What Is to Be Done?

Out of Africa: daunting data and dazzling discussion on TB: Genetics and Tuberculosis (Novartis Foundation Symposium 217) edited by D.B. Young

Indian classical music is one of the most accomplished ancient art forms of the world. This music tradition represents music of different genres which has been merged with ritualistic, folk, and cultural expression of the landmass. The history of Indian music can be broadly divided into three major periods as- Ancient, Medieval and Modern. Indian music has a highly coloured and fascinating history of the legends and traditions to be found in the ancient texts, conserved, and passed down through the continuing cycles of ages, and the ravages of time. Indian music had stably stood as an original and ancient along its norms, and systems that had been handed through generations from ancient period and Medieval period passing on the Modern period with all the musical texts- oral and written scriptures ceremonies and performances in the present forms and features abounding in historical perspectives. The communication of different musical styles endemic and multicultural has resulted in the two broad tradition of Indian classical music i.e., North Indian classical music (Hindustani music) and South Indian classical music (Carnatic music) which has evolved into two distinct forms. Even though there are differences in the forms and styles of these two music systems, the basic elements of swara, raga and tala are the foundation of both the system. Raga works to elaborate and explore the melodic and emotional prospects of various sets of notes merge with tala. Tala measures the time cycle of the creative framework of raga for rhythmic improvisation using time. It attains its full form with the contribution of great scholars, musician and composers who mainly emphasized on the modern theory of music standardization of musical material techniques of Raga developments, principles of the music system which attempts to form a new era in Hindustani music.

This chapter defines expanded cinema, traces its history broadly from the 1960s to the present, and reviews previous scholarly and critical literature on the subject. It argues that while expanded cinema has traditionally been seen as a rejection or abandonment of cinema in its conventional form, and as a form of “intermedia” or “new media,” with historical perspective it is better understood as an attempt to define and explore the limits and essences of cinema as an art form. While it takes forms commonly associated with the other arts (including installation, performance, sculptural objects, and even text), it is precisely by exploring this aesthetic territory that avant-garde/experimental filmmakers have tested the boundaries and clarified the specific nature of their art form. The introduction also defines the category of “avant-garde” or “experimental” cinema, defining it as a distinct cinematic culture and historical tradition, which represents a set of aesthetic and social values that can be traced through works of expanded cinema. The title of the introduction indicates the book’s larger argument: that expanded cinema does not represent the end of cinema as we know it, but its persistence, albeit in new and unconventional forms.

This research aims to analyze one of the traditional arts, Rudat. The traditional art that still exists in West Java is Rudat art in Kampung Cigadog, Cigadog Village, Leuwisari District. Rudat art is vocal art accompanied by tarebang and kendang bajidor percussion, as well as silat movements and chanting of sholawat. The presentation and performance structure of Rudat art in Cigadog involve several elements, including movements, dancers, accompanying music, and costumes. The Rudat performance "Gaya Cigadogan" consists of preparation, middle stage, and final stage. The issue addressed in this research is the presentation form and performance structure of Rudat art. The objective of this research is to describe the presentation form and performance structure of Rudat art. This study employs a qualitative method with a descriptive analysis approach, where the researcher aims to present all research findings from the field. Data collection techniques used include observation, interviews, and documentation.

This article aims to describe the Presentation Form of the Ramo-ramo Tabang Duo Dance in Nagari Pasir Talang. This research is a qualitative study using descriptive methods. The object of research is the presentation of the Ramo-ramo Tabang Duo dance in Nagari Pasir Talang Solok Selatan. The researcher acts as the main instrument in this study, and is assisted by a recording device, and a means of matching both audio, visual or audio visual. Data collection is done through direct observation, interviews, and documentation, as well as literature studies. Data were analyzed through a procedure referred to from Mile and Huberman, namely data collection, in the form of qualitative data from research areas such as forms of motion, music, costumes, and procedures for performance. In the next stage the data is selected and then the results of the selection are verified and concluded by the researcher. The findings from the research results are concluded that the form of presentation of the Ramo-ramo Tabang Duo dance is an artistic form without a story. This is obtained from the motion data that only presents artistic and aesthetic value, without any symbol of the motion being maneuvered, as well as music that is as a dance accompaniment. Overall both motion, music, and costumes display dynamical, dramatic motion that aims only as a presentation of entertainment, without any intention of the dance performance. Keywords: Ramo-ramo Tabang Duo dance, and form of presentation

