Being Differently Black

En la Minería de Datos, un área que ha ganado interés es la determinación del perfil del autor, que identifica patrones compartidos por un grupo de personas y aborda problemas de clasificación de los usuarios de la Web de acuerdo a edad, género, orientación política, etc. En este informe, se tomará como caso de estudio la tarea de identificación de la alineación política, la cual tiene como objetivo determinar a partir de los escritos de las personas el sesgo político. En este tipo de campo, un aspecto clave es disponer un conjunto de datos adecuados para que los procesos de minería de datos y aprendizaje automático puedan obtener resultados confiables. Para ello, se realiza la experimentación sobre un corpus para el estudio de la alineación política en documentos de periodistas argentinos. El estudio incluye varios tipos de análisis de documentos de periodistas opositores y progubernamentales, como ser la relevancia de los términos en cada clase de documentos, el análisis de sentimientos, el modelado de tópicos y el análisis de indicadores psicolingüísticos obtenidos del sistema LIWC. En los resultados experimentales, se pueden observar patrones interesantes, como por ejemplo los tópicos sobre los que escriben ambos tipos de periodistas, cómo se distribuyen las polaridades de los sentimientos y cómo los escritos de los periodistas progubernamentales y periodistas opositores difieren en las distintas categorías de LIWC.

The article is devoted to the study of the role of art in protest political communication using the example of contemporary protest movements in Serbia. The author analyzes how artistic practices become a tool for expressing public discontent and interaction between citizens and the authorities. Political communication is defined not only as a process of transmitting information, but also as a mechanism for organizing political interaction, shaping public opinion and taking into account the interests of citizens. Art is considered as a powerful mechanism of political communication capable of consolidating protest movements and enhancing their impact on society. Particular attention is paid to symbolic elements, such as the Black Fist of the 1990s and the modern symbol of the Bloody Hand, which reflect the cultural continuity of protest sentiments in the country. The work examines new forms of artistic protest, including installations, graffiti and performances that demonstrate the adaptation of protest movements to modern social conditions. The study is based on the theoretical approaches of Charles Tilly to understanding protest communication. The author also refers to the cultural ideas of Yu.M. Lotman, which allows for a more in-depth analysis of the cultural and historical context of protest movements in Serbia. It is shown that art is not only a means of expressing protest, but also a powerful mechanism for the formation of collective consciousness and consolidation of society.

En este artículo trabajaremos con las prácticas de los artistas circenses contemporáneos en la ciudad de Buenos Aires. Abordaremos los modos en los que la corporalidad se constituye en uno de los medios de expresión identitaria en tanto un grupo social puede componer, a través de sus experiencias corporales, sus propios estilos artísticos, su propia definición de práctica artístico-laboral, su propio cuerpo legítimo. Mostraremos la manera en que esos cuerpos pueden por momentos disputar y/o reproducir concepciones hegemónicas de corporalidad, proponiendo la necesidad de pensar estos procesos de manera dinámica, prestando atención tanto a los mecanismos de poder como a su contraparte, los sujetos que negocian, cuestionan y/o resisten.

Marking the centenary of the birth of Laszlo Moholy-Nagy (1895–1946), this book offers a new approach to the Bauhaus artist and theorist’s multifaceted life and work—an approach that redefines the very idea of biographical writing. In Laszlo Moholy-Nagy , Louis Kaplan applies the Derridean deconstructivist model of the to an intellectual biography of a Constructivist artist. Inhabiting the borderline between life and work, the book demonstrates how the signature inscribed by Moholy operates in a double space, interweaving signified object and signifying matter, autobiography and auto-graphy. Through interpretative readings of over twenty key artistic and photographic works, Kaplan graphically illustrates Moholy’s signature effect in action. He shows how this effect plays itself out in the complex of relations between artistic originality and plagiarism, between authorial identity and anonymity, as well as in the problematic status of the work of art in the age of technical reproduction. In this way, the book reveals how Moholy’s artistic practice anticipates many of the issues of postmodernist debate and thus has particular relevance today. Consequently, Kaplan clarifies the relationship between avant-garde Constructivism and contemporary deconstruction. This new and innovative configuration of biography catalyzed by the life writing of Moholy-Nagy will be of critical interest to artists and writers, literary theorists, and art historians.

