Robot traders can prevent extreme events in complex stock markets

If stock markets are complex, monetary policy and even financial regulation may be useless to prevent bubbles and crashes. Here, we suggest the use of robot traders as an anti-bubble decoy. To make our case, we put forward a new stochastic cellular automata model that generates an emergent stock price dynamics as a result of the interaction between traders. After introducing socially integrated robot traders, the stock price dynamics can be controlled, so as to make the market more Gaussian.Stock markets; Robot traders; Financial regulation; Econophysics

Zakaj so vzhodnoazijski predmeti v Sloveniji »osiroteli«: Štirje procesi »osirotenja«

What lies behind the impoverishment of the identity of East Asian objects in their transition from the private to the public sphere? This article looks at the various developmental processes that have led to the “orphaning” of East Asian objects in Slovenia and discusses the challenges of provenance research for such objects, proposing a new research approach. Objects of East Asian origin became “orphaned” in various ways, either being sold by aristocrats, confiscated by Nazi occupying forces or the socialist government institutions during or after WWII, or given or sold to persons who did not preserve their history. All processes were poorly documented and only sparse notes were made. This makes it extremely difficult for researchers to trace the biographies of these objects and identify their past ownership. Many other records, such as photographs of interiors and other object documents, have also been lost due to the complex socio-political situation and the mobility of the objects between the private and public spheres.Kaj je v ozadju osiromašenja identitete vzhodnoazijskih predmetov v tranziciji med zasebno in javno sfero? Ta prispevek obravnava različne procese, ki so vodili k »osirotenju« vzhodnoazijskih predmetov v Sloveniji, ter izzive pri raziskovanju provenience teh predmetov, pri čemer predlaga nov raziskovalni pristop. Osiroteli vzhodnoazijski predmeti so posledica različnih procesov, predvsem prodaje plemiškega inventarja, medvojnih in povojnih zaplemb, spominske narave podedovanih ali podarjenih predmetov in drugih povezanih dejavnikov. Vsi procesi so bili skopo dokumentirani, pri čemer so zapisi precej splošni. Zaradi tega sta raziskovanje biografiji teh predmetov in identifikacija njihovih preteklih lastništev precej otežkočena. Tudi številni drugi dokumenti, kot so fotografije interierjev in druga dokumentacija, so bili zaradi kompleksne družbeno-politične situacije in mobilnosti predmetov med zasebno in javno sfero v veliki meri izgubljeni

Prenos slikovnih motivov na zahodno periferijo: Fuxi in Nüwa v grobnicah s poslikavo iz obdobja Wei Jin na območju prehoda Hexi

This paper examines the ways in which Fuxi and Nüwa were depicted inside the mural tombs of the Wei-Jin dynasties along the Hexi Corridor as compared to their Han counterparts from the Central Plains. Pursuing typological, stylistic, and iconographic approaches, it investigates how the western periphery inherited the knowledge of the divine pair and further discusses the transition of the iconographic and stylistic design of both deities from the Han (206 BCE–220 CE) to the Wei and Western Jin dynasties (220–316). Furthermore, examining the origins of the migrants on the basis of historical records, it also attempts to discuss the possible regional connections and migration from different parts of the Chinese central territory to the western periphery. On the basis of these approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern formed by an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs. Based on both approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern of an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs.Pričujoči prispevek v primerjalni perspektivi obravnava upodobitev Fuxija in Nüwe v grobnicah s poslikavo iz časa dinastij Wei in Zahodni Jin (220–316) iz province Gansu (območje prehoda Hexi) v odnosu do njune upodobitve v grobnicah s poslikavo iz časa dinastije Han (206 pr. n. št.–220 n. št.) v osrednjem kitajskem območju. Na osnovi tipoloških, stilističnih in ikonografskih pristopov proučuje, kako je zahodna periferija podedovala znanje o božanskem paru, ter prikaže prenos ikonografske in stilistične zasnove obeh božanstev iz dinastije Han v dinastiji Wei in Zahodni Jin. Prispevek nadalje s pomočjo zgodovinskih virov raziskuje izvore migrantov ter poskuša prikazati možne regionalne povezave in migracije iz različnih delov osrednje kitajske planjave na zahodno periferijo. Z uporabo teh pristopov se je pokazalo, da sta bili podobi Fuxija in Nüwe iz province Gansu oblikovani na osnovi regionalnega modela iz območja Shandong. V provinci Gansu sta se nato nadalje razvili v edinstveni ikonografski model, sestavljen iz različnih atributov in ostalih fizičnih karakteristik. Skladno s tem se regionalni model območja Shandong ni širil le v sosednja območja, temveč tudi v bolj oddaljene obmejne kraje, kjer je postal tipični model grobnim motivom

