Hide Your Research Articles

Hide your Constitutions, the Rural Whites are Coming!

Hide your Constitutions, the Rural Whites are Coming!

The Cases of Burner Accounts on Weibo: Do Burner Accounts Really Hide Your True Identity?

A burner account refers to “an often-temporary social media account that is created for the purpose of remaining anonymous”. On the one hand, Burner account users hide their private information, and on the other hand, they carry out bold self-disclosure in many aspects such as emotions and interests. Such user behavior research may be of great significance for us to understand the emotions and interests suppressed by acquaintances in the relationship society. Burner accounts are likely to continue to be a typical aspect of online communication for the foreseeable future as social media sites continue to struggle with the trade-offs between transparency and privacy. Meanwhile, the use of burner accounts also highlights the potential risks in the context of government supervision.

Hide Your Pride: The Long Struggle for Recognition of LGBTQ Rights in India with Reference to the Penal Provisions in India

Hide Your Pride: The Long Struggle for Recognition of LGBTQ Rights in India with Reference to the Penal Provisions in India

Hide Your Distance: Privacy Risks and Protection in Spatial Accessibility Analysis.

Measuring spatial accessibility to healthcare resources and facilities has long been an important problem in public health. For example, during disease outbreaks, sharing spatial accessibility data such as individual travel distances to health facilities is vital to policy making and designing effective interventions. However, sharing these data may raise privacy concerns, as information about individual data contributors (e.g., health status and residential address) may be disclosed. In this work, we investigate those unintended information leakage in spatial accessibility analysis. Specifically, we are interested in understanding whether sharing data for spatial accessibility computations may disclose individual participation (i.e., membership inference) and personal identifiable information (i.e., address inference). Furthermore, we propose two provably private algorithms that mitigate those privacy risks. The evaluation is conducted with real population and healthcare facilities data from Mecklenburg county, NC and Nashville, TN. Compared to state-of-the-art privacy practices, our methods effectively reduce the risks of membership and address disclosure, while providing useful data for spatial accessibility analysis.

Blood Clock 2020: Challenging Culturally Mandated Acts of Feminine Discretion

Blood Clock 2020:Challenging Culturally Mandated Acts of Feminine Discretion Se Jong Cho (bio) When I read the description of, and the public reaction to, Pipilotti Rist's Blutclip (1993) in "The Colorful Worlds of Pipilotti Rist" (Calvin Tomkins's 2020 profile of the artist in The New Yorker), I recalled how I felt ashamed about my menstruation for a long time while growing up in South Korea and in the US. It occurred to me that this sense of shame must have sprung from culturally mandated acts of feminine discretion: hide your tampon when you are going to the bathroom, erase all traces of blood in the toilet, and don't talk about your period lest you make people feel uncomfortable. Rist created Blutclip—Blood Clip, in English—one year after a positive reception of Pickelporno, her response to the discussion around pornography and feminism in the 90s. Filmed with a tiny surveillance camera, Pickelporno exposes glimpses of foreplay, interspersed with shots of lush natural imagery and other human body parts, including "an erect and friendly penis." Despite the explicit sexual candor, Pickelporno, according to Tompkins, "offended no one—it even aired on Swiss television." But Blood Clip's depiction of menstrual blood, intended (in Rist's words) "to get the blood out into the open" and showcase this "marvelous liquid, this flesh-clock," did cause offense, seen by some as "taking feminism too far." What does it mean to take feminism too far? Menstrual taboos and stereotypes are still ingrained in contemporary social structures, impacted by religion, nationality, politics, economics, ethnicity, class, gender identity, and many other sociocultural factors. "Taking feminism too far" by getting "the blood out into the open" means challenging the strictures that mandate acts of feminine discretion, that necessitate economic burden on women for feminine hygiene, that equate femininity with neuroticism, and that align fertility with control. Inspired by Rist, I also wanted to get the blood out into the open, because the contemporary social structure needs to be challenged as a prerequisite for moving toward an equitable future. To get the blood out into the open, I made twelve paintings documenting my menstrual cycle: one for each month of the year 2020 when our collective sense of time had been distorted by the global pandemic. This body of work is titled Blood Clock 2020 as it is my response to Blood Clip to showcase my own "marvelous liquid, this flesh-clock." [End Page 107] Susan Sontag in Against Interpretation observed that works of art "give rise not to conceptual knowledge but to something like an excitation, a phenomenon of commitment, judgment in a state of thralldom or captivation." With Blood Clock 2020, I intend to captivate the audience in a contemplation of the red liquid without turning away with a sense of shame or disgust that is often associated with menstrual blood. Instead, I wanted to celebrate menstrual blood as the medium for human existence that nourishes our culture and gives birth to new lives. To foster a consideration of the human existence and temporal scales within the context of the larger world, I suspended the blood droplets against lush landscapes, ranging from desert plains to aquatic and mountainous environments. I integrated imagery from paintings by Georgia O'Keeffe, who masterfully painted flowery vaginal images without stirring any sense of shame nor perverting the subject. I wanted to simulate a dialogue with and learn from O'Keeffe, who famously stated, "I had to create an equivalent for what I felt about what I was looking at—not copy it." Accordingly, I integrated what I felt about O'Keeffe's paintings Deer's Skull with Pedernal (1936), Summer Days (1936), Lake George (1922) and Lake George Reflection (1921–1922), Pedernal (1945), and Black Palace II (1945) into my menstrual cycle paintings, to give rise to a new life through the synthesis of my creative desire and expression with those of O'Keefe and Rist. I also chose to depict the menstrual blood like hot wax dancing in a lava lamp. The undulation of blood droplets, like those of hot wax seamlessly and ceaselessly rising, merging, and reshaping, is meant to mesmerize and transport the...

“Hide your sickness and put on a happy face”: The effects of supervision distrust, surface acting, and sickness surface acting on hotel employees' emotional exhaustion

SummaryThe study of emotional labor and sickness presenteeism in the hotel industry is crucial due to the current context of economic uncertainty and to a climate of insecurity that forces employees to continue to show up for work even despite being sick. This research aimed to explore the effect of supervision distrust as an antecedent of surface acting on hotel service employees' emotional exhaustion levels. Sickness surface acting—the voluntary effort to suppress illness symptoms or to fake a healthy health status—was introduced as a new construct to explain the relation between a perception of supervision distrust and emotional exhaustion. A total of 166 employees from Portuguese hotels completed a five‐day diary survey. From these, 58 reported working while ill. The results showed that surface acting mediated the relationship between emotional exhaustion and supervision distrust. Further analysis with a subsample of 58 employees who reported frequency of sickness presenteeism revealed that for sick employees, sickness surface acting mediated the relationship between supervision distrust perception and emotional exhaustion. These findings bring the sickness surface acting construct to the sickness presenteeism literature, and highlight the importance of creating policies to reduce and manage the negative consequences of supervision distrust ‐ a factor capable of promoting attendance and sickness presenteeism behaviors. They also inform human resources managers of the negative impacts of “service with a smile” and sickness presenteeism in the hotel industry.

Echoing Retorts in Hárbarðsljóð and Lokasenna

Echoing Retorts in <i>Hárbarðsljóð</i> and <i>Lokasenna</i>

Honesty Fosters Trust

Honesty Fosters Trust

Public parks and crimes of property: get out there and enjoy the sunshine, lock your cars, and hide your bike

Cities promote the distribution of more and better greenspaces across their urbanized areas. These spaces are not, however, well received in all quarters, and a particular category of greenspace, the public park, is often lamented for its relationship with crime.his has been found true of parks, but little has been done to disaggregate the impact of park types or their location within the city. This study conducts such an investigation to identify the effects of different types of parks and to identify any differences of those effects across space. After accounting for the unique socio-economic and demographic circumstances of different areas within a particular Canadian city, London, Ontario, it is found that only very few parks are connected with higher rates of property crime.

Hide Your Kids, Hide Your Wives, Hide Your Beds: Marriage, Law, and Changing Social Norms in the United States

Hide Your Kids, Hide Your Wives, Hide Your Beds: Marriage, Law, and Changing Social Norms in the United States

“Smile and Please Hide Your Sickness”: The Role of Emotions and Sickness Surface Acting in a Present

The study of emotional labor and presenteeism climates in the hospitality industry is crucial due to nowadays context of economic uncertainty and the ambient of insecurity, that forces employees to...

