On the Fate of Protests: Dynamics of Social Activation and Topic Selection Online and in the Streets

This chapter studies individual and network conditions for the emergence of large social protests in an agent-based model. We use two recent examples from Iran and Germany to inform the modeling process. In our agent-based model, people, who are interconnected in networks, interact and exchange their concerns on a finite number of topics. They may start to protest either because of their concern or because the fraction of protesters in their social contacts exceeds their protest threshold. In contrast to many other models of social protest, we also study the coevolution of topics of concern in the not (yet) protesting public. Given that often a small number of citizens starts a protest, its fate depends not only on the dynamics of social activation but also on the buildup of concern with respect to competing topics. Nowadays, this buildup happens decentralized through social media. The model reproduces characteristic patterns of the evolution of the two empirical cases of social protests in Iran and Germany. In particular, our results show that positions of agents with certain concern levels on certain topics within the networks are important for the fate of protests

Digital girl:Cyberfeminism and the emancipation potential of digital entrepreneurship in emerging economies

Digital entrepreneurship has been described as a “great leveler” in terms of equalizing the entrepreneurial playing field for women. However, little is known of the emancipatory possibilities offered by digital entrepreneurship for women constrained by social and cultural practices such as male guardianship of female relatives and legally enforced gender segregation. In order to address this research gap, this paper examines women’s engagement in digital entrepreneurship in emerging economies with restrictive social and cultural practices. In so doing, we draw upon the analytical frameworks provided by entrepreneurship as emancipation and cyberfeminism. Using empirical data from an exploratory investigation of entrepreneurship in Saudi Arabia, we examine how women use digital technologies in the pursuit of entrepreneurial opportunities. Our findings reveal that women in Saudi Arabia use digital entrepreneurship to transform their embodied selves and lived realities rather than to escape gender embodiment as offered by the online environment

Festival Internacional de Ballet

Programa del Festival Internacional de Ballet que va tenir lloc al Gran Teatre del Liceu entre el 17 de setembre i el 27 d'octubre de 1974. Hi van participar cinc companyies. La primera, el London Festival Ballet, dirigit per B. Grey, va interpretar "Les Sylphides", amb música de F. Chopin, "Tres Preludis" amb música d'A. Scriabin, "Webern opus 5" amb música d'A. Webern, "Le Corsaire" amb música de L. Minkus i "El petó de la fada" amb música d'Stravinski. La segona va ser la Nicolais Dance Theatre, que va interpretar "Divertissement - A", "Scenario" i "Foreplay,", i "Divertissement - B", "Cross-Fade" i "Suite de Sanctum. La tercera companyia va ser el Cos de Dansa del Gran Teatre del Liceu, dirigida per J. Magrinyà. Van interpretar la "Dansa de les hores" de "La Gioconda" amb música d'A. Ponchielli, "Festival de las flores en Genzano" d'E. Helsted, "4 bailes espanyoles del siglo XVIII" amb música d'A. Vives, J. Alfonso i M. de Falla entre altres, fragments de "Bohemios" d'A. Vives i "El sombrero de tres picos" de M. de Falla. També van ballar "A tiempo romantico", amb música d'E. Granados i Ferrer, "Clar de lluna" amb música de Debussy, "Ensayo" i "Rossio" amb música de Monjo Jr. I "La moza y el estudiante" amb música de T. BretónLa quarta companyia, el Ballet del Gran Teatre de Ginebra, va interpretar "Simfonia en do" amb música de G. Bizet, "Les quatre temperaments" amb música de P. Hindemith, "Raymonda" amb música d'A. Glazunov i "Le fils prodigue" amb música d'I. STravinski. El segon programa va estar format per "Agon", amb música d'I. Stravinski i G. Balanchine, "Daphnis et Chloe" amb música de M. Ravel adaptada per G. Skibine, "Concierto de Brandenburg nº3" amb música de J. S. Bach i Czarn, "Don Quijote" amb música de L. Mintkus i Obourmov i "La Valse amb música de M. Ravel i adaptació de G. Balanchine. Totes aquestes peces van ser coreografiades per G. Balanchine. Finalment, el Ballet de Wallonie, dirigit per H. Voos, va interpretar "El llac dels cignes" amb música de P. I. Txaikovski i "Ecce omo", amb música de G. Berghmans i coreografia de J. Lazzini, "Nomos alpha" amb música de I. Xenakis i coreografia de M. Béjart i "Petrouschka" amb música d'I. Stravinski i coreografia de M. Fokine. En tots els casos els va acompanyar l'Orquestra del Gran Teatre del Liceu, dirigida per A. Presser, T. Kern, G. Bond i G. Pérez BusquierOrquestra del Gran Teatre del Liceu, dirigida per A. Presser, T. Kern, G. Bond i G. Pérez BusquierDe cada obra s'ha digitalitzat un programa sencer. De la resta s'han digitalitzat les parts que són diferents

Ballet del Gran Teatro del Liceo de Barcelona

De cada obra s'ha digitalitzat un programa sencer. De la resta s'han digitalitzat les parts que són diferents.Direcció coreogràfica : Joan MagrinyàEmpresa Juan A. PamiasLa noche de Walpurgis de Gounod ; Don Quijote de Minkus ; La vendimia de Albéniz ; Baile en San Antonio de la Florida de Albéniz ; La maja y los embozados de Granados ; Mazurca de Chueca ; Zapateado de Sarasate ; Gran jota de Bretó

pRate: Anonymous Star Rating with Rating Secrecy

We introduce pRate, a novel reputation management scheme with strong security and privacy guarantees for the users and their reputation scores. The reputation scores are computed based on the (aggregated) number(s) of stars that users receive from their raters. pRate allows users to advertise privacy-friendly statements about their reputation when searching for potential transaction partners. Ratings can only be submitted by partners who have been initially authorised by the ratee and issued a rating token. The scheme is managed by a possibly untrusted reputation manager who can register users and assist ratees in updating their reputation scores, yet without learning these scores. In addition to ensuring the secrecy of the ratings, a distinctive feature of pRate over prior proposals, is that it hides the identities of raters and ratees from each other during the transaction and rating stages. The scheme is built from a number of efficient cryptographic primitives; its security is formally modeled and proven to hold under widely used assumptions on bilinear groups