High-fidelity consumption and the claustropolitan structure of feeling

This paper invokes Redhead’s concept of claustropolitanism to critically explore the affective reality for consumers in today’s digital age. In the context of surveillance capitalism, we argue that consumer subjectivity revolves around the experience of fidelity rather than agency. Instead of experiencing genuine autonomy in their digital lives, consumers are confronted with a sense of confinement that reflects their tacit conformity to the behavioural predictions of surveillant market actors. By exploring how that confinement is lived and felt, we theorise the collective affects that constitute a claustropolitan structure of feeling: incompletion, saturation and alienation. These affective contours trace an oppressive atmosphere that infuses consumers’ lives as they attempt to seek fulfilment through digital market-located behaviours that are largely anticipated and coordinated by surveillant actors. Rather than motivate resistance, these affects ironically work to perpetuate consumers’ commitment to the digital world and their ongoing participation in the surveillant marketplace. Our theorisation continues the critical project of re-assessing the consumer subject by showing how subjectivity is produced at the point of intersection between ideological imperatives and affective consequences.

Intercultural Polylogist of Modern Acting Training

The article examines the features of intercultural polylogue of modern acting training; identified and analyzed ways to unleash the potential of cultural diversity of theatrical, physical and spiritual practices, as well as identified strategies for the most effective exchange of methods and techniques of training actors between different cultural groups. It is revealed that modern world theatrical culture is characterized by increasing interest in methods of acting training, which, despite their diversity, combines not only the idea of the importance of the actor's training method and the need to develop his psychophysical apparatus, but also specific principles of training as a unique research method. helps to achieve a harmonious interaction of soul and body. Modern acting training in many countries is becoming increasingly intercultural: crossing borders, intercultural exchange in modern theatrical practice and the growing interculturality of the actor mean that at the present stage acting training is determined by many ways of learning and different worldviews. It is stated that the intercultural polylogue in the globalization period is becoming more intense, due to the rapid development of information technology, and this, in particular, applies to modern acting training. The phenomenon of acting training is that, differing in its unique intercultural principles, it becomes a kind of point of intersection, which marks a qualitatively new era in theatrical culture. It was found that the result of intercultural polylogue of different methods and techniques of acting skills was the formation of a unique approach to training as the most important condition of the creative process in the context of understanding the value system of another culture, the development of universal values

A GLANCE AT FOLK PERFORMANCE AND NON-NATIVE AUDIENCE

Performance is an interesting subject of study and it is the point of intersection for many academic fields within humanities and social sciences. The studies on performance, thus, could provide opportunities for exploring different aspects of human behaviours and their creative reflections on the matters that are intrinsic to the concept of performance. In pursuit of performance studies, one could come across various knots that connect performance with every aspect of the socio-cultural life of people by redefining the stereotypical notions of “stage”, “actors” and “audience.” Further, the studies on performance could not be placed on a single trajectory as several approaches, perspectives and orientations that have emerged ever since the delimitation of performance happened by opening up its boundary for interdisciplinary studies lead by the undefined ‘performance studies’ of Richard Schechner. However, by dealing with the performance as a live presentation in all perceived forms of “stages”, a significant question has been asked in this paper as a token of beginning on the “problematic” presence of audience as outsiders (non-native and non-belonging) who, by their nature of reception and response, are understood as those who have no concern either for the performance or for the performers. While each form, in the folkloristic sense, is comprising of its natural context along with a dedicated or defined audience, it seems to be a surprising phenomenon as it developed over a period of time as a result of the prodigious and irresistible globalization process. Thus, the unintended and unsolicited transformation, as an impact of globalization, in the traditional and modern performances has shaped the nature and role of ‘audience’, making it an insignificant and irrelevant entity for the consumption with aesthetic appreciation and conviction on the values demonstrated. So this article problematizes the nature of audience in the decontextualized performance context by drawing insights from performance studies, semiotics, and other cognate disciplines. Based on the insights drawn from the fieldwork on Sarhul festival held in Ranchi district a few years ago, this paper argues that the role of audience cannot be understood unless there is a clear perspective on the nature of performance and performance tradition as defined by the community.

Distributing Whiteness: Please Like Me and Global Television Circulation

This essay examines the formal and informal distribution of Australian dramedy Please Like Me via the now-defunct American digital cable channel Pivot and via fan communities on Tumblr. I argue that structural whiteness operates as an invisible engine at the heart of Please Like Me’s distribution. My analysis unpacks how an unexamined narrative of white privilege forms the backbone of Please Like Me’s diegesis, fandom’s investment in circulating the show, and Pivot’s alignment of the show with its supposedly socially conscious brand. Examining trade press, promotional material, and fan discourse, I demonstrate how structural whiteness functions as point of intersection between industry and fan-driven distribution.

From Atheists to Empiricists: Reinterpreting the Stoics in the German Enlightenment

From the 1670s Stoic philosophy had been closely associated with atheism and the philosophy of Baruch Spinoza. However, in 1771 the historian Christoph Meiners published a short essay on the concept of apatheia that revived interest in Stoic philosophy within the German lands. Over the following years, he and his colleague Dieterich Tiedemann developed a novel interpretation claiming that Stoicism closely prefigured the philosophy of John Locke and represented a source of valuable philosophical ideas. Immanuel Kant, his allies, and later Idealists such as Hegel adopted this empiricist interpretation, despite their otherwise deep philosophical disagreements with Meiners and Tiedemann. Tracing eighteenth-century German debates around Stoicism reveals how it came to be considered a form of empiricism. As well as contributing to recent scholarship on the reception of Stoicism, the article suggests a major point of intersection between currents of the Enlightenment usually only treated separately.

