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Ivan Pavlov (1849-1936) and Santiago Ramon y Cajal (1852-1934) were two contemporary scientists who not only had a great impact on Russian and Spanish science but also on the international stage. Both shared several common features in their life and work, yet they followed fundamentally different paths during their training as scientists. While Pavlov received his laboratory training under the guidance of Ilya Tsion (1843-1912), Cajal did not receive any formal training within a particular laboratory nor did he have a mentor in the traditional sense, rather he was mainly self-taught, although he was supported by key figures like Maestre de San Juan (1828-1890) and Luis Simarro (1851-1921). In this article, we compare the scientific training of these two Nobel Prize laureates and the influences they received during their scientific lives.

This course presents the DataFlow SuperComputing paradigm, defines its advantages and sheds light on the related programming model with hands-on coding experience. DataFlow computers, compared to ControlFlow computers, offer speedups of 20 to 200 (even 2000 for some applications), and power and size reductions of up to 1/20. However, the programming paradigm is different, and has to be mastered. The course explains the paradigm of programming in space, using Maxeler (a provider of multiscale dataflow computing systems) as an example, and gives an overview of ongoing research in the field. Examples include DataEngineering, DataMining, FinancialAnalytics, ImageProcessing, etc. The course also covers advanced DataFlow issues like: Compilation, OS, and methods for speed-up maximization, using tools like WebIDE and MaxIDE. DataFlow potentials are discussed through the notions introduced by four Nobel Laureates: Richard Feynman, Ilya Prigogine, Daniel Kahneman, and Andre Geim.

Between 1909 and 1912 the Russian physiologist and journalist Ilya Fadeevich Tsion (1843-1912) – later known in French as Élie de Cyon – exchanged an extensive correspondence with the Italian physiologist and psychologist Casimiro Doniselli (1876-1960). Their collaboration was occasioned by the Italian translation of Cyon’s work "Das Ohrlabyrinth als Organ der matematischen Sinne für Raum und Zeit" (1908). The letters deal especially with Cyon’s theory of the cochlea as the musical and arithmetic organ and with the original contribution given by Doniselli with regard to the lively discussion on the relationship between physiological and psychological processes. The annotated transcripts of the most relevant letters of Cyon to Doniselli shed light on the final stages of Cyon’s obscure life and work as well as on his family and personality.

Ilya Bolotowsky (1907-1981), Study for the Hall of Medical Sciences Mural at the 1939 World’s Fair in New York, 1938/39 Huile sur toile, 76,2 x 121,9 cm. Wilson L. Mead Fund, 1977.1. The Art Institute of Chicago Photo credit: The Art Institute of Chicago / Art Resource, NY. * Study for the Hall of Medical Sciences Mural at the 1939 World’s Fair in New York (1938/39) est à la fois projection d’une œuvre à venir et survivance d’une peinture murale dont l’existence n’est connue que par le biais...

Expeditions were an integral part of the activity of the Russian Academy of Sciences, promoting its further development and prosperity. Expeditions also helped assemble data for future scientific development. In the first half of the 19th century, the territory of the Russian Empire included some regions of North America (Alaska, North California and the Aleutian Islands). The study of these areas was carried out with the participation of the Russian-American Company. The greatest merit for the scientific study of these regions belongs to a scientist from the Russian Academy of Sciences, Ilya G. Voznesensky. In this article, for the first time, attention will be paid to the analysis of organizational and documentary aspects of this expedition.

Jiahua Zhang, Ilya Borisovich Shatunovskiy: Perlocutionary Verbs and Verbal Aspect in RussianThe article deals with the aspectual peculiarities of perlocutionary verbs (PV), such as ubežhdat’ ‘to convince / persuade’, nastaivat’ ‘to insist’, ugovarivat’ ≈‘to persuade’, uspokaivat’ ‘to calm’, objasn'at’ ‘to explain’ and others in Russian. The imperfective aspect of the PV denotes activity consisting in saying a sequence of utterances aimed to achieve certain perlocutionary goal. The perfective aspect of PV can be of two types: (1) ‘X said “P” with the aim to achieve a perlocutionary goal, whether the goal achieved or not remains unknown’; (2) ‘X achieved the goal of the perlocutionary activity, what has been said for that remains not expressed in the sentence’. In which sense the perfective form of the verb is used depends on the verb being conative or nonconative. Conative verbs have the perfective (2), nonconative verbs have the perfective (1). Explanations for what the perfective “said” means in...

The «Sociology of the environment and thermodynamics of dissipative structures» developed by Ilya Prigogine presents important factors, both cognitive and functional, for the analysis and design of cities and territory. The article focuses on the processes of entropy = order/disorder, fluctuation, self-organization, self-locking, developing analogies between urban and territorial systems and thermodynamic processes. The article identifies precise dynamics of dissipative structure moments of creative originality that are useful in understanding and intervening in the space and time processes. This also explains the in-depth the causes of structural inequalities that characterize our social systems.

In the last two decades, organization theorists have sought to apply complexity theories developed in the natural sciences to the study of organizations. This article develops a fictional approach for critically interrogating two important complexity concepts — order-through-fluctuations and autopoiesis. Using these concepts in a metaphorical sense, this paper explores how science fiction and fantasy (SFF) can be used to prepare for and shape organizational analysis. Exploring the consequences of scientific innovation is a key purpose of SFF. The speculative nature of the genre makes it a fertile metaphorical ground for testing new management concepts. This article, therefore, uses two classic SFF novels to explore the metaphorical use of complexity concepts for organizational analysis: i. William Golding's Lord of the Flies is used to explore the dissipative structures model, a theory devised by Ilya Prigogine; and ii. Arthur C. Clarke's The City and the Stars is used to explore autopoiesis, a theory devised by Humberto Maturana and Francisco Varela. The article outlines the theoretical modeling possibilities from embedding fictional constructs into critical organizational analysis. It concludes by summarizing the methodological guidelines and business contexts for implementing literary praxiphorical analysis.

In the winter of 2010, as the professor of an introductory Gender Studies course in a Canadian university, author Ilya Parkins was involved in a community service learning project centered on the memorialization of women murdered in her university's local community. In this article, Parkins considers what limited this project, which was so promising in its addressing of a need articulated by a community partner, a local women's organization. She locates in the framework of service learning an incommensurability with the kinds of reflective engagement demanded by an ethical memorial practice. In the context of charges that service learning projects center the experiences and perspectives of the students over the members of communities they work with, she asks, what happens when the community being invoked by a service learning project consists of the dead and those who mourn them? Parkins argues that the project's successful unfolding required that students critically engage with issues of social location, including their own--an inquiry which would complicate the very terms of engagement in service learning: What is community and what is the student's relationship to the people she is working with? In this project in particular, this would require the ongoing incorporation of critical tools for thinking about privilege and its relationship to representation, and it would require an explicit working through of the stakes of memorialization, including its representational stakes. Herein, she engages in a retrospective examination of what worked and what did not work about the project and offers some ideas about how such a service learning undertaking, anchored in strategies of memorialization, might be approached. Language: en

If the 20th Century was the century of physics, the 21st Century is the century of cybernetics, biology and ecology. Technological advance has both crossed new frontiers and discovered old limits. Nobel laureate Ilya Prigogine broke new ground with his understanding that nature, including its human component, seeks to establish order out of chaos by “self-organizing,” not only according to pre-determined laws, but through random creative choices as well that are responsible for the endless novelty and potentiality of being. The technologically-armed purposive role of humans in the Anthropocentric Age thus takes on a new significance: “What we do today depends on our image of the future rather than the future depending on what we do today” as Prigogine puts it. “The equations of the future are written in our actions as well as in nature. Time becomes construction.” Nowhere is this truer than in the new science of genomics, which touches the soul, and in the effort to preserve the ecological balance that has enabled humanity to flourish within the narrow band of earth's livable climate. In this section we bring together leading thinkers, scientists and technologists of our age to address these issues of mankind's fate.