Introduction

Recent decades have brought the topic of researching East Asian collections in Europe and the world to the forefront of research and academia. The colonial and postcolonial frameworks of collecting practices, the cultural and socio-political settings in which the collectors assembled their collections, as well as the history of displaying East Asian objects in museums and other institutions, were researched both in the political centres of those practices and on their peripheries. In a differently structured approach, the collections of objects themselves came into the focus of the research, including their materiality and their “biographies”, providing a novel perspective on the historiography of collections. The Department of Asian Studies at the Faculty of Arts (University of Ljubljana), Science and Research Centre Koper, Celje Regional Museum and the Mari­time Museum of Piran hosted an international symposium entitled Orphaned Objects: Theoretical and Methodological Approaches to the Research of East Asian Objects at the Faculty of Arts on 18 September 2023. The symposium was organised as part of the project Orphaned Objects: Examining East Asian Objects Outside Organised Collecting Practices in Slovenia (J6-3133, 2021–2025), funded by the Slovenian Research and Innovation Agency. This volume includes most of the papers presented during the symposium.Recent decades have brought the topic of researching East Asian collections in Europe and the world to the forefront of research and academia. The colonial and postcolonial frameworks of collecting practices, the cultural and socio-political settings in which the collectors assembled their collections, as well as the history of displaying East Asian objects in museums and other institutions, were researched both in the political centres of those practices and on their peripheries. In a differently structured approach, the collections of objects themselves came into the focus of the research, including their materiality and their “biographies”, providing a novel perspective on the historiography of collections. The Department of Asian Studies at the Faculty of Arts (University of Ljubljana), Science and Research Centre Koper, Celje Regional Museum and the Mari­time Museum of Piran hosted an international symposium entitled Orphaned Objects: Theoretical and Methodological Approaches to the Research of East Asian Objects at the Faculty of Arts on 18 September 2023. The symposium was organised as part of the project Orphaned Objects: Examining East Asian Objects Outside Organised Collecting Practices in Slovenia (J6-3133, 2021–2025), funded by the Slovenian Research and Innovation Agency. This volume includes most of the papers presented during the symposium

Navigating Jazz: Music, Place, and New Orleans.

Conceiving, historicizing, and analyzing the cultural creation of place as a contested musical act, this dissertation scrutinizes conventional understandings concerning the relationship between place and musical representation and proposes a new framework for interpreting relationships of music and place. Detailed examination of the intersections between sound, associated terrain, and worldview draws out the generative capabilities of geographical thought. The complex relationship between the city of New Orleans and the music of jazz serves as a backdrop for exploring the multifaceted means through which sound both engineers and activates ideas of place. Close analyses of musical portraits of New Orleans—as performed by musicians across a range of historical contexts—provide a more thorough understanding of place-based struggles to claim, protect, and transform the city’s so-called jazz heritage. Such musical visions of the city not only contribute to its iconic position in the national imagination but also express different and often conflicting perspectives with respect to local and regional identity. Key debates surrounding the emerging field of music and place studies form the backdrop for Chapter One, which focuses on New Orleans to reveal new avenues of analytical inquiry. Prevailing methodologies are challenged and reimagined in terms of the creation, imagination, and relocation of musical places. Chapter Two explores the many lives of the song “Basin Street Blues”—its interpretations, variants, and representations across time, space, and media—to inform a new theory of musical place, encapsulating the analytic potential of cultural geography. Conjured scenes of Congo Square, as imagined by jazz artists including Duke Ellington, Wynton Marsalis, and Donald Harrison, Jr., form the subject of Chapter Three.These stylized depictions of historically fraught relationships to New Orleans as the “birthplace of jazz” reveal complex personal and professional relationships to emblematic New Orleans communities, traditions, and tourism. Chapter Four tackles the disputed local terrain of musical tradition and preservation, mapping the (re)definition of traditional New Orleans jazz as performed by the Preservation Hall Jazz Band. Finally, Chapter Five examines the music of Trombone Shorty, an artist working in the post-Katrina context, to illustrate the implications of performances of place in exile.PhDMusic: MusicologyUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/133368/1/sarezesu_1.pd

