critical commentary
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2022 ◽  
pp. 244-265
Author(s):  
Tanuj Negi ◽  
Pinosh Kumar Hajoary ◽  
Jose Arturo Garza-Reyes

Business organisations are attempting to transform themselves according to the paradigms of Industry 4.0. This chapter presents the case of Tapfrsh kiosk, an internet of things (IoT)-based beverage service platform for urban communities. It discusses the business ecosystem, system design, technology usage, machine design, aesthetics, and operational aspects of the Tapfrsh kiosk. The authors include a critical commentary on the kiosk using a multidimensional lens. Entrepreneurial insights are discussed.


2022 ◽  
pp. 23-39
Author(s):  
Catherine Hayes

Pedagogical creativity is an opportunity to innovate, create agency, and raise awareness of critical commentary on issues which are often regarded as being central to the concepts of social justice and identity within the context of transformative learning. This chapter provides an insight into the theoretical basis of gamification and its usefulness in explicating the meaning that others ascribe to their individual experiences of the world and how they interpret them. Higher education remains a central forum and situationally responsive focus to highlight those issues which remain topical, yet often unaddressed. This affords a lens of intellectual, rationale articulation of what matters – lives lived in a world still tainted with injustice and the lack of society's impetus and appetite for progressive change. Gamification is posited as a means of facilitating freedom of expression for individuals and collective communities, for whom voicing personal beliefs and standpoints has been a barrier for rationale debate on issues of oppression and the advocacy of agency in practice.


2021 ◽  
Vol 22 (1) ◽  
pp. 95-99
Author(s):  
William Outhwaite
Keyword(s):  

This short critical commentary on the article raises some questions about the authors’ model of temporality and the linear conception of ‘milestones’, while endorsing this conception in cases where people feel deprived of something they might have expected to obtain.


AI and Ethics ◽  
2021 ◽  
Author(s):  
Thilo Hagendorff

AbstractThis paper critically discusses blind spots in AI ethics. AI ethics discourses typically stick to a certain set of topics concerning principles evolving mainly around explainability, fairness, and privacy. All these principles can be framed in a way that enables their operationalization by technical means. However, this requires stripping down the multidimensionality of very complex social constructs to something that is idealized, measurable, and calculable. Consequently, rather conservative, mainstream notions of the mentioned principles are conveyed, whereas critical research, alternative perspectives, and non-ideal approaches are largely neglected. Hence, one part of the paper considers specific blind spots regarding the very topics AI ethics focusses on. The other part, then, critically discusses blind spots regarding to topics that hold significant ethical importance but are hardly or not discussed at all in AI ethics. Here, the paper focuses on negative externalities of AI systems, exemplarily discussing the casualization of clickwork, AI ethics’ strict anthropocentrism, and AI’s environmental impact. Ultimately, the paper is intended to be a critical commentary on the ongoing development of the field of AI ethics. It makes the case for a rediscovery of the strength of ethics in the AI field, namely its sensitivity to suffering and harms that are caused by and connected to AI technologies.


2021 ◽  
Author(s):  
◽  
Michael Scaccia

<p>Twentieth-century poets Ku Sang and Thomas Merton, two Catholic poets from Korea and America, respectively, were both aware of a space between themselves and God. Their poetry reveals attempts to go and find him. Because their searches for God entailed an interreligious nexus, insofar as their poetry blended Buddhist and Christian religious imagery, I utilise a comparative method, drawn from the field of Comparative Theology, which juxtaposes religious texts from differing faith traditions; I place Zen Buddhist kōans side-by-side with the Christian poems, each poem understood as representing a way to seek God. Moreover, I provide close readings of each poem and kōan, with critical commentary on the poems and interpretation of any new meaning revealed by the juxtaposition of texts. As a result of my examination, I propose that exploration of how these poets expressed their own understanding of God’s whereabouts, achieved by contact with poetic experience at the naked level of the poem, yields insight both into the two men’s unique contributions to broader knowledge of poets searching for God and how they were transformed for the sake of searching at all.</p>


2021 ◽  
Author(s):  
◽  
Michael Scaccia

<p>Twentieth-century poets Ku Sang and Thomas Merton, two Catholic poets from Korea and America, respectively, were both aware of a space between themselves and God. Their poetry reveals attempts to go and find him. Because their searches for God entailed an interreligious nexus, insofar as their poetry blended Buddhist and Christian religious imagery, I utilise a comparative method, drawn from the field of Comparative Theology, which juxtaposes religious texts from differing faith traditions; I place Zen Buddhist kōans side-by-side with the Christian poems, each poem understood as representing a way to seek God. Moreover, I provide close readings of each poem and kōan, with critical commentary on the poems and interpretation of any new meaning revealed by the juxtaposition of texts. As a result of my examination, I propose that exploration of how these poets expressed their own understanding of God’s whereabouts, achieved by contact with poetic experience at the naked level of the poem, yields insight both into the two men’s unique contributions to broader knowledge of poets searching for God and how they were transformed for the sake of searching at all.</p>


