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Journal articles on the topic 'Performance Philosophy'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Muttaqin, Ali. "Implikasi Aliran Filsafat Pendidikan dalam Pengembangan Kurikulum Pendidikan Islam." DINAMIKA : Jurnal Kajian Pendidikan dan Keislaman 1, no. 1 (2017): 67–92. http://dx.doi.org/10.32764/dinamika.v1i1.105.

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Islamic education phenomenon with its kinds and shapes has good philosophic evidence. Philosophy of education is application of philosophyc ideas in education which has essential values to aim the purpose and the performance of Islamic education. Generally, the tendencies in philosophy had created the typology of Islamic education philosophy. Its tendencies influenced the development Islamic education curriculum. This paper tries to explain the tendency of education philosophy which influenced Islamic education curriculum.Keyword : Philosophy , Islamic education curriculum

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2

Bowie, Andrew. "The ‘Philosophy of Performance’ and the Performance of Philosophy." Performance Philosophy 1, no. 1 (2015): 51. http://dx.doi.org/10.21476/pp.2015.1131.

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The notion of the 'philosophy of x', which has recently tended to become part of many subjects, from music to management, tends to obscure a range of important issues. The idea behind it seems to be that, by designating one's reflections on a subject as the ‘philosophy’ of whatever it is one is reflecting about, one achieves some kind of higher insight. Such an approach arguably grants too much to a subject whose main manifestation is actually endless disagreement on fundamental issues. In the light of this less flattering view of philosophy I want to suggest that we may sometimes achieve more

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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosoph

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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25604.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosoph

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5

Breemen, Alice. "Performance Philosophy: audience participation and responsibility." Performance Philosophy 2, no. 2 (2017): 299. http://dx.doi.org/10.21476/pp.2017.2267.

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This article critically assesses the position of the spectator in philosophy and (participatory) performances. By means of an in-depth reading of Rancière’s notion of the emancipated spectator, Kester’s theory of dialogical aesthetics and a case study of the performance Order of the Day, an account of the changing position of the audience in contemporary society and in artistic events is established. Research into the responsibility of the spectator in both philosophy and performance can broaden our understanding of the production and perception of knowledge in an age of media omnipresence. Th

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Cameron MacKenzie. "The Performance of Non-Philosophy." symplokē 22, no. 1-2 (2014): 311. http://dx.doi.org/10.5250/symploke.22.1-2.0311.

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7

Cull � Maoilearca, Laura. "Editorial - Performance Philosophy Vol 1." Performance Philosophy 1, no. 1 (2015): 1. http://dx.doi.org/10.21476/pp.2015.1133.

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Oxer, J. P. "The philosophy of performance evaluation." IEEE Engineering Management Review 30, no. 4 (2002): 119–20. http://dx.doi.org/10.1109/emr.2002.1167292.

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9

Rondhuis, Thecla, and Karel van der Leeuw. "Performance and Progress in Philosophy." Teaching Philosophy 23, no. 1 (2000): 23–42. http://dx.doi.org/10.5840/teachphil20002311.

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10

Lagaay, Alice. "Minding the Gap – of Indifference: Approaching ‘Performance Philosophy’ with Salomo Friedlaender (1871-1946)." Performance Philosophy 1, no. 1 (2015): 65. http://dx.doi.org/10.21476/pp.2015.1127.

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The concept of "Creative Indifference" put forward by Salomo Friedlaender in his 1918 magnum opus, Schöpferische Indifferenz, provides much food for thought from a Performance Philosophy perspective. Friedlaender's work, which has been largely overlooked by academic philosophers until now, was in fact hugely influential in expressionist Dada circles at the time of its publication. It also contributed to shaping Gestalt Therapy theories and practice, thereby relating to a number of bodywork movements that continue to inform performance practice and Performance Philosophy alike. In this short te

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Cull � Maoilearca, Laura, Theron Schmidt, and Daniel Watt. "Editorial - Performance Philosophy Vol 2(1)." Performance Philosophy 2, no. 1 (2016): 1. http://dx.doi.org/10.21476/pp.2016.21121.

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This editorial introduces Volume 2, Issue 1 of Performance Philosophy, including articles that respond to an open call for submissions and the introduction of a new section, [Margins], that supports�creative, non-standard approaches to the manifold relationships that may arise out of the conjunction between performance and philosophy.

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Cull � Maoilearca, Laura, K�lina Gotman, Eve Katsouraki, and Theron Schmidt. "Editorial - Performance Philosophy Vol 2(2)." Performance Philosophy 2, no. 2 (2017): 162. http://dx.doi.org/10.21476/pp.2017.22132.

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Schmidt, Theron. "Editorial - Performance Philosophy Vol 3(1)." Performance Philosophy 3, no. 1 (2017): 1. http://dx.doi.org/10.21476/pp.2017.31169.

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14

Daddario, Will. "The Open Field of Performance Philosophy." Performance Philosophy 4, no. 2 (2019): 325–31. http://dx.doi.org/10.21476/pp.2019.42250.

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This editorial introduces issue 4.2 of the Performance Philosophy journal. As a culmination of an "open call" for proposals, this edition prompts the reflection, "What is open?" The editorial pursues that question in order to map the open field of Performance Philosophy as it currently presents itself in this historical moment.

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15

Brandon, James M. "Bertolt Brecht: Performance and Philosophy (review)." Theatre Journal 59, no. 2 (2007): 330–32. http://dx.doi.org/10.1353/tj.2007.0085.

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16

Hollingshaus, Wade, and Will Daddario. "Performance Philosophy: Arrived Just in Time?" Theatre Topics 25, no. 1 (2015): 51–56. http://dx.doi.org/10.1353/tt.2015.0002.

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17

Tangen, Stefan. "Performance measurement: from philosophy to practice." International Journal of Productivity and Performance Management 53, no. 8 (2004): 726–37. http://dx.doi.org/10.1108/17410400410569134.

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18

Oesmann, Astrid. "Bertolt Brecht: Performance and Philosophy (review)." Modern Drama 50, no. 3 (2007): 460–62. http://dx.doi.org/10.1353/mdr.2007.0058.

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19

Berger, M. I. "What philosophy brings to performance technology." Performance + Instruction 28, no. 7 (1989): 30–32. http://dx.doi.org/10.1002/pfi.4170280708.

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20

Bryan, Jenny. "Philosophy." Greece and Rome 65, no. 2 (2018): 269–77. http://dx.doi.org/10.1017/s0017383518000220.

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Three recent volumes indicate a growing appreciation of the significance and complexity of Plato's account of mousikē in the Laws. Anastasia-Erasmia Peponi's edited work, Performance and Culture in Plato's Laws, collects fifteen diverse chapters by prominent scholars in Greek literature, philosophy, and culture to produce an immensely rewarding and original range of perspectives on Plato's treatment of performance and poetics in the Laws. As Peponi notes in her brief introduction, the complexity of the cultural background that Plato manipulates and appropriates in the Laws, as well as the intr

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21

Susanto, Irwan. "SOLUSI PENGEMBANGAN UMKM MELALUI ONTOLOGI." Performance 23, no. 1 (2017): 17. http://dx.doi.org/10.20884/1.performance.2016.23.1.290.

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SMEs proved as the most contributor (92.71%) to the Indonesian employment. Ironically SMEs have many problems. Several attempts were employed, but they were unsucceessful. This article reached the problem solution through onthological philosophy as the novelty. Through descriptive analysis, SMEs were viewed from four dimensions (quantity, autonomy-correlation, dynamic of the process, meaning-value). The result of the study of onthology that described the reality of SMEs Indonesian context is the con-cept of businesses activities which cannot stand alone. It must correlate with the govern-ment

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22

Kornhaber, David. "Every Text is a Performance: A Pre-History of Performance Philosophy." Performance Philosophy 1, no. 1 (2015): 24. http://dx.doi.org/10.21476/pp.2015.1125.

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This article traces a genealogy of performance philosophy along two separate lines within the history of the twentieth-century academy. On the one hand, it locates within the long history of philosophically-informed studies of dramatic literature a partial model for the work of performance philosophy, one that applied philosophical scrutiny to dramatic texts without ever extending the same consideration to theatrical performance—in spite of the practical theatrical work of many of this movement’s leading academic proponents. On the other hand, it identifies in the poststructualist rethinking o

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23

Corby, James. "Failing to Think: The Promise of Performance Philosophy." Performance Philosophy 4, no. 2 (2019): 576–90. http://dx.doi.org/10.21476/pp.2019.42239.

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Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other philosophical discourses and performative practises have come up short—perhaps even failed. That is to say, far from simply announcing a relatively modest interdisciplinary venture between philosophy and performance, Performance Philosophy seems invested with a radical potential that would, if realised, reveal a paradigm of creation and/or interpretation that is quite new and distinct. Its achievements, if successful, would be beyond the compass of performance and philosophy conceived independently

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24

Erler, Michael. "Argument and Performance: Alcibiades’ Behavior in the Symposium and Plato’s Analysis in the Laws." Peitho. Examina Antiqua 8, no. 1 (2017): 213–24. http://dx.doi.org/10.14746/pea.2017.1.13.

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Argument and literary form, and how they both relate to each other, are crucial aspects of any interpretation of the Platonic dialogues. Plato the author and Plato the philosopher always work hand in hand in that Plato the author tries to serve Plato the philosopher. It is, therefore, an appropriate principle for approaching the study of Plato’s philosophy to take into account the literary aspects of the dialogues and to ask how Plato’s literary art of writing could possibly support his philosophical message and, for instance, to consider what this relation means in the context of the debate a

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Erler, Michael. "Argument and Performance: Alcibiades’ Behavior in the Symposium and Plato’s Analysis in the Laws." Peitho. Examina Antiqua, no. 1(8) (October 24, 2017): 213–24. http://dx.doi.org/10.14746/peitho.2017.12226.

