Crowther and the Kantian Sublime in Art

Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art

What is the best risk measure in practice? A comparison of standard measures

Expected Shortfall (ES) has been widely accepted as a risk measure that is conceptually superior to Value-at-Risk (VaR). At the same time, however, it has been criticised for issues relating to backtesting. In particular, ES has been found not to be elicitable which means that backtesting for ES is less straightforward than, e.g., backtesting for VaR. Expectiles have been suggested as potentially better alternatives to both ES and VaR. In this paper, we revisit commonly accepted desirable properties of risk measures like coherence, comonotonic additivity, robustness and elicitability. We check VaR, ES and Expectiles with regard to whether or not they enjoy these properties, with particular emphasis on Expectiles. We also consider their impact on capital allocation, an important issue in risk management. We find that, despite the caveats that apply to the estimation and backtesting of ES, it can be considered a good risk measure. As a consequence, there is no sufficient evidence to justify an all-inclusive replacement of ES by Expectiles in applications. For backtesting ES, we propose an empirical approach that consists in replacing ES by a set of four quantiles, which should allow to make use of backtesting methods for VaR. Keywords: Backtesting; capital allocation; coherence; diversification; elicitability; expected shortfall; expectile; forecasts; probability integral transform (PIT); risk measure; risk management; robustness; value-at-riskComment: 27 pages, 1 tabl

Online civic intervention: A new form of political participation under conditions of a disruptive online discourse

In the everyday practice of online communication, we observe users deliberately reporting abusive content or opposing hate speech through counterspeech, while at the same time, online platforms are increasingly relying on and supporting this kind of user action to fight disruptive online behavior. We refer to this type of user engagement as online civic intervention (OCI) and regard it as a new form of user-based political participation in the digital sphere that contributes to an accessible and reasoned public discourse. Because OCI has received little scholarly attention thus far, this article conceptualizes low- and high-threshold types of OCI as different kinds of user responses to common disruptive online behavior such as hate speech or hostility toward the media. Against the background of participation research, we propose a theoretically grounded individual-level model that serves to explain OCI

Experimental analyses of trailing edge flows

An experimental study of several of the trailing edge and wake turbulence properties for a NACA 64A010 airfoil section was completed. The experiment was conducted at the Ohio State University Aeronautical and Astronautical Research Laboratory in the 6 inch X 22 inch transonic wind tunnel facility. The data were obtained at a free stream Mach number of 0.80 and a flow Reynolds number (based on chord length) of 5 million. The principle diagnostic tool was a dual-component laser Doppler velocimeter. The experimental data included surface static pressures, chordwise and vertical mean velocities, RMS turbulence intensities, local flow angles, and a determination of turbulence kinetic energy in the wake. Two angles of attack (0 and 2 degrees) were investigated. At these incidence angles, four flow field surveys were obtained ranging in position from the surface of the airfoil, between the transonic shock and the trailing edge, to the far-wake. At both angles of attack, the turbulence intensities and turbulence kinetic energy were observed to decay in the streamwise direction. In the far wake, for the non-lifting case, the turbulence intensities were nearly isotropic. For the two degree case, the horizontal component of the turbulence intensity was observed to be substantially higher than the vertical component

Introduction

Peer Reviewe

L'art et les mathématiques: une seconde série de films

Une première série de films sur le thème “L'art et les mathématiques” fut complétée en 1980. Une présentation en fut faite dans un article précédent [1]. Puisque le concept général de la nouvelle série de films est exactement le même que celui de la précédente, nulle autre présentation n'est requise.A first series of movies on the theme "Art and Mathematics" was completed i n 1980. An introduction to this first series appeared in a previous article [1]. As the general idea of the new series of movies is exactly the same, this series needs no further introduction.Peer Reviewe

Inhabited Landscapes: Nudes, Spirituality, and Coevality in the Landscape Paintings of Armando Morales

The Nicaraguan artist Armando Morales (1927-2011) has received considerable attention in recent scholarship for his work as a Magical Realist\u27 painter\u2014a label that has drawn attention to the \u27dreamlike\u27 and \u27mythic\u27 qualities of Morales\u27 work while obscuring other qualities that are critical to understanding the artist and his oeuvre. Focusing on the landscape paintings that Armando Morales executed between 1985 and 2001, I remove Morales\u27 work from the framework of magical realism within which it has been situated in order to more deeply probe themes that were central to the artist but which have been largely overlooked. More specifically, my research has aimed to address the recurring presence of the female nude, the role of spirituality, and the notion of indigenous coevality\u2014or coexistence\u2014with the modern industrialized world, all of which are embedded in Morales\u27 late twentieth century depictions of the Nicaraguan topography. I draw upon twentieth century anthropological discourse in order to situate my analysis within a larger body of work concerned with the temporal and spatial construction of \u27otherness.\u27 I begin by deconstructing the myth of Latin American magical realism, exploring the ways in which the construct of magical realism has functioned within colonialist imaginings of Latin America as a place concerned with \u27unreal\u27 time and space. By removing these works from the realm of \u27unreality,\u27 it becomes possible to pointedly address those elements which do not adhere to narratives of \u27otherness\u27 and which have, therefore, remained unaddressed in the existing scholarship. I first consider the implications of the pronounced presence and fragmentation of the nude female body throughout Morales\u27 landscape paintings. Approaching these compositions as open works of art, I propose multiple possible readings of Morales\u27 constructions of the nude, one of which is that we might read these landscapes as representing the artist\u27s own colonizing gaze in dialogue with Europe. I next address the manner in which religion, spirituality, and magic were constructed in opposition to science, modernity, and progress in late nineteenth and early twentieth century anthropological discourse in order to create the inferior \u27others\u27 necessary for European and American colonial expansion. Drawing upon the work of anthropologists such as Claude Lévi-Strauss and Mary Douglas, I argue that Morales\u27 landscape paintings reveal a visual language riddled with spiritual underpinnings that challenge the modern separation between religion and science. I conclude by examining Morales\u27 1992 work, Selva tropical, decidua, within the discourse of the modernist grid, arguing that Morales reacted against cultural binaries by gridding the landscape, not according to the Cartesian coordinate system, but rather as a rhizomatic map. With the research and analyses presented here, I hope to remove Armando Morales\u27 landscape paintings from the \u27imagined community\u27 within which they have been situated in order to provoke new approaches to the multi-layered visual language found throughout these works.\u2