In 2012, the Dutch artist Renzo Martens founded the Institute for Human Activities1 (IHA), which, since 2014, he has developed in collabo- ration with the cooperative Cercle d’Art des Travailleurs de Plantation Congolaise2 (CATPC) on a former palm oil plantation in the Democrat- ic Republic of Congo. Through the IHA, Martens has sought to ana- lyze global mechanisms of power, resource and value extraction. At present, the impact of ‘critical’ art, largely produced and consumed in global cities, remains, in Martens’s view, highly limited. The institute has brought the position of plan- tation workers within global value chains—as well as their place in the history of modern and contemporary art—into sharp focus. Through their activities and artistic practices, Mar- tens and the CATPC seek to revisit the history of the global art system and to intervene in its contemporary structure.

In Discipline and Punish, Michel Foucault charts the historical displacement of the "spectacle of the scaffold" by the invisible mechanisms of disciplinary power. However, the digital age has disrupted this linear trajectory, facilitating a return to the spectacle as a central apparatus of governance. This article employs a genealogical framework to analyze the mutation of the spectacle in Omar Shahid Hamid’s postcolonial fiction, specifically The Spinner’s Tale (2015) and The Election (2024). By integrating the concepts of Sovereign Power, Governmentality, and Biopolitics, this study argues that the spectacle has re-emerged not as an archaic relic, but as a sophisticated political technology. The analysis reveals a bifurcation in this return: The Spinner’s Tale illustrates the resurrection of sovereign terror, where the militant Ausi reclaims the right to kill through the digital broadcast of execution, creating a regime of truth rooted in shock. Conversely, The Election depicts a neoliberal "spectacle of entertainment," where media moguls manage the "field of visibility" to manufacture political consent, transforming the electorate into commodified data points. Ultimately, this research demonstrates that the transition from sovereign torture to digital spectacle represents a refinement of control, where the political subject is no longer merely disciplined but governed through the strategic production of visual reality.

In this article the authors contend that gender inequalities in occupational divisions of labor are better understood in reference to the concept of symbolic patriarchy. The conceptual framework is informed by social constructionist theories that view gender not merely in light of sexual or biological differences but as interwoven, fluid, and contesting boundaries of authority. The goal here is to locate the labyrinths of power and unequal treatment of women, evidenced through the “gender pay gap” and derived from the social landscapes and mindscapes of inequality. The study concludes that workforce-based privileges and rewards for men seem to be sustained and reinforced by patriarchal socio-cultural systems of inequality and domination that maintain visible and invisible mechanisms of power, privilege and influence in symbolic, figurative, and metaphoric cultural forms, rendering them the norm.

Cet article explore la notion d’investissement dans l’apprentissage linguistique, développée par Bonny Norton à partir du milieu des années 1990 (Norton Peirce, 1995 ; Norton, 2000 ; 2013), et augmentée plus récemment par Ron Darvin (Darvin & Norton, 2015). L’investissement, complément sociologique de la notion psychologique de motivation, est devenu un point nodal de la linguistique appliquée (Kramsch, 2013), dévoilant les rapports de pouvoir qui promeuvent ou qui limitent l’apprentissage et l’enseignement des langues. L’article s’intéresse particulièrement au modèle élargi d’investissement de Darvin et Norton, impulsé par les changements technologiques survenus dans le paysage communicatif. Afin d’analyser les paradoxes de la mondialisation et les mécanismes invisibles du pouvoir à l’œuvre dans l’économie du savoir, le modèle situe l’investissement au croisement de l’identité, du capital et de l’idéologie. Il élabore de manière utile l’idée selon laquelle le droit à la parole doit être appréhendé comme une notion construite, matériellement et idéologiquement. À partir de situations d’apprentissage canadiennes et ougandaises, l’article montre comment l’investissement découle du positionnement des apprenants, de leur négociation des potentialités d’apprentissage, et de formes systémiques de contrôle qui compromettent leur agentivité. En conclusion il est estimé qu’une pédagogie critique mettant en valeur un avenir cosmopolite pourrait inciter l’apprenant à s’investir davantage dans les pédagogies de langue et de littératie du 21 e siècle.