The Anoman Rahwana dance is a dance work in the form of fragments created by Didik Bambang Wahyudi in 1987. This study aims to describe the form of presentation, analysis of motion, and the formation of dance movements of Anoman Rahwana. The research method used is descriptive analytic method with qualitative data, which goes through the stages of data collection, namely observation, interviews, and literature study. The problems that exist in this study are discussed using Soedarsono's theoretical basis to analyze the form of presentation, while for motion analysis using Soedarsono's theoretical basis and motion formation using Doris Humphrey's theory. The results obtained from this study are the Anoman Rahwana dance which discusses the form of the dish, in which there is a structure of the dish which is divided into four parts. Dramatic design in the form of a double cone, with the theme of the war between Anoman and Ravana. Make-up and costumes use the characters in each character, props use swords and candrasa, music design uses Javanese gamelan and uses Antawecana as dialogue, and dance moves derived from Surakarta-style dance moves. The analysis of Anoman Rahwana's dance moves contains representational movements that have a clear meaning and non-representational movements that are worked on to get an artistic form. The formation of Anoman Rahwana's dance movements in its movement patterns contains more designs of opposing lines, dynamics with various different tempos, using functional rhythms and mechanisms, as well as movement motivations inspired by everyday life, as connecting movements or transitions and to distinguish patterns motion in the character of the Surakarta style dashing dance.

“Eighteen of Wheels of Steel in Art Photography.” This project is aimed at expressing the photographer’s feelings and deepest aesthetic emotions based on his experiences with the existence of the heavy duty vehicles. The basis of photography is an expression media through the aesthetic and artistic instinct according to the elements of art and composition such as color, line, balance, light and dark, rhythm, and angle. The concept of this creation of photographic works is Eighteen (18) Wheels of Steel in art photography. The objects here are focused on heavy duty vehicles i.e. 18 Wheels of Steel, which are also or called trailers. The objects taken as the photography resources are presented in the representations of realistic forms as well as abstract patterns which can embody the artistic language of emotive expression using a creative and aesthetic approach. These works of photography therefore take the forms of expression based on the photographer’s experiences with the existence of the heavy duty vehicles which are cruisers or huge, strong, powerful vehicles. The creation of these photographic works was based on the expression as a basic pattern of creation relying on the colors and forms of the objects with aesthetic considerations based on the creative ideas and technical competences. So that the results from this photographic creation are not just forms of documentations but forms of art work presentations on a creative-aesthetic level as well. The approach is focused on the creative-aesthetic aspect which emphasized composition manipulations and photographic techniques such as the selection of objects, using the exact exposures, using the picture formats, and the angle of shooting. These techniques of course were used based on photographic technical considerations which were oriented to possibilities in practical implemen- tations. In this respect, therefore, in order to fi t the works to the concepts, a thematic grouping of trailers was done, based on detail, refl ection, on moving, and silhouette. The works of photography, therefore, will offer new experiences in perceiving trailers. In photographic view, trailers basically have distinct aesthetic values as objects of photography which will enrich the spectators’ visual insight. Keywords : 18 Wheels of Steel, Fine Art Photography, and Creative-aesthetic

The use of historical analysis to provide alternatives to authoritative justifications of accounting standards: A focus on stock dividends

A brief historical perspective on the development of the rate-quality control method and its use in the identification of hazardous roadway locations is presented. The evolution of the formulas used in the ratequality control method from their origin in the late 1950s to their present form is traced. The derivation of the basic formulas used in the method is also presented and discussed. It is suggested that, contrary to assertions in the literature, the accuracy of the equations used in the ratequality method is not improved by eliminating the normal approximation correction factor from the original equations. The need for the correction factor is particularly apparent at higher probability levels. Charts are provided for determining an appropriate correction factor for those who may wish to incorporate these factors into the equations.