Han Mural Tombs: Reflection of Correlative Cosmology through Mural Paintings

The main research materials of this study were tombs with murals from the Han Dynasty (206 B.C.–220 A.D.). The article deals with the issue of the reflection of ancient Chinesecosmologic concepts in the iconographic design of Han mural paintings. A thorough analysis of the iconographic design of murals shows that they possessed not only a decorative function, but together with the architectural structure and other burial objects reflected the entire cosmic image. The analysis of tomb paintings reveals a developed correlative cosmology yin-yang wuxing which manifests its concrete image in symbolic codes of individual iconographic motifs. The article first displays a general review of tombs with murals, and then focuses on depictions in Han tomb murals, discussing representation of the images of celestial bodies, the symbolic polarity of the cosmical forces yin and yang, the symbolism of the four directions and the four seasons and the symbolic circling of the five xings.Osnovni raziskovalni material pričujoče študije so predstavljale grobnice s poslikavo iz dinastije Han. Pričujoči članek se ukvarja s problematiko odražanja starodavnih kitajskih kozmoloških konceptov v ikonografski zasnovi grobnega slikarstva dinastije Han. Temeljita analiza ikonografske zasnove grobne poslikave je pokazala, da poslikava ni imela zgolj dekorativne funkcije, temveč je skupaj z arhitekturno strukturo in ostalimi pokopnimi predmeti odražala celotno kozmično podobo. Analiza grobnega slikarstva prikaže izdelano korelativno kozmologijo yin-yang wuxing, ki svoj odraz dobi v simbolnih kodah posameznih ikonografskih motivov. Članek najprej prikaže splošen pregled grobov s poslikavo, v nadaljevanju predstavi prikazovanje nebesnih teles, simbolno polarnost kozmičnih sil yin in yang, simbolizacijo štirih smeri in štirih letnih časov ter simbolnokroženje petih xingov, kot jih upodablja grobno stensko slikarstvo dinastije Han

Ferdinand Augustin Hallerstein on Giuseppe Castiglione`s Art

Ferdinand Augustin Hallerstein (1703–1774) (Chinese name Liu Songling) was a Slovenian Jesuit, astronomer and mathematician who made an important contribution to the development of science and astronomy in 18th century China. He arrived in Beijing in 1739, and in 1746 was appointed to succeed Ignatius Kogler as Head of the Imperial Board of Astronomy, a position he would hold until his own death nearly 30 years later. Throughout his four decades in China, Hallerstein maintained a rich correspondence with family members, other Jesuits in Europe, and even with the Queen of Portugal, Maria Anna. He was also a corresponding member of the Royal Societies of London, Paris and St. Petersburg. His letters have only recently been collected and edited. The present paper will focus on Hallerstein’s letters and what they tell us about the life and art of the celebrated Jesuit painter, Giuseppe Castiglione (1688–766), especially during the reign of the Emperor Qianlong (1711–799). After a brief  introduction on Hallerstein’s life and work, by means of comparative analyses and using an interdisciplinary approach, the paper will explore a) Hallerstein’s views on Castiglione and his art, and b) Chinese court painting and Castiglione’s position at the court. It will conclude with new evidence concerning Castiglione’s artistic achievements

Censorship and Self-censorship in Chinese Contexts

Editorial on the topic of “Censorship and Self-censorship” and introduction of the journal 介紹歐洲漢學學會期刊及本期專題“審查與自我審查”。介紹歐洲漢學學會期刊及本期專題“審查與自我審查”