If the 20th Century was the century of physics, the 21st Century is the century of cybernetics, biology and ecology. Technological advance has both crossed new frontiers and discovered old limits. Nobel laureate Ilya Prigogine broke new ground with his understanding that nature, including its human component, seeks to establish order out of chaos by “self-organizing,” not only according to pre-determined laws, but through random creative choices as well that are responsible for the endless novelty and potentiality of being. The technologically-armed purposive role of humans in the Anthropocentric Age thus takes on a new significance: “What we do today depends on our image of the future rather than the future depending on what we do today” as Prigogine puts it. “The equations of the future are written in our actions as well as in nature. Time becomes construction.” Nowhere is this truer than in the new science of genomics, which touches the soul, and in the effort to preserve the ecological balance that has enabled humanity to flourish within the narrow band of earth's livable climate. In this section we bring together leading thinkers, scientists and technologists of our age to address these issues of mankind's fate.

In the introductory essay opening the thematic forum Ukraine and the Crisis of “Russian Studies”: Participant Observation of History in the Making , Ilya Gerasimov reviews the most common approaches to interpreting the Ukrainian political crisis of 2014. Drawing on the materials of the forum, he then suggests that the concept of “postcolonial revolution” is better suited to integrate all the key features of the phenomenon in question within one explanatory model: its democratic potential, the highly hybrid nature of the national community produced by the Euromaidan revolution, and the very fact that this community did not precede the revolution but became an evolving product of it. Most important, the revolution is characterized by the astonishingly persistent manifestation of people’s subjectivity. The Ukrainian revolution is a postcolonial revolution because it is all about the people acquiring their own voice, and in the process of this self-assertive act forging a new Ukrainian nation as a community of negotiated solidary action by self-conscious individuals. Gerasimov concludes with surveying the influence of the Ukrainian revolution on the international field of Russian Studies, and how it put to the test the convictions of those who preach a leftist and even revolutionary political agenda. Surprisingly many leftists in Europe and the United States (as well as in Russia) have sided with the cleptocratic and imperialist Russian regime against the revolutionary new Ukrainian nation. Gerasimov explains this by referring to the key distinction advanced in the essay by Yaroslav Hrytsak published in the forum: the distinction between identity-centered and value-oriented approaches. Many experts in the region and left-leaning intellectuals prefer to support Russian aggression against Ukraine because in this way they can keep unchanged their worldview structured by taxonomies of fixed identities: “Russia as a main antifascist force,” “Ukrainian fascists,” “American imperialists,” and so on. A critical deconstruction of familiar cliches implies that one has to enter uncharted waters and embrace a new, unfamiliar reality of post-postmodern society and postcolonial revolution. Резюме: Во введении к форуму “Украина и кризис ‘русистики’: включенное наблюдение исторического процесса” Илья Герасимов кратко разбирает наиболее распространенные подходы, объясняющие украинский политический кризис 2014 г. Опираясь на материалы форума, он предлагает модель “постколониальной революции,” как наиболее адекватно отражающую основные черты анализируемого феномена: демократический потенциал, крайне гибридную природу национального сообщества, возникшего после революции Евромайдана, а также сам факт, что это сообщество не предшествовало революции, но стало ее эволюционирующим результатом. Главной же отличительной чертой этой революции стало удивительно последовательное проявление субъектности людей. Украинская революция – постколониальная революция, поскольку основным ее результатом стало обретение людьми собственного голоса. В процессе этого самоутверждения формируется новая украинская нация как сообщество договорной солидарности сознающих свою уникальную субъектность личностей. В завершение Герасимов обращается к теме влияния украинской революции на международную русистику и тех, кто декларирует левые и даже революционные взгляды. На удивление, многие левые в Европе, США и России предпочли солидаризироваться с клептократическим и империалистическим российским режимом против новой, революционной украинской нации. Герасимов объясняет это обстоятельство, ссылаясь на ключевое различие, выдвинутое Ярославом Грыцаком, – между фиксацией на социальной идентичности и ориентацией на общие ценности. Многие эксперты по региону и левые интеллектуалы предпочитают поддерживать российскую агрессию против Украины, потому что таким образом они могут сохранить неизменной картину мира, сформированную таксономией привычных и жестких идентичностей: “Россия – главный враг фашизма”, “украинские фашисты”, “американские империалисты” и т.п. Критическая деконструкция знакомых клише привела бы к необходимости принять незнакомую новую реальность постпостмодерного общества и постколониальной революции.

Why do soldiers fight? Where the armies of Europe’s ancien regime were concerned, the existing scholarship is clear on this point. Life in an eighteenth-century army was apparently harsh and tightly controlled. Common soldiers were exhaustively drilled until they became a cog in a machine (a redolent image of the Enlightenment), leaving no scope for individuality or initiative. They were required to obey their superiors at all costs, or face arbitrary martial law. If they tried to flee the enemy or desert, they could expect to be executed. In a rare example of consensus between military and cultural history, Foucault described a similar state of affairs: the disciplinary regime of the military was a testing ground for forms of social power.

Este artigo pretende analisar a poética audiovisual articulada pelo diretor Luiz Fernando Carvalho na recente telenovela Velho Chico (2016). Compreendendo poética a partir de Bordwell (2008) que a define como um ramo de estudos do cinema voltado a manufatura audiovisual, isto é, a um entendimento sobre o processo de criação, produção e efeito. Entretanto, diferentemente de Bordwell cuja matriz conceitual gira em torno do cognitivismo, adotamos como ponto de partida as teorias sistêmicas de Edgar Morin, Mário Bunge, Ilya Prigogine e Jorge Vieira. Dessa forma, o texto centra-se, em primeiro lugar, no esclarecimento da organização sistêmica que molda a poética do audiovisual no que tange ao seu caráter colaborativo, isto é, vários agentes semióticos contribuindo na manufatura da obra, no caso a telenovela. Em segundo, é observado sua complexidade semântica com seus encontros e sincretismos sígnicos advindos de várias influências culturais e estéticas. Para em seguida, o artigo salientar que Velho Chico é, ao mesmo tempo, um ponto de chegada e um ponto de partida para círculo-evoluções sígnicas, isto é, para outros rincões sígnicos, fluindo, desaguando e se ramificando por outras vertentes, criando uma linguagem sinérgica e mestiça própria àquele universo ficcional. Por fim, o texto conclui que Velho Chico é uma jornada intelectual do diretor Luiz Fernando Carvalho na busca de um novo paradigma, uma poética audiovisual que acolha seus ideais estéticos: uno, múltiplo, complexo.

