Impact of Stratigraphic Heterogeneity on Hydrocarbon Recovery in Carbonate Reservoirs: Effect of Fluid Properties and Development Strategy

Imperial Users onl

The institutional context influencing rural-urban migration choices and strategies for young married women and men in Vietnam

This report draws together secondary data and informed opinion relating to the wider context in which young married rural-urban migrants must craft strategies for managing their reproductive and family lives. In contrast to long standing patterns of male migration, the increasing numbers of migrants and the emergence of new forms of migration mean that young married women are increasingly moving for work too. The report outlines the wider situation in which these dynamics are occurring: the growing inequalities in the context of doi moi, the declining barrier that household registration poses to mobility, and the changing opportunities for work in the city. It also reviews changing gender relations in Vietnam with particular attention to changes in marriage and marital relations, in sexuality and fertility and in parenting. Finally it explores how changes in social entitlements in Vietnam may affect these migrants with special attention to maternal health, child health and children’s education. The report concludes that migrants with young families and new marriages face a plethora of barriers and opportunities that they must negotiate and that the strategies they formulate are dynamic and involve complex trade-offs

Games and the art of agency

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end

Games: Agency as Art

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. And the fact that we play games shows something remarkable about us. Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency

Expertise and the fragmentation of intellectual autonomy

In The Great Endarkenment, Elijah Millgram argues that the hyper-specialization of expert domains has led to an intellectual crisis. Each field of human knowledge has its own specialized jargon, knowledge, and form of reasoning, and each is mutually incomprehensible to the next. Furthermore, says Millgram, modern scientific practical arguments are draped across many fields. Thus, there is no person in a position to assess the success of such a practical argument for themselves. This arrangement virtually guarantees that mistakes will accrue whenever we engage in cross-field practical reasoning. Furthermore, Millgram argues, hyper-specialization makes intellectual autonomy extremely difficult. Our only hope is to provide better translations between the fields, in order to achieve intellectual transparency. I argue against Millgram’s pessimistic conclusion about intellectual autonomy, and against his suggested solution of translation. Instead, I take his analysis to reveal that there are actually several very distinct forms intellectual autonomy that are significantly in tension. One familiar kind is direct autonomy, where we seek to understand arguments and reasons for ourselves. Another kind is delegational autonomy, where we seek to find others to invest with our intellectual trust when we cannot understand. A third is management autonomy, where we seek to encapsulate fields, in order to manage their overall structure and connectivity. Intellectual transparency will help us achieve direct autonomy, but many intellectual circumstances require that we exercise delegational and management autonomy. However, these latter forms of autonomy require us to give up on transparency

The arts of action

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts