"The publicness of the public library is an increasingly rare commodity," Orlean writes.
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PRJ: That's part of what the work is trying to modulate—publicness and intimacy, an inside and an outside.
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Among Maher's wise choices is to accept that the very publicness of Baloch's life makes her, on some level, unknowable.
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A warning of unprecedented publicness came a month later, when Islamic State operatives in eastern Iraq posted a video in Persian on their social media networks.
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The activity in wimmelbooks also has a healthy, comfortable publicness, almost as if people on the pages realize the walls of their houses are transparent — and they don't mind.
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That is why the curmudgeons' debate with themselves matters: because it could do harm; it could result in dismissing the tools of publicness just when we most need to safeguard them.
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The paradox of the site—that the publicness that made it so appealing also put its users at risk—was not lost on founder Keith "Cruisemaster" Griffith, who penned feature stories about how to avoid arrest.
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" In 2015, Dr. Jacqueline Ryan Vickery, an assistant professor of media arts at the University of North Texas, wrote some first impressions of the nascent community on a faculty blog, observing, "the publicness helps students teach each other to study – something students need help with.
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Then what we do instead is embrace the visual identity of Tate, and that's because we do want to embrace the parts of Tate that we do love, the parts of Tate that we do want to support and protect, which are around the publicness and the openness to debate that's potentially there in that public space.
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From 1969, René Goscinny had invited de Beketch to write theatre reviews for the weekly Pilote magazine. Besides this, he would write various stories in cartoon form and prepare French versions of the American offerings Eerie, Creepie and Vampirella for éditions Publicness. He also worked for the international visual arts review Zoom. In 1975, de Beketch left Pilote following the departure of Goscinny.
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Haaning has exhibited extensively, the main exhibitions include: Documenta XI, Kassel, Germany (2002), the 9th Istanbul Biennial, Istanbul, Turkey (2005), Traffic at CAPC Museé d'art contemporain, Bordeaux, France (1996), Vienna Secession, Vienna, Austria (1997, 1998, 2007), Publicness at ICA, London, England (2003), the 6th Gwangju Biennale, Gwangju, South Korea (2002, 2006) and latest a large survey of Haaning’s works from the 1990s until 2017 at Göteborg International Biennial for Contemporary Art, Gothenburg, Sweden (2017).
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Raunch culture uses a process of repackaging old gender stereotypes and adding a choice which helps it resist critique by others. At the same time, because of the extreme sexual nature of raunch aesthetics, many in American culture see its practices as grotesque, explicit and vulgar. In a hypersexualized society, sex is a commodity. But in terms of practicing raunch it isn't the sex that is problematic, but the "publicness" of the act.
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"Instead, [CPM] argues for coordination with others that does not advocate an optimum balance between disclosure and privacy. As an alternative, the theory claims there are shifting forces with a range of privacy and disclosure that people handle by making judgments about the degrees [emphasis in original] of privacy and publicness they wish to experience in any given interaction" (pp. 12–13). Thus, Petronio argues that it is legitimate to call CPM theory dialectical in nature.
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Northern (1-19) Relative location, direction and orientation (1-2) Lowest administrative units. Localities (1-5) Dependent or semi-dependent territories (1-6) States or groupings of states from various points of view (1-7) Places and areas according to privacy, publicness and other special features (1-8) Location. Source. Transit. Destination (1-9) Regionalization according to specialized points of view (100) Universal as to place. International. All countries in general (2) Physiographic designation (20) Ecosphere (21) Surface of the Earth in general.
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In accordance, the public may be regarded as the result of the social activities made by individuals sharing symbolic representations and common emotions in publicness. Seen with lower-case, the concept is a set of subjectivities who look publicly for a feeling of belonging. So, in this perspective, the public is still a fundamental notion to social life although in a different manner in comparison to 18th century Public Sphere's Public. He means above all the social textures and configurations where successive layers of social experience are built up.