Ilya Vasilyevich was born in 1789, from eight years he studied first at the county school, then at the Chernigov seminary. In 1809, I.V. Buyalsky entered the Medical-Surgical Academy, after which he worked as an anatomy prosector, engaged in surgical activities, including issues of surgery of the blood vessels. In 1822, Buyalsky developed a spatula, in 1827–1830 - a turnstile, named after him. In 1823 he defended his thesis on the topic: "On the pathology and therapy of aneurysms." In 1824, Buyalsky wrote The Guide to Doctors for the Correct Examination of Dead Human Bodies for Recognition of the Cause of Death, Especially in Forensic Studies, is the first original Russian guide to forensic medicine. In 1825, Buyalsky was elected an extraordinary, and in 1831, an ordinary professor at the Department of Anatomy of the Medical-Surgical Academy and a consultant to the Mariinsky Hospital (1831-1864). In 1828, he prepared “Anatomic-surgical tables explaining the production of large artery dressing operations”, which became the first national atlas of topographic anatomy and operative surgery. In 1829, I.V. Buyalsky was appointed manager of the Petersburg Surgical Instrument Factory, where various instruments for doctors were produced. Since 1833, he served as operator of the Tsarskoye Selo Lyceum, since 1835 - Chief Doctor of all cadet corps. Buyalsky ligation of the nameless artery (1833), neurotomy (1835), removal of skin tumors, foreign body from the pelvic cavity (1835), vaginal and uterine polyps (1841), lipomas under chloroform anesthesia (1846), hernia repair (1847), plastic operations (1847), “an operation to destroy the rectal fusion” (1847), “extraction of embryos of the first 3-4 months or their succession during severe bleeding” (1852) and others. In 1837, Buyalsky was elected an honorary member of the Medical Council of the Ministry of the Interior, promoted to full state councilor. In 1838, Buyalsky received the title of a member of the Society of Russian Doctors and the title of honorary member of Kharkov University. In 1839, he was approved as an honored professor; in 1842 - in the rank of academician; in 1844 - in the rank of honorary member of the Academy with the preservation of "other positions and titles." In 1852, Buyalsky published the work Anatomic-Surgical Tables explaining the production of cutting and crushing stones, which laid the foundation for national urology. I.V. Buyalsky was awarded the Order of Vladimir 3 degrees (1840), St. Stanislav 1st degree (1843), Philip the Magnanimous (1844), Gustav Vaz (1848) and Oak Crown (1853). December 20, 1866 Ilya Vasilyevich died and was buried at the Big Okhta Cemetery in St. Petersburg.

Since its conception over 150 years ago, entropy has enlightened and confused scholars and students alike, from its origins in physics and beyond. More recently, it has been considered within the urban context in a rather eclectic range of applications. The entropy maximization approach, as applied by Alan Wilson and others from the 1960s, contrasts with considerations from the 1990s of the city as a thermodynamic dissipative system, in the tradition of Ilya Prigogine. By reviewing the relevant mathematical theory, we draw the distinction among three interrelated definitions of entropy, the thermodynamic, the figurative, and the information statistical. The applications of these definitions to urban systems within the literature are explored, and the conflation of the thermodynamic and figurative interpretations are disentangled. We close this paper with an outlook on future uses of entropy in urban systems analysis.

Homes of writers and artists that have been converted into museums are powerful frameworks for a wide range of both individual and group learning experiences. The museums have a unique ability to engage the learners on a deeper level by piquing their curiosity, and also by encouraging participative creative activities. The foundation is that of experiential learning, with an emphasis on authentic and content-based learning. Each visit to an artist’s home museum is a springboard for more universal learning experiences, particularly if the learner follows up and builds on memories of the visit, or to the museum’s website. Meta-cognitive development of analytical skills and creative techniques can enrich the learner, particularly when accompanied by both individual and collaborative online activities. Each artist or writer’s home provides a unique experience, which provides an opportunity for the museum’s educational and creative staff to be very creative. The homes in this article include those of Pablo Neruda, Alexander Pushkin, Ilya Repin, Carson McCullers, Isak Dinesen, and Juan José Arreola.

“The limits of my language mean the limits of my world.” —Ludwig Wittgenstein “The world is richer than it is possible to express in any one language.” —Ilya Prigogine, Nobel Prize-winning scientis...

This essay examines the designs and writings of the architect Paolo Soleri in the context of technologically oriented post-war architectural discourse. It seeks to demonstrate that not only was Soleri aware of the ideas gleaned by his contemporaries from the fields of cybernetics, systems theory and ecology, but that he had assimilated them to his own philosophy about the built environment as an evolutionary mechanism. Within that framework, aesthetics and the material nature of form became central to his thinking, but also became the aspects of his work that marginalised him vis a vis the architectural vanguard of the 1960s and 1970s. But the systems within which Soleri inscribed architectural form were very much in line with the new models of science and aesthetics being elaborated in the decades following the Second World War, and can be understood as part of a lineage of alternative materialist thought, including the work of Henri Bergson, Pierre Teilhard de Chardin, Ilya Prigogine and Gilles Deleuze....

The general plan of Goncharov’s novel Oblomov and Ugarov’s play The Death of Ilya Ilyich focuses on the problems of love and death as well as the narrative and metaphorical representation set of “leaving”. In this aspect, a common model of semiotization can be revealed, according to which all details are the facts of poetic construction.

William Connolly has made important interventions in political theory over a period of four decades, and the past few years have seen a surge in recognition of his contribution. Those who are familiar with Connolly’s ideas will know the role that continental theorists—especially Friedrich Nietzsche, Michel Foucault, and Gilles Deleuze—have played in the development of his thought, and more recently the uses he has made of advances in the natural sciences, for example in complexity theory, in the work of the neuroscientist Antonio Damasio, and the Nobel Prize–winning chemist Ilya Prigogine. With reference to these innovations, a consensus has emerged in recent discussions, that there is a basic discontinuity between Connolly’s “postmodern” theory of pluralism and the “old” pluralism of the generation of post-war political scientists. By way of contrast, in this essay I outline the congruity between Connolly’s ideas and earlier iterations of pluralism. I trace the essential continuities between Connolly and the leading post-war writers, especially Robert Dahl, Charles Lindblom, David Truman, and David Easton, and also his proximity to a tradition of pluralism that flourished in the early part of the twentieth century and was exemplified in the work of Arthur Bentley. Indeed, I make the case that Connolly’s work is best understood as the resumption and enhancement of a distinct canon of pluralism in American political thought.

This article presents the life and work of the pre-eminent painter of the late nineteenth and early twentieth-century Russian Empire, Ilya Repin, and analyzes his manifold connections with the land of his birth, Ukraine. Although Repin came to be known as the central figure of the Russian national school of art, he maintained close links to his Ukrainian homeland, always had close Ukrainian friends and colleagues, and repeatedly turned to Ukrainian themes during his long career as a painter. The article also briefly examines Repin’s identity and national loyalties within the context of the turbulent political developments of his time and the evolving separation of Ukrainian from imperial Russian identity.

Historical overview of development investigations on inflammation in Russia up to date is presented. Analysis of modern Russian language literature (1950–2010) on history of medicine and researchers’ activity on inflammation, as well as Russian language content of internet on this theme, was made. Many names of Russian researchers are still little known to the English-speaking Western readers. Starting in the eighteenth century, the mystery of the inner workings of the inflammation process attracted the interest of physicians and biologists of the Russian Empire. Accumulated knowledge focused mainly on the etiological factors of inflammation. In the nineteenth century, scientific schools emerged for studying inflammation and established close contacts with leading scientists in other countries. At this time, Ilya Mechnikov formulated his famous biological theory of inflammation, according to which inflammation is a protective adaptation response to an injury. He also developed his teaching on phagocytosis and was awarded the Nobel Prize. In the twentieth century, Russian scientists participated in the discovery of viruses and new bacterial pathogens, and in the investigation of the mechanics of the genesis and development of inflammatory processes. Today interest in studies of inflammation in Russia is on the increase; scientists united by the Russian Inflammation Society continue their quest to investigate inflammatory mediators, and study molecular and cellular mechanisms and approaches in the treatment of complications associated with inflammation.

Practical realism is focused on the problem of how science really works. In the case of physics and chemistry, experiment is the centrepiece of scientific practice. The rapid development of contemporary natural science does not leave the experiment unaffected. The classical experiment is normally applied only to systems that can be considered structurally stable, repeatability being the key feature. After the introduction of the theoretical basis of irreversibility by Ilya Prigogine the essence of the experiment changed. The strict requirement of repeatability has to be dropped. It will be discussed, whether the change is big enough for calling it revolutionary. There are means to update the understanding of the experiment by applying the experimental settings. The material experiment will probably be with us forever but its position on the scientific landscape will be shifted.

Dawn Lea Black and Alexander Yu. Petrov, eds. and trans., Natalia Shelikhova: Russian Oligarch of Alaska Commerce. xlix + 237 pp. Fairbanks: University of Alaska Press, 2010. ISBN 978-1602230736. $29.95. Mitropolit Kliment (Kapalin), Russkaia Pravoslavnaia Tserkov" na Aliaske do 1917 goda. 607 pp. Moscow: OLMA Media Grupp, 2009. ISBN 978-5373016186. Sonja Luehrmann, Alutiiq Villages under Russian and U.S. Rule. xx + 204 pp. Fairbanks: University of Alaska Press, 2008. ISBN 978-1602230231. $19.95. Gwenn A. Miller, Kodiak Kreol: Communities of Empire in Early Russian America. xvii + 216 pp. Ithaca, NY: Cornell University Press, 2010. ISBN 978-0801446429. $55.00. Ilya Vinkovetsky, Russian America: An Overseas Colony of a Continental Empire, 1804-1867. xiii + 258 pp. Oxford: Oxford University Press, 2011. ISBN 978-0195391282. $49.95. The five books reviewed here investigate the history of Russian America, which was sold to the United States in 1867 and became Alaska. Before that date, Russian America was a part of the Russian Empire, which extended to the North American continent. Works on the subject must thus deal with both Russian and American aspects of the area. Few specialists possess equal expertise in both contexts; and this, combined with language barriers and the peripheral location of Russian America/Alaska to both Russian and American national historiography, has hindered scholarship on the region. Yet with the publication of the three-volume Istoriia Russkoi Ameriki (History of Russian America), edited by the late N. N. Bolkhovitinov, and the increasing attention the field is receiving from serious Russian and Western scholars, the field is definitely progressing. (1) Even so, it continues to be marred by some historians' nationalist sentiments. Russian nationalists have been increasingly attracted to Russian America's history, which they see as a tragedy for Russia. (2) Similarly, there is an American nationalist narrative in some writing on Russian America, which criticizes the Russian period and celebrates the American presence in Alaska, in what is nearly a mirror image of Russian nationalist historiography. (3) Such authors tend not to know the Russian language or Russian history. The flaws in both bodies of work underline the need for serious scholarship on the topic to navigate between two national and historiographical extremes. The books under review here do begin to fill this need, although with varying success. The first book under consideration, Dawn Lea Black and Alexander Petrov's Natalia Shelikhova: Russian Oligarch of Alaska Commerce, is a collection of primary sources on the wife of Grigorii Shelikhov, who established the first permanent Russian settlement in what would become Russian America. She accompanied Shelikhov on his conquest of Kodiak between 1783 and 1786 and played a key role in securing the approval of the Russian American Company (RAC) as a monopolistic trading company in 1799 after Shelikhov's death in 1795, as has long been acknowledged. However, she has not been studied in her own right and is shown here as a canny businesswoman who protected her company from a host of ill wishers after her husband's death. These primary sources, including many of Shelikhova's letters, as well as petitions, reports, and the like, are important for scholars because they enrich our understanding of the early history of the RAC and deepen our appreciation of the difficulties Shelikhova had in defending her interests. The conflict between Shelikhova's company and its rivals is apparent in the sources, as is her mobilization of a broad range of contacts to prevail over them. It is useful to have these materials together in one volume. The introductions to the book as a whole and to the documents, which are chronologically arranged in six chapters, however, are somewhat diffuse and give footnotes only for direct quotations. Even paraphrased archival sources lack references that would allow scholars to find the original source in each case. …

There are potentialities to be harnessed in a fusion between elements of Alicia Juarrero’s views and a Polanyian framework. In this brief response piece, I address the latent Polanyian dimensions of Juarrero’s ontic approach to dynamical systems. “If all men were exterminated, this would not affect the laws of inanimate nature.” So begins Michael Polanyi’s essay, “Life’s Irreducible Structure” (LIS), appearing to convey a sort of common-sense realism. However Polanyi’s realism is not flatly commonsensical, for all inquiry irretrievably bears the marks of the embodied sorts of creatures we are, where our personal commitments make contact with (or enact) reality via universal intent. It should be kept in mind that Polanyi is neither an idealist (Hegelian or otherwise), a mere empiricist, nor even a transcendental idealist. Polanyi’s philosophy is post-Kantian (and more generally post-critical), where his pragmatic realism is both commonsensical in its recognition of orders of being “greater than ourselves,” as it were, and radical in its manner of grounding ontologies in tacit knowing’s epistemic workings. Furthermore, this is a realism not adequately characterized as “mutualistic” if such a conception implicitly divides knower from known, placing what is to be known in dialectical relation to knower (forming a reticulatory arc between the two). Such a divide is something Polanyi struggled with in attempting to form a philosophical framework where knower and known are inextricably bound up in a field of (semiotic) inquiry rather than related via poles of implicit division. Exactly how is Polanyi post-Kantian (and post-critical more generally)? A simple answer lies in inquiry’s consequential dimension: given the sorts of creatures we are, our inquiries are bounded by these constraints that are simultaneously enabling constraints allowing for exploration and discovery. So one initial sense in which Polanyi is post-Kantian has to do with the ways in which he examines the nature and contours of inquiry, in its indefinite manifestations. Kant delimits reason’s capacities; Polanyi, as it were, starts there and then fleshes out the various creative capabilities of inquiry (which, as discussed below, is a broader notion than “reason”). But there is a deeper element to Polanyi’s post-Kantian investigations that actually subtly undermines the Kantian framework itself. The open-ended nature of inquiry, in tandem with commitments, made with universal intent, actually reflect back upon the nature of cognition itself and its Kantian assumptions: the self-reflexive arc of inquiry also applies to the nature of inquiries made, and thereby changes just what “reason” and the like are. Thus a deeper sense in which Polanyi is post-Kantian has to do with this opening up of the very limits of the Kantian project: inquiry is affective, imaginative, fraught with risk that comes from commitments, bound up with communities of inquirers, and makes contact with realities. Knower and known are crisscrossed (and not merely dialectically related), as are the rather static Kantian notions like theoretical and practical reason, aesthetic and pragmatic judgment, and the like. Noumena, which are transcendental conditions of knowing for Kant, would be for Polanyi inextricably ensnared with the consequential fruits of indefinite inquiry—or in Peircean fashion, of indefinite semiosis.1 This general picture of Polanyi’s philosophical orientation I think has crucial bearing on the important work that Alicia Juarrero is doing in relating dynamical systems and emergence to a new metaphysics. Tradition & Discovery: The Polanyi Society Periodical, 40:3 17 There are potentialities to be harnessed in a fusion between elements of Juarrero’s views and a Polanyian framework. In this brief response piece, I hope to convey some of the promise that this synthesis may hold. Boundaries and Implicit Importations Polanyi’s ideas on types of boundary conditions and how they relate to dual control, emergence, and hierarchies have received discussion elsewhere (e.g., see TAD 39:2 and 40:1). The new issue that Juarrero raises concerns the status of boundaries as they relate to second-order constraints. Specifically, she discusses the notion of endogenously generated, emergent constraints, most especially exhibited in chemical processes like the Belousov-Zhabotinsky (BZ) reaction. As Juarrero insightfully observes, it is probably not coincidental that chemist-philosophers like Polanyi, Ilya Prigogine, and Charles Sanders Peirce took special interest in emergence. What Juarrero is arguing for—beyond mere resonance with Polanyi’s active boundary conditions that exhibit controlling principles—is the endogenous, autonomous (in the sense of being self-generating and sustaining) character of second-order constraints, which she thinks can ultimately divorce itself from Polanyi’s notion of active boundary conditions. In other words, even if a Polanyian account were to be given of the BZ reaction using the language of dual control, emergence, boundary conditions, tacit intimations of hidden realities made manifest via connoisseurship and universal intent, etc., such an account would miss the significant ontic dimension of what the BZ reaction and other similar phenomena reveal, namely, the endogenous generation of second-order constraints whose emergent and actual properties act on the world in novel ways. Given the emergence of such stable/resilient phenomena, which have claim to a significant degree of autonomy (even as they depend-on-and-enable their lower-level processes), such phenomena can, as it were, jettison the purportedly epistemic categories of dual control (active boundary conditions, etc.) by which we, in coarse-grained fashion, understand such phenomena. Ontics trump epistemics, in a nutshell. How might a Polanyian respond? I think extended reflection on some of Polanyi’s writings on physico-chemical laws and their intersections with biology can address Juarrero’s concerns, as I hope to reveal. Let’s first start with some insights on how biology differs from chemistry and physics. In LIS Polanyi writes: In the light of the current theory of evolution, the codelike structure of DNA must be assumed to have come about by a sequence of chance variations established by natural selection. But this evolutionary aspect is irrelevant here; whatever may be the origin of a DNA configuration, it can function as a code only if its order is not due to the forces of potential energy. It must be as physically indeterminate as the sequence of words is on a printed page (1308). What Polanyi is drawing attention to here, I suggest, is that however order arose, resulting in fixed accidents like DNA (or any sort of adaptive complexity at any phenotypic level), the point is that the laws of chemistry and physics underdetermine the code aspect of DNA. For such a code is not merely an informational configuration; it also functions algorithmically, processing particular kinds of information in structured ways.2 To borrow a distinction from the eminent biologist and philosopher of biology Ernst Mayr, Polanyi can be interpreted as distinguishing between “teleomatic” and “teleonomic” processes. Teleomatic processes (purposive, mechanical types of behavior) are studied throughout the sciences, most especially in physics where, say, inanimate objects are modeled when tracking projectile motion, whose end-state would be the projectile’s predicted target. Teleonomic processes or behaviors, by contrast, owe their “goal-directedness to the operation of a program.”3 It is a mistake to conflate these two sorts of phenomena, for example by collapsing a physico-chemical description of DNA with the coding/ programming functions it serves, which occur at a higher-level of understanding. On this very point Polanyi has been critiqued, in hindsight, as being wrong about life’s irreducible structure on the grounds

Cristina Vatulescu, Police Aesthetics: Literature, Film, and the Secret Police in Soviet Times. 247 pp. Stanford, CA: Stanford University Press, 2010. ISBN13 978-080460805. $60.00. Communist regimes were obsessed with intellectuals. Enormous resources were mobilized to ensure their obedient regimentation and transformation into "state artists." Lenin, who was himself a trained lawyer, held the intelligentsia in deep contempt, while trying to lure and enroll as many scientists and engineers as possible in support of Soviet power. Antonio Gramsci, in turn, described the Leninist vanguard party as a collective intellectual. Cristina Vatulescu's outstanding book focuses on the fate of the unregimented creative intelligentsia in Stalin's Russia and Stalinized Romania, the interplay between artistic creation and police supervision, coercion, and persecution. Drawing from secret police archives in Russia and Romania, this superbly researched and original book captures the tragic destinies of major artists caught at what Lionel Trilling called the bloody crossroads where politics and literature meet. The thesis of the book is clearly spelled out: "The secret police file emerged and acquired its overwhelming authority precisely at a time when the authority of literary texts was in deep crisis" (7). The book includes chapters on the nature of secret police files, their contents and their relationship to the two stages of surveillance and investigation; the invisible, often mysterious connections between the work of art, in this case Mikhail Bulgakov's The Master and Margarita, and the author's secret police file; the role of films and filmmakers (such as Dziga Vertov) in turning their professional output into an instrument for societal control of criminality ("kino policing"); cinematic representations of the Gulag done in collaboration with the secret police and the annexation of art by the voracious police-propaganda complex; and estrangement as an explanatory concept for understanding the relationship between literary theory and the secret police. In fact, as Vatulescu demonstrates, secret police files were the hidden counterpart to real biographies and genuine creations. They were constructed counternarratives inspired by the official demonology. (1) Secret police officers became co-authors of these hidden "masterpieces." Isaak Babel', for instance, became a serial foreign agent of sorts, confessed to surreal charges, and was executed without a show trial. His main "guilt" was imprudent association with Evgeniia Ezhova and her fateful literary salon. (2) Others in the same accursed circle were not arrested, but undoubtedly they were closely watched by a myriad of enthusiastic informers. Stalin's personal literary interests and taste played a major role: this may explain why the "cosmopolitan" Ilya Ehrenburg (II'ia Erenburg) managed to survive, whereas others less involved with the West perished during the successive waves of terror, including the trial of the Jewish Antifascist Committee. (3) An epigraph from Vladimir Nabokov at the start of the introduction captures in a disturbingly luminous way what the author defines as zones of intersection among literature, film, and secret police in totalitarian environments: "The history of Russia ... could be considered from two points of view: first, as the evolution of the police ... and second, as the development of a marvelous culture." Vatulescu develops provocative hypotheses regarding Soviet culture under Stalinism, including the role of the visual arts in constructing legitimizing discourses for the concentration camps. In other words, in some cases, before becoming zeks, some intellectuals were willing to endorse the Gulag through their work. (4) By placing the Romanian experience under scrutiny and exploring the cases of remarkable figures such as Constantin Noica and N. Steinhardt (both major thinkers arrested and jailed, both continuously watched by the Securitate), this book makes a major contribution to the comparative analysis of intellectual survival under communism. …