Cognitive assistants are the promising and intensively growing field nowadays. Some of them provide powerful mechanisms of monitoring and control of individual’s health, and mental health, in particular. Yet, some aspects of mental health and individual’s safety are still uncovered: the problem has not been considered in terms of Social Media effect on the individual’s life and self-estimation level. In the current paper the problem of individual’s safety in the Internet is proposed to be solved with the cognitive assistant, based on the authorship identification techniques. The search of fake accounts is a time-consuming procedure, so it is highly desirable to decrease the time of data processing. Taking into account the peculiarities of the fog-computing concept, the technique of data analysis tasks distribution is proposed. It is based on the appropriate location of the search agents nearby the data source, where the information stores.

The thesis of this paper rests on the premise that the role of contemporary hybrid art practices, employing technology as a means of expression, has extended to active engagement in the complexities of societal conflicts and shaping philosophical dialogue, which is evident in its subversive endeavors, that have become the points of intersection between power dynamics, technology, and ethics. Namely, the position of art has become the pragmatic and utilitarian one, and art aims at confronting society with the antagonisms of the mechanisms of power and the consequences of high technology development. With a view to support the thesis of this essay, I will analyze Vladan Joler's and Kate Crawford's art project “Anatomy of an AI System”. The aim of this essay is to show that the role of hybrid art is reflected in its contribution to the society, by helping it to anticipate and develop policies and systems of rules with a view to regulate behavior in borderline situations of advanced technology and ethics. Research methods applied in this paper are analysis, synthesis, observation, generalization, and comparative text analysis.

From the production portraits of the Soviet avant-garde artists of the 1920s to the bleak depictions of failing Donbas monotowns in the cinema of the perestroika era, the landscapes and communities of Donbas have been repeatedly depicted as exotic abstractions, to be wondered at, emulated, or feared by the rest of the nation. In our role as researchers of such practices, we might consider ourselves to stand outside of the frame, to be engaged in a process of objective deconstruction that exposes the mechanisms of power that inform the politics of representation. In this article, we take issue with this assumption, highlighting the researcher's complicity in perpetuating subject-object dichotomies, and thus inequalities of power, when we write about cultural representations. We scrutinize our roles in constructing new frames for understanding a region whose cultural representations we engage in our writing, and especially through our own practices of curating creative community engagement projects. Drawing on methods of reciprocal ethnography and collaborative writing, we espouse a more ethical, feminist approach to our topic, "writing with" rather than "writing about" the artists and practitioners whose curatorial work has informed contemporary ideas of Donbas. We engage in dialogue with our interlocutors to collectively deconstruct our creative work on Donbas identities and explore our shared reactions to this process. In this way, we reflect on the mechanisms of framing and exclusion that we—as researchers, curators, and art practitioners—inevitably engage in our work.

This article reports new ethnographic research exploring community-based, participatory arts practice in Northern England and Mexico City. Noting the value of an ethnographic approach, the study investigated whether commonalities discovered in practitioners' approaches are significant enough to constitute a generalisable participatory arts methodology, transcending significant contextual differences, and recognisable across national boundaries. Shared characteristics emerged in practitioners' modes of engagement with groups, and strategies for catalysing change; clear convergences from which a core methodology in community-based participatory arts for change is distilled. It suggests the opening of liminal spaces in which participants can reflect, rehearsing fresh ways of engaging in transformative dialogues in relation to the world in which they live. This article presents the study findings as a grounded characterisation of 'participatory arts practice': a complex but potentially powerful mechanism, in use within numerous community health projects, and evident in diverse settings, despite little or no exchange of ideas between practitioners.