Besteci Rauf Hacıyevin operetlerinin müzik dilinin üslup özellikleri

The operetta and the genre of musical comedy take a special place in the works of Azerbaijani composers. The investigation of the establishment and development of this genre is of great importance for the science of musicology. The creation of this genre took place in different decades of the twentieth century and also had a special impact on the work of other composers. The main task of the genre of operetta is to solve a problem with the help of humor, to show an unexpected flow of events and an unusual attitude of the characters to what is happening. Rauf Gadjiev used the genre of operetta and musical comedy in his works. His works in the genre have gained popularity not only in Azerbaijan but also in post-Soviet countries. The first work of R. Gadjiev, dedicated to the genre of musical comedy from the first days of his career, “Pranks of Students,” dates back to 1940, which corresponds to the student years of the composer. The work was written based on the work of the English playwright Brandon Thomas “Aunt Charley.” The work was the first test of the composer, and R. Gadjiev returned to this genre in 1960. One of his bright operettas is “Romeo is My Neighbor,” the premiere of which took place in Baku under the name “Neighbors.” Soon after this, the work also received great sympathy among the Moscow public. The song “My Lover” (“Sevgilim”), passing as a leitmotif, subsequently continued its independent concert life in the repertoire of outstanding singers. The combination of people from different strata of society, old and young, with different worldviews and ways of thinking, and the depiction of the characters by brilliant music of each image are among the reasons for the high appreciation of the operetta of R. Gadjiev. Far from musical comedies and operetta styles on the stage of the Azerbaijan Musical Theater, the composer managed to create a new style that used modern musical expressions and delighted the audience. In 1963, the composer presented his new work to the Moscow Theater. The operetta “Cuba, My Love” was dedicated to the 5th anniversary of the Cuban Revolution. The courage exhibited by the Cuban people in achieving their freedom was met with great enthusiasm in Soviet countries, and the plot of the operetta was dedicated to the struggle of the Cuban people for freedom. This theme, which does not correspond to the operetta genre, posed a number of problems in front of the composer, but he was able to justify himself by comparing serious and comic, humorous and satirical, lyrical characters. In 1969, the composer presented the work “Don’t Hide Your Smile,” and in 1971 the operetta “The Fourth Vertebra” in a new style. “Don’t Hide Your Smile” was more of a vaudeville character. Its main feature is the bright national atmosphere. The operetta of the composer “Crossroads” was met with great enthusiasm in 1981. The theme of this work is the revolutionary events of the early twentieth century. However, this theme was presented in a unique way. Although there are no scenes representing these events in the work, they indirectly play an important role. The primary attention in the operetta is paid to ordinary people, who must bear the burden of these events. This is shown in the first act. The overture of the operetta is somewhat different from the traditional one: the polyphony of sound symbols, which combine contrasting images, prevails here, the call for prayer “Ezan,” the factory bell, and a charming song are mixed. This musical number represents the bright face of revolutionary Baku of that time. The image of the city also opens in the market. The main characters live in the middle of this market. A typical home scene presents the first presentation of images. The composer used a wide range of folk song genres. This scene is also typical for the beginning of the main dramatic line of the work. A total of 7 operettas of the composer, 5 of which were staged on the stage of the Moscow Theater, were successful. The contribution of the composer to the development of the genre of operetta and musical comedy is priceless. In his operettas, literary and musical dramaturgy is enriched with new studies. The composer managed to create brilliant musical masterpieces by widely using a variety of pop and jazz music.

Hide Your Pain: Social Threat Increases Pain Reports and Aggression, but Reduces Facial Pain Expression and Empathy

Earlier research studying the effects of social threat on the experience and expression of pain led to mixed results. In this study, female participants (N = 32) came to the lab with 2 confederates. Both confederates administered a total of 10 painful electrocutaneous stimuli to the participant. The framing of the administration was manipulated in a within-subjects design: In the low social threat condition the participant was told that the confederate could choose between 10 and 20 pain stimuli, thus they believed that this confederate chose to administer the minimum allowed number of pain stimuli. In the high social threat condition the confederate had a choice between 1 and 10 stimuli, thus they believed that this confederate chose to administer the maximum allowed number of stimuli. Participants reported on the intensity, unpleasantness, and threat value of the painful stimuli, and their facial expression was recorded. Moreover, aggression and empathy toward the confederates were assessed. As hypothesized, participants reported increased pain intensity, unpleasantness, and threat in the high social threat condition compared to the low social threat condition, but showed less facial pain expression. Finally, participants exhibited increased aggression and reduced empathy toward the confederate in the high social threat condition. PerspectiveSocial threat reduces painful facial expression, but simultaneously increases pain reports, leading to a double burden of the person in pain. Additionally, social threat affected social relationships by increasing aggression and reducing empathy for the other.