Notes and Fragments THE MISUSE OF NIETZSCHE IN LITERARY THEORY by Michael C. Milam It is now widely claimed that deconstruction is passé. Whether this claim is true or not, there are certain myths that have been installed in general contemporary literary theory by deconstruction that persist and need to be exposed. One outstanding case is that surrounding Nietzsche. Most of the major deconstructionists have claimed that the philosophical orientation and the methodology of the deconstructive enterprise itselfare somehow attributable to Nietzsche's ideas. Attempts to appropriate the philosopher for this movement have generally fallen into three broad categories: "Nietzsche as linguistic nihilist"; "Nietzsche as impotent postmodernist"; "Nietzsche as first deconstructionist." Many of these claims are able to be made because his historical and philosophical context is simply ignored and, too often, the claims of Nietzsche's supposed affirmation of nihilism are rarely documented from his own work. Examples from the work ofJacques Derrida, David B. Allison, Paul de Man, andJ. Hillis Miller1 will demonstrate this misuse of Nietzsche. Deconstruction originated with Heidegger's philosophy and reached its present form in Derrida's view of language and the interpretation of texts. All "writing," for Derrida, is subject to the ineluctable vagaries of interpretation. Meaning is incessantly deferred, put off, or delayed. According to Derrida, no piece of writing can have an absolute, determinate meaning because words do not refer to any world outside of the text itself. In this sense, texts suffer from a "nihilism of reference," in that any philosophical or cognitive "value" is a linguistic illusion— Philosophy and Literature, © 1992, 16: 320-332 Michael C. Milam321 ultimately a "nothingness." Interpretation results, then, in a "free play" of signification in which all interpretations are considered arbitrary and ultimately indeterminable. Put in a historical perspective, the idea of determinate meaning, according to Derrida, is a vestige of the tradition of metaphysical thinking in the West. The deconstructionists insist that language is "burdened" with "logocentric" notions such as "order," "purpose ," "center," and others which reflect a now-untenable tradition. In other words, logocentrism "is taken to involve a set of value priorities typical of Western philosophers and intellectuals: the value of truth over illusion, ofscience over art, oflogic over rhetoric, ofliteral language over figurative."2 The purpose of deconstruction, then, is to seek out and discredit these notions in all texts and, thereby, liberate them from logocentrism (metaphysical "presence"). Derrida claims that Nietzsche's writing is, of course, not "privileged," hence, subject to free play and indeterminacy ofmeaning. Nevertheless, Derrida insists that free play is "a Nietzschean affirmation ... of a world of signs without error, without truth, without origin."3 There are major issues, suggested by Derrida's assertions, which Nietzsche addresses throughout his work concerning the affirmation of indeterminacy and the untenability of absolute concepts. Such questions are, however, ignored by Derrida in favor of assuming that Nietzschean affirmation has only to do with free play—the absolute relativity of meaning in any text. According to the Derridian position, Nietzschean affirmation can have nothing to do with "the terrible and questionable aspects of existence ," the Apollonian/Dionysian duality, the overcoming of nihilism, or amorfati in any substantive or referential sense because Nietzsche's texts do not refer to any "real" world. In Spurs: Nietzsche's Styles, Derrida takes this unequivocal position when he insists that all Nietzsche's writing can be considered as having no context, and therefore as undecidable, like the well-known cryptic note found in the Nachlass: "To whatever lengths one might carry a conscientious interpretation, the hypothesis that the totality of Nietzsche's text, in some monstrous way, might be of the type ? have forgotten my umbrella' cannot be denied."4 That Derrida uses "might" to qualify this statement does nothing to alleviate the fact that he argues adamantly for the fundamental undecidability of all of Nietzsche's work throughout Spurs. For Derrida, Nietzsche is the archetypal linguistic nihilist who affirms the "nothingness" of meaning . Although sparsely documented from Nietzsche's work and conveniently expedient, Derrida's general position, that he is a nihilist, has a history in Nietzsche studies beginning with Arthur Danto's Nietzsche 322Philosophy and Literature as Philosopher. Other deconstructionist positions on Nietzsche...