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Messner's work centers on issues of publicness, transference, and the dynamics of the crowd. In the Subway Series (shown for the first time in 2007 at Dorsky Gallery), works performed on the New York City subway in 1977-79, Messner made a series of interventions into the motion and space of the city. In Frogman, she donned a diving suit, mask, and oxygen tank to make her way through the length of a train. In Balloon, she slowly inflated a large balloon in a subway car during rush hour, forcing fellow riders to shift to make room.
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In her fifth studio album Loud released in 2010, she debuted one of her most controversial songs, "S&M;". The lyrics are explicitly sexual, portraying soft-core sadomasochist acts and fetishes, and the video portrays Rihanna as a sexual object with very suggestive visuals and imagery. The video was banned in many countries, and was restricted to late night hours in others. She received this feedback because hypersexual culture is framed as problematic in our patriarchal society. Women are subjected to fall deaf to their bodily urges; the ‘publicness’ of the culture challenges the ways in which we view the women's rights to their bodies.
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In this sense, public-creating tourist practices are not limited to "the pundits and wonks and reaction-shot secondary celebrities who try to perform our publicness for us ... [, but include] people whose place in public media is one of consuming, witnessing, griping, or gossiping rather than one of full participation, or fame." Warner goes on to state that, "a public can only produce a sense of belonging and activity if it is self-organized through discourse rather than through an external framework." Just as the tourist who travels to a different geographic area chooses to do so, a choice that invites the possibility of being transformed by the experience, the citizen-tourist must choose to engage in discourse with other citizens in order for that exchange to create and maintain a public.
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In the business, management, economic and political-science literatures, nonmarket is typically associated with government, compared to other non-economic institutions, as in economist Baron’s (1995: 47) often quoted definition in the strategic-management field: > The nonmarket environment includes the social, political, and legal > arrangements that structure interactions outside of, but in conjunction > with, markets and private agreements. The nonmarket environment encompasses > those interactions between the firm and individuals, interest groups, > government entities, and the public that are intermediated not by markets > but by public and private institutions. Public institutions differ from > markets because of characteristics such as majority rule, due process, broad > enfranchisement, collective action, and publicness. Activities in the > nonmarket environment may be voluntary, as when the firm cooperates with > government officials, or involuntary, such as when government regulates an > activity or an activist group organizes a boycott of a firm’s product.
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The supposed relationship does not appear to be based on logical deducibility. That is, actual idealism does not entail a fascist ideology in any rigorous sense. Gentile enjoyed fruitful intellectual relations with Croce from 1899 – and particularly during their joint editorship of La Critica from 1903 to 1922 – but broke philosophically and politically from Croce in the early 1920s over Gentile's embrace of fascism. (Croce assesses their philosophical disagreement in Una discussione tra filosofi amici in Conversazioni Critiche, II.) Ultimately, Gentile foresaw a social order wherein opposites of all kinds weren't to be considered as existing independently from each other; that 'publicness' and 'privateness' as broad interpretations were currently false as imposed by all former kinds of government, including capitalism and communism; and that only the reciprocal totalitarian state of Corporatism, a fascist state, could defeat these problems which are made from reifying as an external reality that which is in fact, to Gentile, only a reality in thinking.
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In many ways, the ICC report was the first of its kind anywhere in the world, and certainly the most comprehensive study of the material conditions under which early cinema existed in India. The importance of the study, apart from its historical value in documenting cinema up to and during the twenties in India lies in the fact that this was an attempt by the state apparatus to actually create cinema as an object of colonial knowledge, to understand the way it worked, to classify its audience, to name the publicness of the institution, and finally to attempt to render it intelligible within a log of regulation. Priya Jaikumar states that “Perhaps more than any other event in the 1920s the ICC helped to establish persistent themes in ways that the cinema and its audiences in India have been understood , evaluated , criticized and described ever since” . An estimate of the success of the ICC report in setting the terms of the public and regulatory discourse around cinema is the fact that the definition of the cinematic effect that is relied on in K.A.Abbas’s case relies heavily on the account provided in the ICC report.
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