Validation of Dunbar's number in Twitter conversations

Modern society's increasing dependency on online tools for both work and recreation opens up unique opportunities for the study of social interactions. A large survey of online exchanges or conversations on Twitter, collected across six months involving 1.7 million individuals is presented here. We test the theoretical cognitive limit on the number of stable social relationships known as Dunbar's number. We find that users can entertain a maximum of 100-200 stable relationships in support for Dunbar's prediction. The "economy of attention" is limited in the online world by cognitive and biological constraints as predicted by Dunbar's theory. Inspired by this empirical evidence we propose a simple dynamical mechanism, based on finite priority queuing and time resources, that reproduces the observed social behavior.Comment: 8 pages, 6 figure

Guerra Global ao Terror: o “urbicídio” no centro da aliança EUA-Israel

Considering the Israeli devastation in Gaza in 2023-24, the article addresses the relations between the US and Israel, in order to explore the historical backdrop and underlying factors that have fostered the special alliance between these two nations. We argue that urban destruction, known as "urbicide", reflects the Israeli counterinsurgency strategy exported globally through the US-Israel partnership in the War on Terror.À luz da devastação israelense em Gaza em 2023-24, o artigo aborda as relações entre Estados Unidos e Israel, a fim de explorar o histórico e as bases de sustentação da relação especial estabelecida entre os países. Argumentamos que a destruição urbana, denominada "urbicídio", reflete a estratégia de contrainsurgência israelense exportada globalmente a partir da parceria EUA-Israel na Guerra ao Terror

This Artwork is Having a Rest

Both soul and art are terms with which “Western” thought makes a poetics of “energy” familiar, contrasting this to the prose of nouns. Where questions of personhood are not limited simply to oppositions between subject and object, the animate and inanimate, such a poetics engages with examples that can be discovered through their dialogue: work by Takis at Tate Modern and the Facts of Dickens’ Mr Gradgrind; or the metaphysics of clockwork in Baudelaire and the quantifications of energy by Helmholtz. In re-imagining Tylor’s fundamental notion of “animism” as itself a conceptual survival of the pre-industrial past, this article suggests that this very idea of animism already offers a vision of and for a post-industrial future

Opera and Hypnosis: Victor Maurel’s Experiments with Verdi’s Otello

One day in his private home on the avenue Bugeaud, in Paris’s sixteenth arrondissement, the famous baritone Victor Maurel hosted a meeting which combined music with hypnotism of a young woman

Vocal Culture in the Age of Laryngoscopy

For several months beginning in 1884, readers of Life, Science, Health, the Atlantic Monthly and similar magazines would have encountered half-page advertisements for a newly patented medical device called the ‘ammoniaphone’ (Figure 2.1). Invented and promoted by a Scottish doctor named Carter Moffat and endorsed by the soprano Adelina Patti, British Prime Minister William Gladstone and the Princess of Wales, the ammoniaphone promised a miraculous transformation in the voices of its users. It was recommended for ‘vocalists, clergymen, public speakers, parliamentary men, readers, reciters, lecturers, leaders of psalmody, schoolmasters, amateurs, church choirs, barristers, and all persons who have to use their voices professionally, or who desire to greatly improve their speaking or singing tones’. Some estimates indicated that Moffat sold upwards of 30,000 units, yet the ammoniaphone was a flash in the pan as far as such things go, fading from public view after 1886

Unsound Seeds

With this image of a curtain hiding and at the same time heightening some terrible secret, Max Kalbeck began his review of the first Viennese performance of Richard Strauss’s Salome. Theodor W. Adorno picked up the image of the curtain in the context of Strauss’s fabled skill at composing non-musical events, when he identified the opening flourish of Strauss’s Salome as the swooshing sound of the rising curtain. If this is so, the succès de scandale of the opera was achieved, in more than one sense, as soon as the curtain rose at Dresden’s Semperoper on 10 December 1905. Critics of the premiere noted that the opera set ‘boundless wildness and degeneration to music’; it brought ‘high decadence’ onto the operatic stage; a ‘composition of hysteria’, reflecting the ‘disease of our time’, Salome is ‘hardly music any more’.The outrage did not end there

Science, Technology and Love in Late Eighteenth-Century Opera

It is a tale told by countless operas: young love, thwarted by an old man’s financially motivated marriage plans, triumphs in the end thanks to a deception that tricks the old man into blessing the young lovers’ union. Always a doddering fool, the old man is often also an enthusiast for knowledge. Such is the case, for instance, in Carlo Goldoni’s comic opera libretto Il mondo della luna (1750), in which Buonafede’s interest in the moon opens him to an elaborate hoax that has him believe he and his daughters have left Earth for the lunar world; and also in the Singspiel Die Luftbälle, oder der Liebhaber à la Montgolfier (1788), wherein the apothecary Wurm trades Sophie, the ward he intended to marry himself, for a technological innovation that will make him a pioneering aeronaut