bluuebunny/crossref_metadata_2025_split huggingface dataset:
Algorithmic and High-Frequency Trading
Authors: Foucault Thierry , Pagano Marco , Röell Ailsa 
Published: November 2023

Abstract
Security trading has become increasingly automated and often occurs at phenomenal speed, due to progress in information and computing technologies. This chapter starts by describing high-frequency traders’ main trading strategies. Next, it analyzes the channels through which high-frequency trading could affect liquidity and price informativeness, using the concepts presented in previous chapters, and presents the main empirical findings about the effects of algorithmic and high-frequency trading on liquidity and price discovery. To understand the determinants of high-frequency trading, it also studies speculators’ decision to invest in speed-enhancing technologies and the effects of such investment on liquidity. Finally, it inquires whether computerized trading is destabilizing, in the sense that it amplifies price movements, increases market vulnerability to manipulation, and/or transmits mispricing more rapidly across markets. Based on this analysis, we discuss the main policy interventions that have been proposed to alleviate the potentially harmful effects of high-frequency trading.
Ethics, Morals, Human Rights, and Justice in Social Work Practice
Authors: Gatenio Gabel Shirley 
Published: November 2023

Abstract
In this chapter the author introduces the concept of ethics, morals, human rights, and justice in social work practice. The chapter starts with the significance of change in social work to help individuals, communities, or systems evolve into better places. The core values of social work laid the foundation for social work practice and informed social work’s perspective on social issues. The author details how ethical standards guide professional decision-making and actions, including the challenging situation when social workers must decide which culture to respect. The responsibility of social workers to investigate violations of human rights is highlighted, and the author explains how human rights frameworks can help achieve social, economic, and environmental justice.
Evolving Concepts of Human Rights
Authors: Gatenio Gabel Shirley 
Published: November 2023

Abstract
This chapter discusses the evolving concepts of human rights. Scholars have traced the notion of human rights to religious and philosophical concepts of compassion, charity, justice, individual worth, and respect for all life found in religions like Hinduism and Judaism. The chapter explores the history of human rights by referencing natural law theories from ancient Greece and Rome, the American Revolution, and the aftermath of World War II. The values of social work often correlate with human rights and justice, and definitions of human rights change over time and according to culture. According to the United Nations, the basic principles of human rights include universality, equality, rights, interdependence, inclusion, and accountability. Brief biographies of social work pioneers are provided.
Modern Human Rights
Authors: Gatenio Gabel Shirley 
Published: November 2023

Abstract
This chapter discusses the emergence of modern human rights following the establishment in 1948 of the Universal Declaration of Human Rights (UDHR). The UDHR introduced the concept that a government’s treatment of its citizens is a matter of legitimate international concern and not simply a domestic issue. Even though the UDHR is neither a treaty nor a convention, it has achieved the status of customary international law. The author explains the differences between civil rights, political rights, social rights, economic rights, environmental rights, and cultural rights and provides details on some of the major international human rights treaties. The author discusses fundamental concepts in modern human rights such as rights and responsibilities, universalism and cultural relativism, progressive and immediate rights.
Change and Stability
Authors: Nicolaides Becky M. 
Published: November 2023

Abstract
From 1945 to 2010, LA suburbs transformed from bastions of the white middle class into spaces of multiracial social diversity. Data reveal patterns of change and continuity, in demography, housing, and the regional economy. These trends were shaped by the larger forces of economic restructuring, globalization, immigration, and civil rights gains. The racial change was pronounced. While postwar suburbs had developed a set of tools to ensure white racial exclusivity, by the 1970s, Latinos, Asians, and Black Americans began to breach the suburban color line and that trend intensified in subsequent years. Suburbia also saw rising class inequality, including a marked rise in suburban poverty, the shrinking of middle-class suburbs, and an expansion of ultra-rich suburbs. Suburban housing also evolved, with more multifamily housing in some areas and rising home prices overall. Suburban single-family homes remained dominant, and, by 2010, people of color outnumbered whites as homeowners in LA’s suburbs.
Conclusion
Authors: Nicolaides Becky M. 
Published: November 2023

Abstract
The New Suburbia reveals how certain continuities in suburban culture persisted in communities undergoing rapid demographic change. Long-lived suburban ideals first defined by whites survived, at times to the detriment of equity and inclusion across the LA metropolis. The desire to defend suburban communities from internal and external threats was carried on in places like San Marino and South Gate, where Asians and Latinos became majorities. In Pasadena and Lakewood, racial change triggered shifts toward privatization and law and order. The new suburbia could be a fractured environment marked by divisions around class, immigrant status, language, and race. In some cases, old defensive suburban ideals were embraced by new diverse leaders in the suburbs. Stories from the new suburbia offer both cautionary tales and hopeful signs. Even as racism and exclusion prevailed in many communities, some recent signs are pointing toward greater inclusion and equity in the new suburbia.
Counterfeit and Coinage
Authors: Zetzel James E. G. 
Published: November 2023

Abstract
This introduction establishes many of the themes and parameters explored in detail in subsequent chapters. Whereas modern writers take language change for granted, ancient writers tended to think about language change as a form of corruption. The ancient perspective on language change is similar to the modern economic notion of Gresham’s Law: bad money drives out good. The paper explores these ideas using several examples: the explanations of inflectional morphology in treatises on Latinitas, the alternative treatment of syllable division employed in treatises De finalibus to cope with changes in prosody, and the redefinition of solecism as stylistic virtuosity in analyses of vitia et virtutes orationis and in such works as Aemilius Asper’s Grammatica Vergiliana.
The Grammarian Consentius on Language Change and Variation
Authors: Mari Tommaso 
Published: November 2023

Abstract
Consentius’ Ars de barbarismis et metaplasmis is the longest extant treatise on the so-called vices and virtues of speech, and it thus directly addresses linguistic variety. Mari, who has recently completed an edition of the work (2021), shows how Consentius’ understanding of barbarismus differs from modern conceptions of linguistic error, including the role of ratio and euphonia, and he illustrates the geographic and social categories that Consentius uses to describe them, which he relates to the grammarian’s social context in the elite society of fifth-century Gaul.
Antiquus = squalidus? Pompeius’ Attitude toward Antiquity
Authors: Zago Anna 
Published: November 2023

Abstract
This paper addresses the flamboyant fifth- or sixth-century grammarian Pompeius, one of the teachers Kaster brought to life in Guardians. Zago discusses the prologue to his Commentum artis Donati, which has only recently been published in full, and the attitude he reveals toward earlier grammarians through his use of the words antiquus and squalidus. Earlier occurrences of these words in rhetorical and grammatical contexts are surveyed. Consistent with this attitude, Pompeius sometimes makes concession to ways that contemporary usage has changed with respect to classical usage.
Between Images
Authors: Conrath Ryan 
Published: November 2023

Abstract
Between Images proposes a unique theory of montage as a technique of relation: a means of fundamentally rethinking and reshaping how humans relate—to ourselves and each other, to the material world, to the planet and its nonhuman inhabitants. Historically, film criticism has cast montage in one of several roles: as narrative’s invisible executor of spatiotemporal continuity to maintain the viewer’s investment in the story-world; as an agent of disorder that confounds conventions of storytelling and realism and prompts the viewer’s intellectual engagement; and as an expressionistic device for augmenting the duration and combination of shots to affect viewers at a sensory level. While not exactly abandoning such accounts, this study tries to move closer to the heart of montage by distinguishing the space between images as itself a powerful source of ideas, feelings, and forms. Venturing into an “expanded field of montage” beyond the limited purview of a given film’s “editing,” Between Images traces the cut and the splice across photographic and cinematic media in a range of material, conceptual, and political contexts. In all of this, the space between images becomes a setting for navigating and renegotiating the terms of relation, of the “being-with” that connects all forms of life. Between Images brings together a diverse cast of experimental filmmakers, including Harun Farocki, Hito Steyerl, Steve McQueen, Cauleen Smith, Daïchi Saito, and Ja’Tovia Gary, and in doing so, situates the cinematic cut within an interdisciplinary conversation about the abiding capacity of cinema to effect change.
How to Walk through a Door
Authors: Conrath Ryan 
Published: November 2023