Michael Polanyi argues that in the case of both organisms and machines the functionality of the higher level imposes boundary conditions that harness the operations of lower level components in the service of the higher level, systemic whole. Given the science of his day, however, Polanyi understands this shaping of boundary conditions in terms of the operation of an external agency. The essay argues that the science of nonlinear, far from equilibrium thermodynamics in general, and the phenomenon of autocatalysis in particular, explains how the endogenous closure of context-sensitive dynamic constraints shapes their boundary conditions such that self-organized, causally effective properties emerge. It has been nearly forty-five years since Michael Polanyi’s “Life Transcending Physics and Chemistry” and “Life’s Irreducible Structure” appeared in Science and Chemical & Engineering News and are now available in SEP and KB, respectively. Over thirty-five years have also passed since Ilya Prigogine became a Nobel laureate in Chemistry for his discovery of dissipative structures. That same year, 1977, Prigogine coauthored (with Gregoire Nicolis) Self-Organization in Non-Equilibrium Systems, Prigogine’s first book extending the concept of dissipative structures from physical thermodynamics into the biological realm. I would like to take the opportunity of these anniversaries to explore the role of boundary conditions in complex systems—in particular, how boundary conditions come into existence and are causally effective. In “Life’s Irreducible Structure,” we find the following descriptions of the operation of boundary conditions on components: top-down (to use our terminology), each [level] “reduces the scope of the one immediately below by imposing on it a boundary that harnesses it to the service of the next higher level, and this control is transmitted stage by stage to the basic inanimate level” (KB, 234, emphasis mine). I cite this sentence in particular because the verbs reduces, imposes, harnesses (or their cognates) appear often in this piece—and elsewhere in Polanyi’s writings—along with integrates, comprehends, and others. These terms refer to the operations of downward causality. But the operation of boundary conditions is one thing; the origin of those boundary conditions is another. For that subject Polanyi uses the verbs and phrases such as bring into existence, come into existence, emerge into existence, or even how it is that such structures can exist, in contrast to the more commonly used verbs control, shape, and similar cognates which refer to the operations of those boundary constraints, not their origin. How are boundary conditions established? Polanyi explicitly states that “shaping boundaries goes beyond a mere ‘fixing of boundaries’”; [it] establishes a “controlling principle,” a constraint that works in virtue of the boundary conditions’ pattern. In Polanyi’s words, this patterning establishes “a significant distribution of matter not determined by the laws of chemistry” (SEP, 294, emphasis mine),a distribution that embodies a particular pattern.1 Once this structuring pattern is in place, it controls, harnesses, etc.—in other words, constrains—the constituents of the pattern such that they carry out a function in the service of the pattern, that is, to maintain the pattern. The pattern serves as a semantic interface between the two levels insofar as it warrants describing the parts as functional or otherwise. Boundary condition Tradition & Discovery: The Polanyi Society Periodical, 40:3 5 shaping therefore places “the system under the control of a non-physical-chemical principle by means of a profoundly informative intervention” (SEP, 295). It is not difficult to describe how fixing boundaries comes about in artifacts and machines. When humans design and manufacture machines they arrange and organize raw materials such that the resulting pattern and shape subsequently constrains matter and energy flowing through those boundaries. Humans effect that shaping by culling and modifying materials—reducing their state space—according to the intended function of the to-be-built machine. The desired function in light of which humans carry out the shaping provides the informational interface for the process. Suitably channeled, flows of matter and energy within that system thus carry out the intended function for which the designer created and manufactured the machine in the first place. I want to highlight the externality of the designer/manufacturer agent responsible for the bringing into existence the patterning of matter that constitutes the machine. In the case of machine design, manufacture and functioning, that is, and operating from the outside and before anything else happens, an intelligent designer fixes certain boundary conditions by selecting from among the available materials and thereby channeling the energetic and material flow through the suitably arranged parts. But what about living things? “When I say that life transcends physics and chemistry,” Polanyi explains, “I mean that biology cannot explain life in our age by the current workings of physical and chemical laws” (SEP, 294-295). Why? Because according to the chemistry and physics of the day (what, following Michael Lissack,2 I will call Science 1.0), no level can gain control over its own boundary conditions and hence cannot bring into existence a higher level, the operations of which would consist in controlling these boundary conditions. Thus the logical structure of the hierarchy implies that a higher level can come into existence only through a process not manifest at a lower level, a process which thus qualifies as an emergence (TD, 45, emphasis mine). A few pages later, Polanyi adds, “The first emergence, by which life comes into existence, is the prototype of all subsequent stages of evolution, by which rising forms of life, with their higher principles, emerge into existence” (TD, 49). Elsewhere, Polanyi reiterates this point by stating that “any particular application of such a [general] principle requires that these circumstances be fixed by some agency not under the control of that principle” (Wesleyan V-4). Mullins interprets this phrasing to mean that the “the boundary conditions of the system to which the law of physics is applied” are the “conditions which have to be fixed by an external agency.”3 So at least with respect to these comments concerning boundary conditions and their application, the general principle at work in the case of living things remains the same as in machines: an external agent is required to fix or shape the boundary conditions that enable life to appear. Aside from the fact that principles governing the isolated particulars of a lower level leave indeterminate conditions at the lower level—properties of lower level components allow for the possibility of hierarchization—it is nevertheless the case that a process other than operations at the lower level is what shapes the boundaries within which the higher level can emerge. Even when a whole and its components are acknowledged as constituting one hierarchically differentiated entity, the agency that brings about the conditions that enable hierarchy’s emergence are held to be external. As ahead of his time as Polanyi may have been, the Owl of Minerva of today’s nonlinear complex dynamical systems theory had not yet spread its wings. So, in apparent contradistinction to other of his positions, at least for purposes of the topic of the origin and operation of boundary conditions, Polanyi presumes several ontological principles. These include

In their 2004 film 4, the contemporary Russian novelist and screenwriter Vladimir Sorokin and the filmmaker Ilya Khrzhanovsky create a nightmare fantasy about the intersection of two seemingly unrelated processes of production. In Moscow, a new corrupt industry of processing chemically injected and possibly cloned pig meat and, in the countryside, a community of elderly women who create a series of eerie life-size dolls out of masticated bread dough. Both processes address anxieties about body boundaries being breached or invaded, with the national body becoming tainted or jammed up by what it ingests. The symbolic palette of 4 paints a picture of queer intimacy that knowingly embraces sterility, while also encoding gay male sex as emasculating and unclean. Within the film, the fear of death through feminisation is projected onto the portrayal of the economic changes that wreak havoc with individual autonomy.

The article discusses creativity as an ontological principle as it is presented in scientific-philosophical attitudes of a Nobel Prize winner for chemistry Ilya Prigogine and Werner Heisenberg’s pupil and a former director of the Max Planck Institute for Physics Hans-Peter Dürr. These attitudes are assessed in the light of Heideggerian notions of Being, subiectum, ousia and time and thus they themselves shed light on the potentiality of Heideggerian mode of thinking on the conception of the creative in the postmodern society and science. Bergsonian notion of creativity is also invoked. It is presented as a philosophical basis of the postmodern techno-scientific creativity and is discussed in terms of Heideggerian ecstatic temporality. The juxtaposition of the notions presented by Henri Bergson and Martin Heidegger provides the clue to compare and assess the science-based attitudes of Prigogine and Dürr. First published online:13 Dec 2015

