Regression games

The solution of a TU cooperative game can be a distribution of the value of the grand coalition, i.e. it can be a distribution of the payo (utility) all the players together achieve. In a regression model, the evaluation of the explanatory variables can be a distribution of the overall t, i.e. the t of the model every regressor variable is involved. Furthermore, we can take regression models as TU cooperative games where the explanatory (regressor) variables are the players. In this paper we introduce the class of regression games, characterize it and apply the Shapley value to evaluating the explanatory variables in regression models. In order to support our approach we consider Young (1985)'s axiomatization of the Shapley value, and conclude that the Shapley value is a reasonable tool to evaluate the explanatory variables of regression models

The uncanny in Bazhov’s tales

The article was submitted on 16.05.2014.P. P. Bazhov’s tales are considered through the prism of S. Freud’s theory of the uncanny (Unheimlich). The analysis focuses on the previously unstudied motifs of death and sexuality in the tales and connects the inner atmosphere of Malachite Casket with the atmosphere of fear and terror, which accompanied the creation of tales, as well as substantiates the new interpretation of The Mistress of the Copper Mountain as an alternative to the nationalism of Stalin’s epoch. The phantasm of escape, clearly present in the tales, corresponds to the situation of escape from Soviet history. The elimination of historical traumas by means of sinister images connects Bazhov’s creative work to magical historism (A. Etkind). Bazhov’s tales were at once frightening for the Soviet reader, as they told of death, fatal temptation and paralyzing impotence in one’s hometown, but also soothing, since they made it possible to articulate the trauma resulting from the historical loss of local culture and the fear of grand motherland. Thus, Bazhov’s tales resonated within the Soviet individual and the collective unconscious. This can explain the success of Malachite Casket with generations of Soviet people and the tale’s cultural untranslatability.Сказы П. П. Бажова рассматриваются в контексте теории З. Фрейда о зловещем (Unheimlich). Предлагаемый анализ позволяет выделить такие, ранее не становившиеся предметом специального рассмотрения мотивы сказов, как смерть и сексуальность, связать внутреннюю атмосферу «Малахитовой шкатулки» с атмосферой страха и террора, сопутствовавшей рождению сказов, а также обосновать новую интерпретацию Хозяйки Медной Горы как своеобразной альтернативы национализму сталинской эпохи. Фантазм бегства, отчетливо проявившийся в сказах, соотносится с ситуацией бегства от советской истории. Вытеснение исторической травмы через зловещие образы помещает сказовое творчество Бажова в контекст тенденции «магического историзма» (А. Эткинд). Сказы пугали советского читателя зрелищем смерти, гибельного соблазна и парализующего бессилия в родном месте и одновременно успокаивали тем, что позволяли артикулировать травму исторической утраты локальной культуры и страха перед «большой» Родиной. Таким образом, сказы Бажова вступали в контакт с советским индивидуальным и коллективным бессознательным. Этим можно объяснить популярность «Малахитовой шкатулки» среди советских поколений и практическую культурную непереводимость сказов

Strange Case of a Regional Cultural Revolution: Sverdlovsk in the Perestroika Years

The article discusses the cultural revolution that took place in Sverdlovsk during the years of Perestroika and transformed rock-music, visual art, theatre, cinema, and literature. Hypothetically, these tendencies embodied not attempts to establish regional cultural identity but, on the contrary, artists' striv­ing to liberate themselves from regional and, more broadly, Soviet cultural models and invent new cultural languages of national and frequently global scope.В статье рассматривается культурная революция, происходившая в Свердловске в годы перестройки