Abstract
This chapter focuses on the work of Berlin-based filmmaker and media theorist Hito Steyerl. Steyerl is deeply critical of the ways in which montage, across the history of cinema, has been aligned with a range of violent and militaristic metaphors. By casting Steyerl’s work in this light, this chapter displaces the historical analogy between cinema and war by foregrounding the ways in which cinematic politics may be thought spatially. In theorizing the politics of montage, this chapter turns to the work of media theorist Bernhard Siegert and others to substitute a dialectical language of conflict for a language of space and materiality, where the cut/splice comes to be seen as a door. Grounding these claims is an extended close reading of Steyerl’s two-channel video Abstract (2012), which occupies the second half of this chapter. A dual-screen work dealing with the extrajudicial killing of Steyerl’s close friend Andrea Wolf in 1998, Abstract mixes footage taken in Kurdistan and Berlin across two monitors, so that these two territories come to interpenetrate one another. This discussion builds to a key moment in Abstract when Steyerl appears to cross over from one screen/shot to the next as if through a door, an act of relation informed by a politics of space.
The Context Imperative
Authors: McStay Andrew 
Published: November 2023

Abstract
This chapter considers the climate-based impact of automated empathy, progressing to examine this through Japanese thought about modernity, climate, and technology. It first assesses automated empathy and climate concerns by considering these in relation to ‘high-compute’ large AI language models and image recognition systems. It then introduces go-to critiques such as extractivist thought that is asserted to be inextricable from the philosophy of Martin Heidegger given his interests in industrialisation, cybernetics, and human experience. The chapter than assesses the overlap between Heidegger and Japan’s Kyoto School of philosophy. Beyond value in diversifying and balancing moral views it finds unique critical merit in the Kyoto School, arguing this outlook to be ‘ecological by default’ due to its innate orientation towards ‘wholes’ that encompass things, people and environment. The chapter consequently argues for a ‘context imperative’ that should be a part of any ethical consideration of questionable uses of technology.
LOOK
Authors: Dodds Sherril 
Published: November 2023

Abstract
The LOOK chapter conceives the act of looking as a culturally specific framework of (en)visioning the world. It examines how dancers actively “look” in hip hop battles to assess an opponent’s moves and to engage in a performance of looking that signals their battle attitude. It focuses on female hip hop dancers of color to consider how they are subject to a hegemonic gaze within the battle context. Drawing on b-girl Rokafella’s call to “Check us out!” in conversation with Black studies and hip hop feminist scholarship, it shows how two b-girls, Sunny and Macca, craft a defiant look within the creative space of the cypher. This look stages an embodied refusal to internalize misogynistic and colonialist structures of looking projected upon their bodies and their resistance stands in plain sight.
SCREAM
Authors: Dodds Sherril 
Published: November 2023

Abstract
The SCREAM chapter examines Michael Jackson’s 1995 music video “Scream,” which staged a rageful response to his treatment by the media. The chapter introduces the idea of re-facing Jackson to account for the allegations of sexual abuse that surfaced in the documentary film Leaving Neverland in 2019. The idea that Jackson is re-faced also comes through his changing visage. Michael Taussig’s concept of “defacement” illustrates how the discourse around Jackson’s face both acknowledges the social construction of race but appeals to a biological heritage to make sense of his facial freakery. To understand Jackson’s choreographic scream, the chapter calls upon Fred Moten’s conception of the scream as an originating trauma in Black subjectivity that is both recited but can also be given a radical breakdown through Black artistic expression. While Jackson’s potent scream serves to shatter an equilibrium, the question remains as to whether its efficacy can be maintained.
The Five Tasks of the Filmmaker
Authors: Markham Peter 
Published: November 2023