Different Understanding about the Other Shore: the Introspection Study on Chinese and Western Art under the Natural Disaster

No matter what the different cultural backgrounds are, they will always collide and generate divergence on the same point of intersection and then continue moving forward in the direction of collective cognition. At present, the global world is facing severe pestilence disasters; China Art Circle made many responses immediately at the beginning of the epidemic situation and tried to fight the epidemic situation, encourage the front-line medical staff and provide energy for them. However, when the epidemic situation in China trends to calm, the art theme about the epidemic situation also suddenly keeps silent. It looks like calm without great waves; however, through investigating Western art, it is found that the Western Art Circle has different orientations on the attitude to disasters; considering its inner core, it maps the further understanding of groups with different cultural backgrounds on the cognition of other shores of life- different life and death idea influence the social outlook, view of life and expectation of life fate of different groups. Meanwhile, they also promote the society to show different introspection paths while facing disasters. The study uses empirical analysis to identify and collect the image information from classical paintings of the East and the West. The results show that compared with Western art, Chinese art conveys a message that focuses more on maintaining the country's stability.

Locating Muslim Cinema(s)

The project of locating Muslim cinemas is an inherently open-ended endeavor that serves more as a disciplinary provocation than as a clearly defined and finite task. The four essays collected here raise a series of questions that unsettle and reconfigure some of the most persistent boundaries in studies of world cinema. In “The Idea of a ‘Muslim Cinema,’” Imed Ben Labidi highlights the potential pitfalls of such an attempted mapping, focusing on Hollywood’s essentialized and essentializing portrayal of Muslims and Arabs. Conversely, while remaining within the confines of a small national industry, in “The Poetics of Tajik Cinema,” Sharofat Arabova transcends the implicit distortions of schematic periodization, tracing evolving traditions of film poetics across the major historical transformations of the Soviet and sovereign periods. Similarly, while feminist theory has been at the core of film studies since its inception, the two final pieces complicate understandings of the construction of gender in Muslim cinemas. Sitara Thobani’s “Locating the Tawa’if Courtesan–Dancer: Cinematic Constructions of Religion and Nation” resists the impulse to understand tawa’if solely in terms of gendered spectacle, instead exploring the less examined question of this figure’s Muslim identity. In the final piece, “Defa-e Moghadas and the Making of Social Cinema in Post-Revolutionary Islamic Iran,” Fakhri Haghani contrasts the front-line masculinist cinema of the Iranian “sacred defense” with social dramas that reveal undertheorized gender dynamics of sacrifice and justice. Each of these pieces, then, invigorates core questions within the field of religion and popular culture by positing Muslim cinema as a point of intersection at which Muslim participation in the creation and viewing of film may productively be explored, while simultaneously offering a broader, more universal alternative perspective by attending to cinema's functions in the quotidian lives of members of religious communities.

Entropic system in the relativistic Klein-Gordon Particle

The solutions of Kratzer potential plus Hellmann potential was obtained under the Klein-Gordon equation via the parametric Nikiforov-Uvarov method. The relativistic energy and its corresponding normalized wave functions were fully calculated. The theoretic quantities in terms of the entropic system under the relativistic Klein-Gordon equation (a spinless particle) for a Kratzer-Hellmann’s potential model were studied. The effects of a and b respectively (the parameters in the potential that determine the strength of the potential) on each of the entropy were fully examined. The maximum point of stability of a system under the three entropies was determined at the point of intersection between two formulated expressions plotted against a as one of the parameters in the potential. Finally, the popular Shannon entropy uncertainty relation known as Bialynick-Birula, Mycielski inequality was deduced by generating numerical results.

From «Commercial» to «Economic» Education: the Case of Irkutsk Financial and Economic Institute of 1941–1945

The author of the article reconstructs the shift, which occurred in the model and disciplinary structure of «commercial» education towards «economic» one. The research is based on disciplinary approach in the history of education, which builds on subject-oriented character of knowledge and empirical analysis of Irkutsk Financial and Economic Institute case. Although the shift was being discreetly prepared for several decades and included many attempts to integrate commercial functions of education with economic field, its real start was caused by external to science and education factors. The subject area of a business economics became the point of intersection for economic and commercial disciplines. The area appeared mainly due to political and ideological campaign aimed at making the enterprises’ party core groups aware of economic knowledge. The 18th All-Union Conference of Communist Party initiated the campaign in 1941. The outbreak of war forced people to view the business economics as a scientific and practical field of study, which applies many techniques and methods of economic analysis in order to ensure effective operation and reveal its potential reserves. After obtaining the right to operate beyond the scientific and practical environment, the subject area of business economics entered the higher education area, transforming its educational and research programs and integrating the disciplinary models and structures of economic and commercial education.

Intersection points of planar curves can be computed

Consider two paths ϕ , ψ : [ 0 ; 1 ] → [ 0 ; 1 ] 2 in the unit square such that ϕ ( 0 ) = ( 0 , 0 ), ϕ ( 1 ) = ( 1 , 1 ), ψ ( 0 ) = ( 0 , 1 ) and ψ ( 1 ) = ( 1 , 0 ). By continuity of ϕ and ψ there is a point of intersection. We prove that from ϕ and ψ we can compute closed intervals S ϕ , S ψ ⊆ [ 0 ; 1 ] such that ϕ ( S ϕ ) = ψ ( S ψ ).