Spectacles of Freedom. Performative Practices of the Late Soviet Underground

Рукопись поступила в редакцию: 16.03.2021. Принята к публикации: 20.05.2021.Received: 16.03.2021. Accepted: 20.05.2021.В статье рассматриваются истоки и история перформатизма в российской культуре, начиная с широкого понимания феномена как театрализации повседневной жизни и исторических сдвигов, выражающихся в разрыве между стилем жизни, эстетическими пристрастиями и культурными нормами большинства и спектаклями инакости. В центре исследования находится анализ форм театрализованного жизнетворчества в 1960–80-х годах. Опираясь на работы Н. Евреинова, разработавшего впервые в русской культуре принципы театрализации собственной жизни — трансгрессивность, эксцесс и эстетические (или просто непрагматические) мотивировки, — автор исследует перформативный поворот в советском искусстве. Проведено различие между перформансами, хеппенингами и перформативными практиками. В перформансе происходит переосмысление отношений ритуала (сакрального) и искусства (эстетического) благодаря моделированию лиминальной ситуации как процесса разрушения устойчивых бинарных оппозиций. Для хеппенингов характерно демонстративное переживание свободы — «спектакль свободы» порождает эффект шокирующей трансгрессии. Особое значение придается групповым и индивидуальным перформативным практикам. Культивируемый в среде позднесоветских нонконформистов перфоромативный стиль театрализованной отверженности воплощал определенный рисунок инакости («Митьки»). Индивидуальные перформативные проекты исследованы на примере Д. А. Пригова и Вен. Ерофеева. Объектом индивидуальных перформативных практик становилась дистанция, отделяющая автора от его имиджа. Отмечается, что особое значение для современников имела характеристика жизнетворческих проектов как воплощения «свободы со всеми опасностями». Делается вывод о парадоксальности этой свободы, которая состоит не в самовыражении, как в романтизме или модернизме, а в перформансе себя как другого, который в силу иллокутивной силы перформанса вытесняет «я» образом «другого». Трансгрессивность и избыточность этих перформансов предполагают радикальный отказ от какой бы то ни было устойчивой идентичности, ускользание от всякой определяющей рамки, выявление относительности каждой из них.The article considers the origins and history of performizm in Russian culture. The author broadly understands this phenomenon as the theatricalization of everydayness and historical shifts, expressed in the gap between the lifestyle, aesthetic preferences and cultural norms of the majority, and the performances of otherness. The study centers on the analysis of the forms of creative theatrical productions in the 1960s–80s. By drawing on the works of N. Evreinov, who was the fi rst in Russian culture to develop the principles of the theatricalization of his own life — transgressiveness, outrage, and aesthetic (or simply non-pragmatic) motivations -, the author explores the performative turn in Soviet art and makes a distinction between performances, happenings and performative practices. In the performance, there takes place a rethinking of the relationship between ritual (the sacred) and art (the aesthetic) owing to the modelling of the liminal situation as a process of destruction of sustainable binary oppositions. A demonstrative experience of freedom is characteristic of happenings — the spectacle of freedom generates the effect of a shocking transgression. The author attaches particular importance to the group and individual performative practices. The performance style of theatrical rejection, cultivated among the nonconformists of the late Soviet period, embodied a specific pattern of otherness (The Mitki). The author investigates individual performative projects taking D. A. Prigov and Ven. Erofeev productions as an example. The distance separating the author from his image became the object of original performative practices. The author also emphasizes that contemporaries attributed particular importance to the feature of life-creating projects as the embodiment of freedom with all the dangers. The paper concludes that this freedom is paradoxical. It does not reside in selfexpression, as in romanticism or modernism, but in the performance of oneself as another, who, due to the illocutive power of performance, replaces the self with the image of the other. The transgressiveness and redundancy of these performances imply a radical rejection of any stable identity, escaping from any frame, and revealing the relativity of each of them. The article considers the origins and history of performism in Russian culture, beginning with a broad understanding of the phenomenon as the theatricalization of everydayness and historical shifts, expressed in the gap between the lifestyle, aesthetic preferences and cultural norms of the majority and the performances of otherness. The study centers on the analysis of the forms of creative theatrical productions in the 1960s–80s. Drawing on the works of N. Evreinov, who was the first in Russian culture to develop the principles of theatricalization of his own life — transgressiveness, outrage, and aesthetic (or simply non-pragmatic) motivations, the author explores the performative turn in Soviet art and makes a distinction between performances, happenings and performative practices. In the performance, there takes place a rethinking of the relationship between ritual (the sacred) and art (the aesthetic) owing to the modeling of the liminal situation as a process of destruction of sustainable binary oppositions. Happenings are characterized by a demonstrative experience of freedom is characteristic of happenings — the spectacle of freedom generates the effect of a shocking transgression. The author attaches particular importance to group and individual performative practices. The performance style of theatrical rejection, cultivated among the nonconformists of the late Soviet period, embodied a certain pattern of otherness (The Mitki). The author investigates individual performative projects taking D.A. Prigov and Ven. Erofeev’s productions as an example. The object of individual performative practices was the distance separating the author from his image. The author also emphasizes that contemporaries attributed particular importance to such a characteristic of life-creating projects as the embodiment of «freedom with all the dangers». The paper reaches the conclusion that this freedom is paradoxical, and does not reside in self-expression, as in romanticism or modernism, but in the performance of oneself as another, who, due to the illocutive power of performance, replaces the self with the image of the other. The transgressiveness and redundancy of these performances implies a radical rejection of any stable identity, escaping from any frame, and revealing the relativity of each of them

“Trickster vs. Trickster: “Teachers” and “Students” in Ehrenburg, Olesha, Bulgakov and Babel Works”

Одним из ключевых принципов политики журнала «Koinon» является публикация оригинальных и никогда ранее не выходивших в свет статей современных авторов. И все же мы решили воспроизвести статью Марка Липовецкого «Трикстер vs. трикстер: “Учителя” и “ученики” у Эренбурга, Олеши, Булгакова и Бабеля», впервые появившуюся в 2018 году в сборнике в честь 80-летия А. К. Жолковского (A/Z: Essays in Honor of Alexander Zholkovsky / ed. by D. Ioffe, M. Levitt, J. Peschio, I. Pilshchikov. Boston : Academic Studies Press, 2018. P. 327–349). Мы делаем это в порядке исключения из общего правила ввиду выдающейся эвристической ценности статьи М. Липовецкого, сознавая необходимость познакомить с ней русскоязычных читателей, для которых первое издание статьи труднодоступно. Выражаем горячую благодарность первоиздателям статьи Липовецкого в лице Дениса Иоффе, любезно разрешившим ее публикацию в «Koinon».Рукопись поступила в редакцию:15.03.2021. Принята к публикации: 11.05.2021.Received: 15.03.2021. Accepted: 11.05.2021.Исследуется реализация тропа трикстера в советской культуре на материале 4 произведений («Собачье сердце» М. Булгакова, «Зависть» Ю. Олеши, «Хулио Хуренито» И. Эренбурга и «Одесские рассказы» И. Бабеля). Определены особенности советского трикстера: «интегральный» характер, плутовство являются иллюстрацией к его цинической философии, которая лишена свойственного цинизму прагматизма и тяготеет к тому, что П. Слотердайк называл «кинизмом», — бескорыстному и бесстыдному перформативному низведению и вышучиванию всех авторитетных дискурсов и символов. Выделены три черты советского трикстера как персонажа (Шарикова, Ивана Бабичева, Хулио Хуренито, Бени Крика): амбивалентное, трансгрессивное и лиминальное состояние, благодаря которым трикстер воплощает опасную свободу от социальных норм и границ и в то же время функционирует как медиатор; перформативность, превращающая любой жест и любое высказывание в спектакль; особые отношения с сакральным. Отмечено, что в прозе 1920-х годов сюжет о столкновении «отцов и детей», «учеников и учителя» выдвигает в качестве важной составляющей фигуру трикстера — как одного из центральных участников дебатов о новом человеке и новом мире. Доказано, что все вариации советских трикстеров тесно связаны с рецепцией ницшеанства. Анализ каждого из центральных персонажей произведений построен вокруг ответа на вопрос: что каждая из «ролей» трикстера говорит о становящейся советской модерности? Два типа трикстера трактованы как свидетельство расщепления советской модерности, рождавшейся в 1920-х годах. Хулио Хуренито и Иван Бабичев представляют собой тип трикстеров-учителей, через которых происходило усвоение модернистской концепции личности. Шариков и Беня Крик интерпретированы как тип «плебейской модерности» (Илья Герасимов). Все анализируемые тексты свидетельствуют о том, что трикстерский цинизм становится социальной нормой нового мира, и именно на этой почве возникает конфликт между трикстерами-отцами/учителями и их последователями в следующем поколении.The paper explores the fulfi llment of the trickster trope in Soviet culture based on four works (The Heart of a Dog by M. Bulgakov, Envy by Yu. Olesha, Julio Jurenito by I. Ehrenburg and The Odessa Tales by I. Babel). The author defi nes the features of the Soviet trickster: the "integral" character, roguery are an illustration of its cynical philosophy, which is devoid of the pragmatism inherent in cynicism and tends to P. Sloterdijk’s estimation of cynicism — the selfl ess and shameless performative relegation and ragging of all reputable discourses and symbols. The author has also highlighted three features of the Soviet trickster as a character (Sharikov, Ivan Babichev, Julio Jurenito, Benya Crick): ambivalent, transgressive, and liminal states, thanks to which the trickster embodies dangerous freedom from social norms and boundaries and functions, at the same time, as a mediator; performativity, which turns any gesture and any utterance into a performance; a special bonds with the sacred. Notably, in the prose of the 1920s, the plot portraying the confrontation between fathers- children, students — teachers, puts forward the fi gure of the trickster as an essential component — as one of the central participants in the debate about a new man and a new world. There is evidence that all variations of the Soviet tricksters have a close linkage with the reception of Nietzscheanism. The analysis of each of the central characters of the works centers around the answer to the question: What does each of the trickster’s role say about the emerging Soviet modernity? The author interprets the two types of the trickster as evidence of the Soviet modernity’ splitting, that emerged in the 1920s. Julio Jurenito and Ivan Babichev represent the type of trickster teachers via whom the modernist concept of personality was adopted. The author offers the treatment of Sharikov and Benya Creek as a type of" plebeian modernity " (Ilya Gerasimov). All the analyzed texts indicate that trickster cynicism is becoming a social norm of the new world, and it is on this basis that the confl ict between trickster fathers/teachers and their followers in the next generation breaks out