Abstract
A reflection on the five tasks discussed in this chapter is considered as informative of the filmmaker’s perspectives and decision-making processes, an awareness of which is indispensable in the understanding of practical aesthetics. The communication of information, a fundamental aspect of the filmmaker’s art, should facilitate the audience’s comprehension, be neither vague nor confusing, and not be overdone. It may be direct, implied, ambiguous, concealed, revealed, portioned out or delivered in a single instant, or conveyed visually, through sound or dialogue—perhaps in increments the audience must connect for further realization. Emotion—the filmmaker’s most profound currency—is regarded also as the most important aspect of audience engagement. Orchestration, rather than the register of emotion, is considered in terms of its effective flow, as are the means by which the filmmaker evokes emotion—story, incident, character, performance, staging, camera, cutting, sound and music, and the control of tone and energy. The stimulation of visceral/tactile/neural sensation, illustrated by examples, is understood as touching on the raw humanity cinema reveals. Eroticism is recognized as presented primarily through a white male straight perspective for decades, although more recently conveyed from more diverse standpoints. Aspects of “creative vision” (often unconscious on the filmmaker’s part) are listed as theme, thematic question, tone, and voice, each examined, as are the ways of understanding theme. The chapter posits the paramount task of the filmmaker as the telling of the story. The filmmaker’s “two vectors” involve the screen as window into the fiction and address to the audience.
Dramatic Narrative
Authors: Markham Peter 
Published: November 2023

Abstract
Understanding the foundations of dramatic narrative together with dramaturgy—the nexus of this and its representation on screen—is essential to consideration of practical aesthetics. Elements of dramatic narrative are listed in this chapter: world, characters, their configuration, story, the stakes and register of the drama, premise, theme, genre, structure, tone, passage of time, suspense, friction, and tension. Story—central to human interaction and understanding—is the imperative of cinema, offering cumulative gratification and demanding narrative logic and stakes that ultimately reveal a sense of meaning. Structure—traditional (three-act, five-act) or unconventional—is considered the framework of dramatic flow, its stanchions represented on screen by changes of tension, rhythm, tone, light, place, dynamics of shot size, and shifts in energy flow. The term narrative units—the building blocks of dramatic narrative—is used to encompass acts, movements, scenes, sequences, and vignettes moving the story forward or having other purposes such as suspense, wonder, resonance of emotion, revelation, new knowledge, or modulation of narrative momentum. The credibility and autonomy of characters are important: their relationship to narrative POV; function as an amalgam of fictional being and building block of story; categories; configuration; and presentation without judgment, as well as the impact of their individual natures on screen language adopted by the filmmaker. The world of the film, real or fantastical, needs to seem truthful in its physical and human/cultural aspects, whether it captures known environments or incorporates mythical elements. Dramatic narrative may be modified through the filmmaking process.
The Elements in Front of the Lens
Authors: Markham Peter 
Published: November 2023

Abstract
The film’s fictional world is created in part from the physical reality of the film set and/or film location, and by action and performance before the camera, then manipulated by the filmmaker’s expansion or contraction of space by lensing and editing, the manipulation of time by editing, and the modulation of the flow of energy—the nature of what is depicted informed by framing, lensing, angle, lighting, and context. Sets and locations may appear larger or smaller than their actual dimensions according to lensing; the benefits and drawbacks of either option, along with budget and genre, determine the filmmaker’s decision-making process. They may constitute components of a composite fictional environment. Actors adopt multifarious approaches but can be divided into the camera aware and nonaware, the trained and the nonactor, categories that bear on staging, simple or complex, and how this is shot and cut, from simple to developing sequence shots involving “editing in camera.” Performance on screen may be a depiction of the actor’s realization before the camera, in a single take or in a master shot offering the actor a continuous take, or may have been modulated, even created, by the filmmaker’s coverage (angle, lighting, shot size, framing) and the multiple aspects of editing. The persona and energy of a character or milieu may inform camera and/or cutting, with the actor “possessing the frame” at crucial moments. On-set objects and equipment (film props) may be “fakes” of their fictional counterparts, not “practical,” and/or not complete but believable on screen.
Sound and Music in Relation to the Screen
Authors: Markham Peter 
Published: November 2023