2021 ◽  
Author(s):  
◽  
Rory McKenzie

<p>Subtitling provides scholars and translators alike with the challenge of negotiating meaning across languages and cultures in an extremely limited space. The subtitler faces many restrictions than can severely affect a translation. However, subtitles are central to making films more widely and easily accessible. These difficulties are challenging at the best of times and are compounded by the specific difficulties of translating comedy. Humour is both universal and at the same time culturally specific. Anthropologists, sociologists, literary theorists and scholars have amply demonstrated how deeply intertwined humour, culture, and language are. It is for this reason that the current project will expand on the literature of subtitling humour, applying the relevant theories associated with both subtitling and translating humour to the Italian film classic Fantozzi (1975).  The character Ugo Fantozzi has been a cult figure in Italian culture and society since his appearance in Italian cinema and literature in the late 1960s and early 1970s. In the films in particular he has come to represent the average Italian of the post-economic miracle, whose life does not quite match the dreams of wealth and prosperity emphasized by the media. Fantozzi epitomises the average, and while his character has received little academic attention to date more credible academic studies are emerging since the death of his creator, Paolo Villaggio, in 2017. Fantozzi, therefore, provides the perfect cultural product for a discussion of what it means to translate Italian culture and humour, combining this with considerations about the emerging field of translation studies of subtitling.  By providing a complete translation of Fantozzi in English, accompanied by a critical commentary, in this thesis I attempt to show how, despite all the restrictions imposed by the field of subtitling, as well as the difficulties of translating humour, a subtitler can still produce well thought out and reliable subtitles that convey the cultural and comedic aspects of film, and more specifically of this beloved Italian icon.</p>


2021 ◽  
Author(s):  
◽  
Rory McKenzie

<p>Subtitling provides scholars and translators alike with the challenge of negotiating meaning across languages and cultures in an extremely limited space. The subtitler faces many restrictions than can severely affect a translation. However, subtitles are central to making films more widely and easily accessible. These difficulties are challenging at the best of times and are compounded by the specific difficulties of translating comedy. Humour is both universal and at the same time culturally specific. Anthropologists, sociologists, literary theorists and scholars have amply demonstrated how deeply intertwined humour, culture, and language are. It is for this reason that the current project will expand on the literature of subtitling humour, applying the relevant theories associated with both subtitling and translating humour to the Italian film classic Fantozzi (1975).  The character Ugo Fantozzi has been a cult figure in Italian culture and society since his appearance in Italian cinema and literature in the late 1960s and early 1970s. In the films in particular he has come to represent the average Italian of the post-economic miracle, whose life does not quite match the dreams of wealth and prosperity emphasized by the media. Fantozzi epitomises the average, and while his character has received little academic attention to date more credible academic studies are emerging since the death of his creator, Paolo Villaggio, in 2017. Fantozzi, therefore, provides the perfect cultural product for a discussion of what it means to translate Italian culture and humour, combining this with considerations about the emerging field of translation studies of subtitling.  By providing a complete translation of Fantozzi in English, accompanied by a critical commentary, in this thesis I attempt to show how, despite all the restrictions imposed by the field of subtitling, as well as the difficulties of translating humour, a subtitler can still produce well thought out and reliable subtitles that convey the cultural and comedic aspects of film, and more specifically of this beloved Italian icon.</p>


2021 ◽  
Vol 10 ◽  
pp. R10-R15
Author(s):  
Alexandra Effe

This volume, emerging from a conference, brings into conversation research on the two title-words autofiction and utopia. It focuses on what the introduction defines as the point of convergence of these genres or writing modes: the desire to shape reality according to one’s individual vision, which, the editors note, can serve as critical commentary on society (1). In exploring this intersection, the volume takes up an important strand in the discussion on autofiction, namely the one about its potential functions both for individual authors and for society more broadly. Autofiction has been argued to not only allow individuals to express and transform themselves, but also to, for example, empower author and readers with narrative agency by challenging dominant cultural narrative models (Meretoja 2021) and work towards post-conflict reconciliation (Dix 2021).


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