème que l'idée suicidaire aide à identifier. Quand elle est consciente, elle peut amener le patient en consultation. Signe de danger, elle permet de déterminer si les mécanismes de protection de l'organisme fonctionnent. Elle attire l'attention sur une situation, signale une forme de haine refoulée contre soi, et même aide à passer d'un état de vie à un autre, comme dans les rituels de transition déjà décrits en anthropoDeath fuels the idea of suicide with a strong emotional charge that often turns suicidal tendencies and suicide into one and the same. The idea of suicide, at times linked with depression and personality disorders, is nonetheless full of a meaning which deserves further research. Suicide can appear as a solution to a problem which the idea of suicide helps to identify and resolve. When it is a conscious realization, the idea of suicide can lead the patient to consult. As a danger signal, it allows to determine whether the individual's defense mechanism functions. Also, it attracts attention to a situation, reveals a form of repressed self-hate and even helps in passing from one life state to another, as in transition rituals described by anthropology

A Theoretical model showing the effects of the fuel induced gamma effect

The Fuel Induced Gamma Effect uses pressure data from a single-cylinder directin-jection engine and information about the specific heat ratio, gamma, of the injected fuel to predict the evaporated fuel mass in the piston-cylinder assembly. Thermodynamic theory and ideal gas laws are used to calculate theoretical pressure within the cylinder and this pressure is then compared to the actual pressure measured in the engine. The difference in gamma between the calculated and actual states of the fuel is then used to predict how much fuel has evaporated in the cylinder. This simplistic approach also takes into account information about the residuals in the cylinder, mass loss from the system, and heat losses. Combining these factors with thermodynamic theory results in a very accurate model which can predict the evaporation profile of the injected fuel from the time of injection until ignition

La scène comme enfermement dans The World de Jia Zhangke

The World (2004) de Jia Zhangke offre une occasion unique de penser la globalisation comme enfermement. Le parc thématique autour duquel s’articule le film donne lieu à une puissante allégorie critique de l’espace capitaliste global. C’est un non-lieu, théâtre paradoxal des efforts des personnages du film pour créer une communauté. Comme le souligne Jia Zhangke, la croissance économique a amené dans la vie quotidienne chinoise une constellation de shows, « sort of like economic bubbles, filling up every sector of our lives ». Dans une optique principalement post-heideggérienne, cet article propose d’examiner comment The World prolonge cinématographiquement cette observation, en faisant entrer le spectateur dans l’intimité des conditions de production du spectacle global en lui montrant les répercussions immédiates de celui-ci sur l’être-ensemble. L’auteur présente The World comme pratique du non-lieu et itinéraire d’unilatéralisation du malaise existentiel lié aux conditions de la mobilisation globale capitaliste. Il s’agit de voir comment The World peut contribuer à une démobilisation par la production d’un sentiment claustrophobique chez le spectateur. L’hypothèse dernière de ce travail est que l’effet d’enfermement savamment orchestré par Jia Zhangke assume et conjure le sentiment claustrophobique provoqué par le processus d’enfermement global et provoque ainsi de nouvelles possibilités d’être-au-monde.Jia Zhangke’s film The World (2004) provides a unique opportunity to consider globalization as a form of confinement. The theme park in which the film unfolds is a powerful critical allegory for global capitalist space. It is a non-space, a paradoxical theatre for the film’s characters to create a community. As Jia has pointed out, economic growth has brought into Chinese daily life a constellation of shows, “sort of like economic bubbles, filling up every sector of our lives.” The present article adopts a principally post-Heideggerian approach to examine how The World is a cinematic extension of this observation, taking the spectator inside the private space of the production of global spectacle and its immediate repercussions on the level of being-together. The author discusses The World as the practice of a non-space and the unilateral itinerary of the existential malaise caused by the conditions of global capitalist mobilization, examining how it can contribute to demobilization through the production of a claustrophobic sensation in the viewer. The article’s final hypothesis is that the feeling of confinement created by Jia Zhangke takes up and casts out the sense of claustrophobia caused by the process of global confinement, thereby giving rise to new possibilities for being in the world

New employee onboarding IT setup training for hiring managers

This project is to develop training and training materials for the hiring managers to help guild them through the IT Setup portion of new employee onboarding process. The project started as a yellow belt lean project to lean out the IT onboarding process. This is still a project I would like to pursue in the future. However, there are processes that rely on UNH that I am currently unable to change at this time. I found the immediate need was training for the hiring managers on the current process. This will help alleviate confusion and frustration by the hiring manager. Helping everyone feel more confident when new employees are hired

An Indexical Approach to Architecture

The paper uses Peirce’s notion of the index and Arendt’s conception of action and reification to cast light on a phenomenological consideration of architecture. The relation that Arendt establishes within a larger historical context between the contemporary reification of art and the socio-political role of action sets up a framework in which the need for a phenomenological approach to architecture is reasserted. In the past two hundred years, from the first age of historicism, marked by nineteenth-century historical relativism, to our second age of historicism, characterised by the recognition of relative historicity, there always were architects who sought the essence of architecture at a fundamentally human and experiential level. It is significant that in a period that wavered between eclectic relativism and rigid objectivism, a situation still felt today, the experience of architecture was consistently considered as an essential means to architecture. How does phenomenology operate beyond the categories of the objective and the relative, between the visible and the tangible? The paper explores ways in which architecture can physically question the user – is it a trace from the past, an imprint of its time, an index requiring movement for comprehension? Making space for the interpenetration of personal and shared times, the translation of the index in architecture does not dictate meaning or reduce it to an endless play between signifier and signified: it throws the question back to the level of the embodied encounter. Steering clear of a consideration of autonomous constructions, architecture is dynamically considered within a triadic relation that equally involves the architecture itself, the world in which it takes shape, and the people that experience it