The astounding flourishing of fashion we have witnessed for the past centuries would not have been possible without a range of specifically modern phenomena like capitalism, the rise of an ambitious middle-class, the growth and diversification of mass-communication, and the Industrial Revolution. However, there is yet another interesting link between the two as they both have a common ‘condition of possibility’, that makes them interconnected. In this paper I will argue that such a condition is what I loosely call a (...) ‘will to novelty’. Following some of Herbert Blumer’s suggestions, I will argue that the quest for renewal remains probably the best explanation of all possible candidates in explaining the incessant change of fashion (one of such candidates being Simmel’s famous class-differentiation analysis). My claim is that such a pursuit of renewal is undertaken for the sake of renewal itself, and this is a key aspect that connects fashion with modernity, namely an aesthetic concept of modernity, which I will outline, in the footsteps of Michel Foucault and Matei Călinescu, as a quest for novelty and change. Unlike the bourgeois modernity or the scientific one, the aesthetic modernity does not innovate for the sake of profit or truth respectively, but for the sake of innovation itself. Like fashion, the aesthetic modernity is an expression of the ‘will to novelty’. (shrink)

With recent advancements in systems engineering and artificial intelligence, autonomous agents are increasingly being called upon to execute tasks that have normative relevance. These are tasks that directly—and potentially adversely—affect human well-being and demand of the agent a degree of normative-sensitivity and -compliance. Such norms and normative principles are typically of a social, legal, ethical, empathetic, or cultural (‘SLEEC’) nature. Whereas norms of this type are often framed in the abstract, or as high-level principles, addressing normative concerns in concrete applications (...) of autonomous agents requires the refinement of normative principles into explicitly formulated practical rules. This paper develops a process for deriving specification rules from a set of high-level norms, thereby bridging the gap between normative principles and operational practice. This enables autonomous agents to select and execute the most normatively favourable action in the intended context premised on a range of underlying relevant normative principles. In the translation and reduction of normative principles to SLEEC rules, we present an iterative process that uncovers normative principles, addresses SLEEC concerns, identifies and resolves SLEEC conflicts, and generates both preliminary and complex normatively-relevant rules, thereby guiding the development of autonomous agents and better positioning them as normatively SLEEC-sensitive or SLEEC-compliant. (shrink)

Creștinii sărbătoresc nașterea lui Isus Hristos de către Fecioara Maria ca o împlinire a profeției mesianice din Vechiul Testament. Biblia conține două povestiri care descriu evenimentele din jurul nașterii lui Isus. În funcție de perspectiva fiecăruia, aceste povestiri sunt fie diferite una de cealaltă, fie spun două versiuni ale aceleiași narație. Aceste povestiri biblice se găsesc în Evanghelia după Matei, și anume Matei 01:18, și Evanghelia lui Luca, în special Luca 01:26 și 02:40. Conform acestor povestiri, Isus a (...) fost născut de Maria asistată de soțul ei Joseph, în orașul Betleem. (shrink)

"The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...) the relation of kitsch to fine art, arguing that fine art also has as its primary function a counter-movement to modernity. He suggests that the main difference between fine art and kitsch is that fine art, as well as its emotional function, also involves a reception context that allows it to assume an intellectual task. Among the writer's conclusions, he finds that positing a stark or absolute contrast between kitsch and fine art is unjustifiable as both have the same roots and objectives." [WilsonWeb]. (shrink)