Polar bear hair inspires stealth fabric

Hide your lettuce and lock up the carrots: Stealth rabbits are on the prowl. Researchers have woven a cloak that makes a bunny almost invisible to infrared cameras, thanks to fibers that mimic the structure of polar bear hairs (Adv. Mater. 2018, DOI: 10.1002/adma.201706807). The hairs of a polar bear have hollow cores, which reflect back IR emissions from the animal’s body. By trapping those emissions, this structure helps prevent heat loss and keeps the bears warm in their Arctic environments. But the hairs have an added advantage: They can conceal the bears from thermal imaging cameras used in many night-vision devices. Textiles that can mimic polar bear hair’s IR-reflecting abilities might be useful in stealth applications, such as concealing soldiers. Previous attempts to make synthetic versions of the hairs have produced fibers that are too weak to be practically useful. A team from Zhejiang University has now used a

‘Y’all need to hide your kids, hide your wife’: Mobile applications, risk and sex offender databases

This article reflects upon recent developments in sex offender tracking and monitoring. Taking as its focus a suite of mobile applications available for use in the United States, the author explores the impact and consequences of remediating the data held by State offender databases. The article charts the recent history of techno-corrections as it applies to this category of criminal, before then undertaking an analysis of current remediation of this legally obtained data. In doing so, the author identifies how the recontextualizing of data serves to (re)negotiate the relationship between the user, the database and registered sex offenders. The author concludes by arguing that the (mobile) mapping of offender databases serves to obscure the original intentions of these recording mechanisms and might hinder their effectiveness in reducing sex offending.

City Profile: Wellington: Where Words Are Waiting

WORLDLIT.ORG 7 Like a beautiful, moody lover, Wellington doesn’t need to treat you kindly. Friends may sometimes wonder what you see in it, but when the city is good to you with its days of almost painful gorgeousness and clarity, you can forgive its bluster, its temper tantrums and cold shoulder. You may be clutching a lamppost, but at least you know you’re alive. – Kate Camp Wellington has been named “the coolest little capital of the world” and one of the top ten places to escape to. Affectionately known as Wellywood, New Zealand’s hipster capital is a city of film, sculpture, and creatives. Yet its literary credentials extend far beyond Tolkien. Katherine Mansfield casts a long shadow . In stories such as “Prelude,” “The Garden Party,” and “At the Bay.” In the restored Katherine Mansfield House and Garden where she spent her early years. In Woman of Words, the three-meter-high sculpture laser-cut with her words and phrases, depicting her striding along Lambton Quay. In her featured words, among those of twenty-three writers on the Wellington Writers Walk. From the landmark Wellington Central Library with its nikau palm columns, walk through Civic Square over the sculptural city to Sea Bridge. Scattered along the waterfront, often in the most unexpected places, lie concrete and metal inlaid quotations from some of New Zealand’s bestknown writers. Everywhere good words are waiting to be found. In independent bookstores with their helpful, knowledgeable staff: Unity, with its excellent range of intelligent New Zealand and international titles, its launches and readings; Kelburn’s Vic Books and Ekor with their superb coffee and food; Thorndon’s Millwood Gallery, which also sells artwork; Marsden in Karori; and the Children’s Bookshop in Kilbirnie. In secondhand bookstores: Arty Bees, with over one hundred thousand books; Pegasus, with its great readings; and The Ferret. But hide your books as you pass nearby Cuba Mall’s quirky bucket fountain. It’s designed to splash. The International Institute of Modern Letters organizes lunchtime Writers on Mondays at the national museum, Te Papa, and produces the online Best New Zealand Poems and literary journal Turbine. Wellington ’s many literary journals include two of the country’s best—Sport and the only one exclusively dedicated to reviewing the nation’s books, New Zealand Books. Bursting with literary activity, Wellington hosts the internationally star-studded biennial New Zealand Writers and Readers Week, the hugely popular LitCrawl, National Poetry Day events, poetry slams, and monthly poetry readings in the inner city and up the coast. What’s not to love in the world’s windiest city? Find a sheltered spot with a craft beer or one of the world’s best flat whites. Look out at the hills, the harbor, the sea. The city opens like a well-loved book. Alison Wong’s historical novel, As the Earth Turns Silver, is set in Wellington. To read a story and poem by Alison Wong, turn to page 28. Her Wellington reading list appears in the Takeaway at the end of this issue. photo : flickr . com / people / feefoxfotos Notebook city profile Wellington Where Words Are Waiting by Alison Wong ...