A brief historical perspective on the development of the rate-quality control method and its use in the identification of hazardous roadway locations is presented. The evolution of the formulas used in the rate-quality control method from their origin in the late 1950s to their present form is traced. The derivation of the basic formulas used in the method is also presented and discussed. It is suggested that, contrary to assertions in the literature, the accuracy of the equations used in the rate-quality method is not improved by eliminating the normal approximation correction factor from the original equations. The need for the correction factor is particularly apparent at higher probability levels. Charts are provided for determining an appropriate correction factor for those who may wish to incorporate these factors into the equations.

How did the Soviet “juridical person” concept impact the contemporary conceptualization of legal personality in Russia, China, and Vietnam? To find an answer to this inquiry, this article explores the historical progress of “juridical person”, tracing its origins from 19th-century theories, through 20th-century communist civil regulations, to its present form. To unravel the progression, the doctrinal method and comparative law methods serve as research methodologies. The theoretical framework surrounding “juridical person” recognizes two distinct doctrines: fictitious personality and real personality. With these doctrines, a careful examination of civil regulations in the targeted countries was undertaken. The findings reveal a remarkable consistency: all three legal systems predominantly follow the fictitious doctrine when conceptualizing “juridical person” in their civil regulations, especially their Civil Codes. While variations exist due to ideological and historical contexts, this uniformity emphasizes the enduring influence of Soviet law and legal tradition on legislators’ approach to this concept across these nations. The recent divergence also becomes comprehensible when observed from doctrinal and historical perspectives.

The Japanese government has embarked on a series of reforms aimed at stimulating technology transfer from universities to industry. As a result, technology licensing offices are springing up at many national universities. Advocates hope that these reforms will increase the level of university patenting and licensing, which historically has not been a common mode of technology transfer in Japan. Their model is the technology licensing process in the United States, which acquired its present form after passage of the Bayh-Dole Technology Transfer Act of 1980. Such changes face serious historical and institutional barriers. Academic researchers, especially in engineering and physical science, have a long record of collaborative research with industry. Decisions about patenting, however, were usually left to the corporate partner; universities rarely filed for patents under their own name, nor have they, until recently, encouraged or assisted faculty researchers in doing so. Consequently, we believe that current reforms, by going against the grain of past practices, will take time to achieve the hoped for results.

Landscape and national identity in Catalonia

Viewed purely from a historical perspective, the origin of micro finance could be traced back to the beginning of the cooperative movement in Europe, where the movement was started in 1844 in the field of cooperative-based credit system. After a span of 132 years, in 1976, in its present form it became Bangladesh’s most valuable contribution to the world and Prof. Mohammed Yunus the Nobel Laureate for Peace 2006 is considered the ‘Father of Modem Micro Finance Movement ’. The success of Grameen Bank model has inspired and got replicated in one or the other form in many parts of the world. The philosophy of voluntarism and ‘ One for All and All for One’ was the backbone of micro finance movement. Similarly, the enactment of the Cooperative Credit Societies Act, 1904 could be considered the beginning of micro finance in India. Since independence, the Government of India in general and Reserve Bank of India in particular have made concerted efforts to provide the poor with access to credit. The first to express it categorically was the All India Rural Credit Review Committee, after a gap of 62 years in 1966. However, the limited success of co-operatives forged the need for nationalisation of commercial banks and later on establishment of Regional Rural Banks, which have mandated credit programmes for the low income households. For various reasons, the credit flow to the poor for meeting all their requirements did not get institutionalised. Some of the major causes lie in the difficulties in dealing effectively with a large number of small borrowers, who require credit frequently and in small sums, and also the banks’ perceptions of the risk and creditworthiness of these borrowers. To address these problems effectively the micro finance has been tried as a viable alternative for reaching the hitherto unreached and under-reached, to fill up the demand-supply gaps. Micro finance is the provision of thrift and credit and other financial services or products of very small amounts to the poor for enabling them to raise their income level and living standards. It has the potential to augment growth with social justice. The programme does not envisage any subsidy support from the government. Micro finance is not a mere financial intervention. It is a holistic approach covering social intermediation along with provision for financial services needed by the poor such as thrift, credit and insurance. In short, micro finance is the cutting edge of the development of the poor.