[EN] This research aims to study the concept of home and cabin -dweller where he became the habitat to link two possible experiential aspects : space as an ally , ally or as space, and the approach of our hypothesis is if the house has been conceived or not as allied and non-allied contemporary sculpture in space 1970 to 2015. the referents of architecture in which the research is based shall work of architects such as Mies van der Rohe , Le Corbusier , Robert Venturi or Smithson , among others; and the leaders of sculpture (which will be the working field ) , in which the research is based are works by artists such as Louise Bourgeois, Gordon Matta Clark , Leandro Erlich , Gloria Lapeña , Ilya Kabakov or Rachel Whiteread to illustrate a space no ally , and the work of Monica Alonso , Santiago Mayo, do Ho Suh or Ana Casas Broda and others to refer to allied space. To determine whether or not envision this concept in the artistic work, previously we define what we mean by two concepts: The first is erected by the inhabitants as a personal projection space that mutates and evolves with it, where the living space becomes a intimate, cozy, quiet and space saver, family and love, which can turn into a house where we talked about the link is maintained and respected, understanding this relationship as an alliance with his experiential space which is the place of events by definition of its inhabitants, who structured childhood memories and will rise as primitive stage in our unconscious space of reference for all our subsequent experiences. In the house ally endearing figure of the mother will be there to bring stability to this scheme domestic space where life flows through their stay accompanied furniture, fittings and other objects, which will populate the Allied and non-Allied house, and that the Like the concept of home, we revisit from artistic readings that we based our proposed hypothesis: partner / no partner. We try to find in all artistic proposals in this paper analogies, confluences and differences to argue and support our proposal to study characteristics that make an ally ally space and not space. Instead understand the house as space ally settle as an architecture of cold aura, the inhabitant will not care where the link to your space and where the home will become a mere recipient cabin necessary for life, more physiological than emotional where its inhabitants do not feel like the epicenter of habitability in the world, maybe it considers itself a place of survival, but not in foster care and welfare. Thus, talk of a disturbing, disturbing and hostile space. In order to realize the objectives of our research, we proceed to review descriptive work of artists of the late twentieth century to 2015. The results of this study will prove the assertion under our proposal and devoid devoid home this link with its inhabitant or not, the evidence that contemporary sculpture of 1970-2015 let us envision instances where some form of understanding space of residence of the individual in the world ., [ES] RESUMEN. La presente investigación pretende estudiar la casa como concepto de habitáculo donde deviene el vínculo hábitat-habitante hacia dos posibles vertientes experienciales: como espacio aliado, o como espacio no aliado, y el planteamiento de nuestra hipótesis será si la casa ha sido concebida o no como espacio aliado y no aliado en la escultura contemporánea de 1970 a 2015. Los referentes de arquitectura en los que se apoya la investigación serán obra de arquitectos como Mies van der Rohe, Le Corbusier, Robert Venturi o los Smithson, entre otros; y los referentes de escultura (que va a ser el campo de trabajo), en los que se apoya la investigación serán obras de artistas como Louise Bourgeois, Gordon Matta Clark, Leandro Erlich, Gloria Lapeña, Rachel Whiteread o Ilya Kabakov para ilustrar un espacio no aliado, y la obra de Mónica Alonso, Santiago Mayo, Do Ho Suh o Ana Casas Broda entre otros para hacer referencia al espacio aliado. Para determinar si vislumbramos esta concepción o no en la obra artística, definiremos previamente lo que entendemos por ambos conceptos: El primero queda erigido por el morador como un espacio de proyección personal que muta y evoluciona con él, donde el espacio habitado se convierte en un espacio íntimo, acogedor, de sosiego y protector, de familia y de amor, que puede devenir en una casa donde el vínculo del que hablamos sea cuidado y respetado, entendiendo este vínculo como una alianza con su espacio vivencial el cual es el lugar de acontecimientos por definición de su morador, el que estructurará los recuerdos de infancia y se elevará como escenario primigenio en nuestro inconsciente para ser espacio de referencia de todas nuestras vivencias posteriores. En la casa aliada la figura de la madre entrañable estará presente para aportar esquemas de estabilidad a este espacio doméstico donde la vida fluye por sus estancias acompañada de enseres, muebles y demás objetos, los cuales poblarán la casa aliada y no aliada, y que al igual que el concepto de casa, revisitaremos desde lecturas artísticas que analizaremos partiendo de nuestra hipótesis planteada: aliado/no aliado. Intentaremos encontrar en todas las propuestas artísticas recogidas en este trabajo las analogías, confluencias o diferencias para poder argumentar y respaldar nuestra propuesta de estudio, características que conforman un espacio aliado y un espacio no aliado. Entendemos por el contrario que la casa como espacio no aliado se conformará como una arquitectura de aura fría, donde el habitante no cuidará el vínculo con su espacio y donde el hogar se convertirá en un mero habitáculo receptor necesario para la vida, más fisiológica que emocional, donde su habitante no lo sentirá como el epicentro de su habitabilidad en el mundo, puede que sí lo considere un lugar de supervivencia, pero no de acogimiento y de bienestar. Así, hablaremos de un espacio desasosegante, inquietante y hostil. Con el fin de dar cuenta de los objetivos de nuestra investigación, se procede a la revisión de tipo descriptivo de obra de artistas de finales de siglo XX hasta 2015. Los resultados del estudio permitirán evidenciar la afirmación bajo nuestra propuesta de la casa carente y desprovista de este vínculo con su habitante o no, la evidencia de que la escultura contemporánea de 1970 a 2015 nos deja ejemplos donde vislumbramos una u otra forma de entender el espacio de residencia del individuo en el mundo., [CAT] La present investigació pretén estudiar la casa com a concepte d'habitacle on esdevé el vincle hàbitat - habitant cap a dues possibles vessants experiencials : com a espai aliat, o com a espai no aliat, i el plantejament de la nostra hipòtesi serà si la casa ha estat concebuda o no com espai aliat i no aliat en l'escultura contemporània de 1970 a 2015. els referents d'arquitectura en què es dóna suport a la investigació seran obra d'arquitectes com Mies van der Rohe , Le Corbusier , Robert Venturi o els Smithson , entre d'altres ; i els referents d'escultura ( que serà el camp de treball ) , en els quals es dóna suport a la investigació seran obres d'artistes com Louise Bourgeois , Gordon Matta Clark , Leandro Erlich , Glòria Lapeña , Rachel Whiteread o Ilya Kabakov per il¿lustrar un espai no aliat, i l'obra de Mónica Alonso , Santiago maig, Do Ho Suh o Ana Cases Broda entre d'altres per fer referència a l'espai aliat. Per determinar si albirem aquesta concepció o no en l'obra artística, definirem prèviament el que entenem per ambdós conceptes: El primer queda erigit pel habitant com un espai de projecció personal que muta i evoluciona amb ell, on l'espai habitat esdevé un espai íntim, acollidor, d'assossec i protector, de família i d'amor, que pot esdevenir en una casa on el vincle de què parlem sigui cuidat i respectat, entenent aquest vincle com una aliança amb el seu espai vivencial el qual és el lloc d'esdeveniments per definició del seu habitant, el que estructurarà els records d'infància i s'elevarà com a escenari primigeni en el nostre inconscient per ser espai de referència de totes les nostres vivències posteriors. A la casa aliada la figura de la mare entranyable estarà present per aportar esquemes d'estabilitat a aquest espai domèstic on la vida flueix per les seves estades acompanyada d'estris, mobles i altres objectes, els quals poblaran la casa aliada i no aliada, i que al igual que el concepte de casa, revisitaremos des lectures artístiques que analitzarem partint de la nostra hipòtesi plantejada: aliat / no aliat. Intentarem trobar a totes les propostes artístiques recollides en aquest treball les analogies, confluències o diferències per poder argumentar i donar suport la nostra proposta d'estudi, característiques que conformen un espai aliat i un espai no aliat. Entenem per contra que la casa com a espai no aliat es conformarà com una arquitectura d'aura freda, on l'habitant no cuidarà el vincle amb el seu espai i on la llar es convertirà en un mer habitacle receptor necessari per a la vida, més fisiològica que emocional , on el seu habitant no el sentirà com l'epicentre de la seva habitabilitat en el món, pot ser que sí que ho consideri un lloc de supervivència, però no d'acolliment i de benestar. Així, parlarem d'un espai inquietant, inquietant i hostil. Per tal de donar compte dels objectius de la nostra investigació, es procedeix a la revisió de tipus descriptiu d'obra d'artistes de finals de segle XX fins a 2015. Els resultats de l'estudi permetran evidenciar l'afirmació sota la nostra proposta de la casa sense i desproveïda d'aquest vincle amb el seu habitant o no, l'evidència que l'escultura contemporània de 1970-2015 ens deixa exemples on albirem una o altra forma d'entendre l'espai de residència de l'individu en el món., Navarro Torregrosa, M. (2016). LA CASA COMO ESPACIO ALIADO Y NO ALIADO EN LA ESCULTURA CONTEMPORÁNEA DE 1970 A 2015 [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/63449., TESIS