Abstract
In this chapter the multiple functions of sound and music are listed and discussed after the observation that there never was a “silent” cinema, and “the ear goes toward the within, the eye to the outer” (Bresson). Verisimilitude is seen as the most obvious function, creating a sense of environment and world while broadening or restricting this according to the filmmaker’s determination of “sonic plane.” The screen of the mind and the images on it, whether new or recollected by the audience from previous episodes, are understood to be stimulated by sounds. Eye trace may be determined by the connection of a sound to an image on the screen. A sound may be emphasized in the mix when significant to a particular character, thus becoming a resource for the articulation of narrative POV. Sound may also prove a resource for subliminal messaging, tonal dissonance, and irony (as opposed to tonal redundancy). Register, immersive experience of the audience, and the nature and effects of silence are also considered. The functions of music, whether non-diegetic or diegetic, are compared to the functions of sound previously discussed.
Ari Aster
Authors: Markham Peter 
Published: November 2023

Abstract
The precocious accomplishment of Ari Aster’s Hereditary perhaps renders the virtues of its craft more accessible to those who might feel daunted by cinema history’s giants. The film is understood as a “genre movie,” depicting the horror of possession, of myth made immediate; it is a ghost story, conveying visceral or under-the-skin horror, a family tragedy, a conspiracy thriller. Such cross-fertilization is considered as inviting the depth of this filmmaker’s discourse and the practical aesthetics through which this is articulated. It also points to the filmmaker’s self-awareness: of the tropes of the horror movie and of cinematic language, tone, camera, and editing. Its world is comprised of both everyday elements and its nightmarish realm.
Hereditary
Authors: Markham Peter 
Published: November 2023

Abstract
In this chapter the dinner scene is analyzed in the order of its sections: the simmer, the explosion, Peter’s riposte, and Annie’s exit. Each section is structured as follows: summary, questions (for audience, for reader), commentary, and conclusion (incorporating information conveyed, emotion, visceral sensation, and vision). Screenshots and forensic commentary provide step-by-step critical insights into the art of the filmmaker, in regards to storytelling, flow of emotion, staging, shooting and editing, and address to the audience. The chapter considers both cinematic art in general and the filmmaker’s chosen discourse for his film, specific instances of his art related to universal principles. The chapter follows the tense dinner—the subtext the guilt felt by Annie and by Peter over Charlie’s death and the need and attempts of each to project it onto the other—in which Annie erupts to accuse Peter and Peter subsequently reciprocates while Steve remains incapable of controlling the rancor. There follows consideration of the transition to the next scene.
Nomadland
Authors: Markham Peter 
Published: November 2023

Abstract
The chapter analyzes the narrative and the visual language of the opening and ending of the film, which take place in Empire, Nevada, in the wake of the city’s gypsum plant closure. Protagonist Fern is leaving town in both sections—permanently, it would appear, in the second. In the first episode, Fern collects items from storage and sets off on the road. A comparison of the screenplay with the film reveals the filmmaker’s original intention of including a montage depicting scenes from Empire’s thriving past that is omitted from the movie, which benefits from its absence. The film’s final sequences are divided into three subsections: Fern lets go her possessions; the gypsum plant; and letting go, which tells the story of how Fern returns to Empire, gives away her stored possessions, and visits the deserted gypsum plant and her former home before setting out on the road for good. The screenplay and film for each subsection are contrasted; the page tends to incorporate more scenes and dialogue than the screen, an aspect used by the filmmaker to inform much of the more visual presentation of the movie’s corresponding denouement. Throughout, screenshots and forensic commentary provide step-by-step critical insights into the art of the filmmaker in regard to storytelling, flow of emotion, staging, shooting and editing, and address to the audience.