Jeolla Lass

Jeolla Lass Yi Yong-ak Translated by Brother Anthony of Taizé (bio) Jeolla Lass You grew up loving colorful clamshells, your eyes blue as the sea, your face lightly tanned, little lass. And I am a boy from Hamgyeong who crossed the cold iron bridge with freezing feet. The sounds of howling wind and tigers are less frightening now. Beneath this dim lamp I try to drink away the sorrows crowding in like a fog, as I expect grim news will suddenly arrive, in this Manchurian tavern where neither the walls nor the neighbors can be trusted. I have come harboring curses. I have come through fierce blizzards, little lass; now as I wander through the shady woodland lanes in your breast, pour the wine gently, pour it slowly to the brim, and in it soak softly, please, your story of destitution. Did you say you crossed the Tuman River three months ago? Was every hill you climbed, mile after mile, aflame with scarlet leaves? Lonely and sorrowful, did you hide your face in your skirts? Did you weep like a crane for two days and nights as the train flew by, as if among clouds, and were the windows misted over? As if intoxicated by the gentle breaking of waves, your smile sometimes freezes, still showing your dimples, [End Page 157] little lass, Jeolla lass, about to weep, about to weep, never weeping; with a few words in your dialect, let me summon up an unseasonable spring. Returning you for a moment to your homeland, when your pigtails, tied with soiled pink ribbons, flapped in the wind. As soon as there is light enough on the icy road, I shall set off quickly across the snowy plains, I shall vanish without so much as a song. I shall vanish without a trace. [End Page 158] Brother Anthony of Taizé Brother Anthony of Taizé has published more than thirty volumes of translations of Korean poetry. Recently, he published ten volumes of work by Ko Un, along with volumes by Lee Si-Young and Kim Soo-bok. Born in Cornwall in 1942, he has lived in Korea since 1980 and was naturalized as a Korean citizen in 1994. Brother Anthony has received the Republic of Korea Literary Award (Translation), the Daesan Award for Translation, the Korea PEN Translation Prize, and the Ok-gwan (Jade Crown) Order of Merit for Culture from the Korean government. He is also emeritus professor of English at Sogang University and Chair of the International Creative Writing Center at Dankook University. Copyright © 2015 University of Hawai‘i Press

After 10 years as Editor: some thoughts

After 10 years as Editor: some thoughts

Does your pricing hide your company's true value to customers?

PurposeThis article illustrates how companies can render themselves vulnerable to inappropriate price comparisons if their pricing structure hides the true value of their services from customers, and offers strategies for overcoming pricing problems.Design/methodology/approachThe examples cited all stem from the author's extensive experience helping companies become more effective at strategic planning and implementation in many areas, including pricing.FindingsCompanies can avoid getting “McKinseyed” by unbundling their services and making a strategic decision to charge for everything.Practical implicationsCompanies must make sure their value proposition correlates with their customers' reality, and make that value clear to customers by refusing to allow it to be obscured by the mechanics of billing. The executive team must also understand the company's customers and what elements of the service they value.Originality/valueThe value of this article to corporate executives lies in its reality‐based perspective on the pitfalls associated with pricing services and its practical recommendations for avoiding or overcoming pricing problems.

A Response to “Psychopathology, Sin and Evil—A Case of “The Disconnected/Unplugged Man”

Surely I was sinful at birth, sinful from the time my mother conceived me. Surely you desire truth in the inner parts; you teach me wisdom in the inmost place. Cleanse me with hyssop, and I will be clean; wash me, and I will be whiter than snow. Let me hear joy and gladness; let the bones you have crushed rejoice. Hide your face from my sins and blot out all my iniquity. Create in me a pure heart, O God, and renew a steadfast spirit within me. Do not cast me from your presence or take your Holy Spirit from me. Restore to me the joy of your salvation and grant me a willing spirit, to sustain me. Psalm 51:5–12 (NIV)1 ABSTRACT. This article suggests a multidisciplinary analysis and a psychodynamic approach to pastoral psychotherapy when treating a male patient with schizoid features and habitual use of internet pornography. The article suggests a medical evaluation of hormone levels as a best practice prior to other treatments. Further suggestions include developing a broad understanding respecting the effects of pornography, individual awareness respecting personal attitudes and the capacity to be prophetic when appropriate as part of treating individuals with pornography addictions.