O ensaio procura mostrar como o título e o enredo de "A terceira margem do rio", o célebre conto de Primeiras estórias, de João Guimarães Rosa, podem ser aproximados da noção de "terceiro não excluído", tal como proposta por Immanuel Wallerstein, em artigo sobre Fernand Braudel e Ilya Prigogine. Nessa perspectiva, o conto apontaria para a existência - na vida como na literatura - de um terceiro caminho, que não exclui mas participa dos dois caminhos usualmente apresentados como mutuamente excludentes pelo pensamento binário - tão difícil de ser superado, como o demonstra um fragmento de Adorno e Horkheimer. This essay seeks to show how the title and the plot of "A terceira margem do rio" [The third bank of the river], the acclaimed short story from the book Primeiras estórias, by João Guimarães Rosa, relate to the notion of "the unexcluded middle," as discussed by Immanuel Wallerstein in an article on Fernand Braudel and Ilya Prigogine. In this perspective, the short story emphasizes the possibility of a third way that does not exclude, and indeed encompass, the two paths that are often presented as mutually exclusive by the binary thinking - a system that is very difficult to surmount, as a fragment by Adorno and Horkheimer shows.

Russian-born, Vienna-trained neurologist and neuropathologist Ilya Mark Scheinker collaborated with Josef Gerstmann and Ernst Sträussler in 1936 to describe the familial prion disorder now known as Gerstmann-Sträussler-Scheinker disease. Because of Nazi persecution following the annexation of Austria by Nazi Germany, Scheinker fled from Vienna to Paris, then after the German invasion of France, to New York. With the help of neurologist Tracy Putnam, Scheinker ended up at the University of Cincinnati, although his position was never guaranteed. He more than doubled his prior publications in America, and authored three landmark neuropathology textbooks. Despite his publications, he was denied tenure and had difficulty professionally in the Midwest because of prejudice against his European mannerisms. He moved back to New York for personal reasons in 1952, dying prematurely just 2 years later. Scheinker was twice uprooted, but persevered and eventually found some success as a refugee.

The 13th Joint European Thermodynamics Conference (JETC) was held at Lorraine University in Nancy (France) from May 20 to May 22, 2015. This conference is now well established with a periodicity of two years. Previous conferences took place successively in Compiegne, Brussels, Lausanne, Nancy, Marseille, Toulouse, Mons, Barcelona, Saint-Etienne, Copenhagen, Chemnitz, and Brescia. JETC is European based but welcomes authors from all over the world, as can be seen from the list of about 270 contributors to this 13th conference. It is on purpose a small size meeting, often taking place in academic premises and with limited registration fee. JETC is traditionally built on the heritage of Ilya Prigogine, who personally participated in some of the first meetings. In the framework of the conference, this is why the Ilya Prigogine Prize of Thermodynamics is being conferred since 2001 to a young scientist for his PhD thesis. This year’s laureate, selected by an international committee, was Ronan McGovern from Ireland, who defended his thesis at MIT, on the thermodynamics of future membrane desalination processes. Although all domains of Thermodynamic Science are welcome, the scientific flavor of JETC, influenced by Prigogine’s ideas strongly focuses on non-equilibrium thermodynamics, with topics related to physics, chemistry, biology, engineering, mathematics, and even cosmology. The approaches range from phenomenological

The New Economic Policy (NEP) period in the Soviet Union between 1921 and 1928 was a fruitful time for satire. In partial retreat from the militant communist ideals of the early revolutionary years...

Exemplary Bodies: Constructing the Jew in Russian Culture since the 1880s, by Henrietta Mondry. Borderlines: Russian and East-European Jewish Studies. Boston: Academic Studies Press, 2009. 301 pp. $58.00. Henrietta Mondry explores the ongoing construction of the Jewish physical and psychological body in the works of Jewish and Russian writers, and how this construct was created by anthropologists and doctors, from the 1880s to the present. By analyzing fiction, movies, and scientific anthropological works, she examines "internalized" constructs of the Jewish body that were absorbed by Russian-Jewish and Russian writers (p. 19). At the turn of the century, the pseudo-scientific discourse on biological determinism and the theory of degeneration was at its apogee. Thus, Mondry states, the construct of the Jew as a biological and racial "Other" was immensely popular. Her main argument is that the Jewish body remains the site for Jewish writers to define their Jewishness, while for Russian writers it is the body of the "Other" and the "body where culture inscribes the meaning" (p. 20). Mondry employs a vast range of theorists on the body such as Sigmund Freud, Jacques Lacan, Gilles Deleuze, and Elizabeth Grosz. She grounds her arguments in Sander Gilman's and Daniel Boyarin's works, who stated that the construct of a physical Jew was indebted to the racial degeneration theories of the late nineteenth century. But the twist is that the stereotypes of the physical Jew were also appropriated by Jewish writers, Zionists, artists, and scholars. She convincingly argues that the Jewish "stereotype has become one of the most enduring discursive formations" of Russian culture, especially during the rise of Russian nationalism (p. 18). In addition, Mondry examines the mechanisms of defining what constitutes the Jewish type. She starts her introduction by looking at Afanasy Fet, a Russian German who was believed to be Jewish by his contemporaries. Ivan Turgenev, Nikolay Chernyshevsky, and Ilya Ehrenburg believed that Fet was Jewish, not only because of his "Jewish look" but also because of his presumably inherited madness. Mondry explores the physical stereotypes associated with Jewish appearance and the racial discourse that caused some intellectuals to assume that Fet was Jewish. She states that, for some, Fet's inclination to madness and his allegedly Jewish physical appearance served as scientific proof for their speculations (p. 15). These assumptions were believed in part because of Cesare Lombroso's theories. Her book consists of eleven chapters and begins with a brief overview of the anthropological discourse in the Russian Empire at the turn of the century. In Chapter Two, "Stereotypes of Pathology" she turns to Anton Chekhov's short stories ("Tina," "Tumbleweed," and his play Ivanov). She shows that Chekhov used folkloric stereotypes as well as anthropological and medical discourses when depicting his Jewish characters, with very little allusion to the antisemitic Russian literary tradition. Chekhov represented the sick Jewish character by conflating physiology and psychology, which constituted for him the markers of Jewish otherness. In Chapter Four, Mondry addresses Vasily Rozanov's interpretation of the carnal Jewish body. In Chapter Five, she provides a close reading of Ehrenburg's two novels, The Extraordinary Adventures of Julio Jurenito and his Disciples and The Stormy Life of Lasik Roitschwantz. She shows that Ehrenburg was familiar with Rozanov's "body politics" and assigned Jurenito and Lasik some of the "internalized" Jewish stereotypical features regarding Jewish "bodily aromas and bodily secretions" (pp. 90, 91). He parodied the stereotypical depiction of a Jew in Jurenito and Lasik by assigning Jurenito physical features that would be recognized by antisemites and Jews "who had internalized these features" (p. …