The Hamburg/SAO Survey for Emission-Line Galaxies. III. The Third List of 81 Galaxies

We present the third list with results {Tables 2 to 6 are available only in electronic form at the CDS via anonymous ftp to cdsarc.u-strasbg.fr (130.79.128.5) or via http://cdsweb.u-strasbg.fr/Abstract.html. Figures A1 to A9 will be made available only in the electronic version of the journal.} of the Hamburg/SAO Survey for Emission-Line Galaxies (HSS therein, SAO - Special Astrophysical Observatory, Russia). This survey is based on the digitized objective-prism photoplate database of the Hamburg Quasar Survey (HQS). Here, we present new spectroscopic results of candidates which were obtained in 1998 with the 2.1 m KPNO and the 2.2 m Calar Alto telescopes. All candidates are selected in the declination band +35$^{\circ}$ to +40$^{\circ}$. The follow-up spectroscopy with the 2 m class telescopes confirmed 85 emission-line objects out of 113 observed candidates and allowed their quantitative spectral classification. For 80 of them, the redshifts are determined for the first time. For 5 previously known ELGs, line ratios are presented for the first time. We could classify 55 out of the 85 emission-line objects as BCG/H{\sc ii} galaxies or probable BCGs, 4 - as QSOs, 6 - as Seyfert galaxies, 1 - as super-association in a subluminous spiral galaxy, and 11 are low-excitation objects - either starburst nuclear (SBN), or dwarf amorphous nuclear starburst galaxies (DANS). We could not classify 8 ELGs. Further, for 8 more galaxies we did not detect any significant emission lines.Comment: A&A latex file with 8 tables and one figure. Astron. Astrophys. Suppl. accepted 200

The Close Environment of Seyfert Galaxies and Its Implication for Unification Models

This paper presents a statistical analysis of the circumgalactic environment of nearby Seyfert galaxies based on a computer-aided search of companion galaxies on the Digitized Sky Survey (DSS). An intrinsic difference between the environment of Seyfert 1 and Seyfert 2 galaxies, suggested by previous work, is confirmed as statistically significant. For Seyfert 2 galaxies we find a significant excess of large companions (diameter of companion >= 10 Kpc) within a search radius <= 100 Kpc of projected linear distance, as well as within a search radius equal to three times the diameter \ds of each Seyfert galaxy. For Seyfert 1 galaxies there is no clear evidence of any excess of companion galaxies neither within 100 Kpc, nor within 3\ds. For all samples the number of companions suggests a markedly non-Poissonian distribution for galaxies on scales <= 100 Kpc. This difference in environment is not compatible with the simplest formulation of the Unification Model for Seyferts: both types 1 and 2 should be intrinsicaly alike, the only difference being due to orientation of an obscuring torus. We propose an alternative formulation.Comment: 1 figure, accepted for publication in Astrophysical Journal Letter

An Atlas of Warm AGN and Starbursts from the IRAS Deep Fields

We present 180 AGN candidates based on color selection from the IRAS slow-scan deep observations, with color criteria broadened from the initial Point-Source Catalog samples to include similar objects with redshifts up to z=1 and allowing for two-band detections. Spectroscopic identifications have been obtained for 80 (44%); some additional ones are secure based on radio detections or optical morphology, although yet unobserved spectroscopically. These spectroscopic identifications include 13 Sy 1 galaxies, 17 Sy 2 Seyferts, 29 starbursts, 7 LINER systems, and 13 emission-line galaxies so heavily reddened as to remain of ambiguous classification. The optical magnitudes range from R=12.0-20.5; counts suggest that incompleteness is important fainter than R=15.5. Redshifts extend to z=0.51, with a significant part of the sample at z>0.2. The sample includes slightly more AGN than star-forming systems among those where the spectra contain enough diagnostic feature to make the distinction. The active nuclei include several broad-line objects with strong Fe II emission, and composite objects with the absorption-line signatures of fading starbursts. These AGN with warm far-IR colors have little overlap with the "red AGN" identified with 2MASS; only a single Sy 1 was detected by 2MASS with J-K > 2. Some reliable IRAS detections have either very faint optical counterparts or only absorption-line galaxies, potentially being deeply obscured AGN. The IRAS detections include a newly identified symbiotic star, and several possible examples of the "Vega phenomenon", including dwarfs as cool as type K. Appendices detail these candidate stars, and the optical-identification content of a particularly deep set of high-latitude IRAS scans (probing the limits of optical identification from IRAS data alone).Comment: ApJ Suppl, in press. Figures converted to JPEG/GIF for better compression; PDF with full-resolution figures available before publication at http://www.astr.ua.edu/keel/aoagn.pd