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Argument and literary form, and how they both relate to each other, are crucial aspects of any interpretation of the Platonic dialogues. Plato the author and Plato the philosopher always work hand in hand in that Plato the author tries to serve Plato the philosopher. It is, therefore, an appropriate principle for approaching the study of Plato’s philosophy to take into account the literary aspects of the dialogues and to ask how Plato’s literary art of writing could possibly support his philosophical message and, for instance, to consider what this relation means in the context of the debate a

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26

Böhler, Arno, Eva-Maria Aigner, and Elisabeth Schäfer. "Einleitung. Philosophy On Stage. Immanenz in zeitgenössischer Kunst und Philosophie." Performance Philosophy 3, no. 2 (2017): 310. http://dx.doi.org/10.21476/pp.2017.32192.

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Diese bi-linguale Sonderausgabe des Performance Philosophy Journals, die erste in deutscher und englischer Sprache, ist das Ergebnis des Forschungsprojekts „Artist-Philosophers. Philosophy AS Arts-based Research“, das vom Österreichischen Wissenschaftsfonds (FWF): AR275-G21 im Kontext des Programmes zur Entwicklung und Erschließung der Künste (PEEK) gefördert wurde. Eine zentrale Fragestellung des PEEK-Projekts lautete: „Was geschieht mit dem traditionellen Bild der Philosophie, wenn Philosoph_innen beginnen, den Prozess des Philosophierens im öffentlichen Raum aufzuführen und kunst-basierte P

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Corby, James. "The Contemporary Quarrel Between Performance and Literature? Reflections on Performance (and) Philosophy." Performance Philosophy 1, no. 1 (2015): 36. http://dx.doi.org/10.21476/pp.2015.1112.

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This article argues for an understanding of performance as being motivated by a principle of autotelicity that suspends all considerations other than those of the performance itself as it unfolds in creative free play. It is argued that it is this ‘principle of performance’ that underpinned Plato’s rejection of poetry in favour of philosophy, in a foundational, mutually definitional rupture that he characterises as stemming from an ancient quarrel. This principle of performance survived both in and beyond philosophical discourse. It can, as this paper argues, be understood as being at work in

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Gauß, Eva Maria, and Rainer Totzke. "On Performative Philosophy – 10 impulses for discussion from [soundcheck philosophie]." Performance Philosophy 1, no. 1 (2015): 74. http://dx.doi.org/10.21476/pp.2015.1130.

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Since 2011, the philosophy-performance festival, [soundcheck philosophie] has been gathering protagonists in German-speaking countries, who seek and intend to cultivate a certain practice in philosophy. This practice takes philosophy - focussing not only on written texts but also on the fundamental oral situations that take place within pilosophy - and presents it artistically and/or through media. In this context. The term ‘Performative Philosophy’ is meant as a working concept for finding criteria and developing contemporary expressions and forms of doing pilosophy. The [soundcheck philosoph

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29

Cull, Laura. "Philosophy as Drama: Deleuze and Dramatization in the Context of Performance Philosophy." Modern Drama 56, no. 4 (2013): 498–520. http://dx.doi.org/10.3138/md.s87.

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30

Papchenko, Elena, Ruslan Bazhenov, Emma Bestaeva, and Sergey Bogatenkov. "Philosophy of technology: performance review and expected development." SHS Web of Conferences 72 (2019): 01019. http://dx.doi.org/10.1051/shsconf/20197201019.

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The paper is related to viewing the genesis and prospects for the development of one of the most important branches of philosophy - the philosophy of technology. The authors begin their survey with the time when a grounding of the philosophy of technology was given, i.e. when technology became comprehensible in terms of a philosophical and philosophical point of view until such extended studies concerned to the technology that developed into one of the most dominating factors in social development. It is reported that exact antipodes of opinion were made up in the classical philosophy of techn

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31

Yazon, A. D., and K. Ang-Manaig. "Teacher’s Educational Philosophy, Teaching Style and Performance." KnE Social Sciences 3, no. 6 (2018): 760. http://dx.doi.org/10.18502/kss.v3i6.2418.

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32

Earl, John H. "Global Asset Allocation: Philosophy, Process, and Performance." CFA Digest 30, no. 4 (2000): 40–42. http://dx.doi.org/10.2469/dig.v30.n4.767.

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33

Kirkkopelto, Esa. "For What Do We Need Performance Philosophy?" Performance Philosophy 1, no. 1 (2015): 4. http://dx.doi.org/10.21476/pp.2015.117.

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In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up a new academic practice in which performance, performance makers and performers can mak

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Alifuoco, Annalaura. "�Alive� Performance: Toward an Immersive Activist Philosophy." Performance Philosophy 3, no. 1 (2017): 126. http://dx.doi.org/10.21476/pp.2017.3187.

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This paper proposes to analyse the �virtual,� unsighted potentials of the artistic and critical practice of performance through abstraction, deconstruction and remediation of its �body.� It argues that the ontological distinction between material and immaterial representation can be dislodged by the proposition of? an ontogenesis of emergence of the dynamic dimension of affect. Such self-organising, recursive system of forces and energies elicits change and transformation expanding the sensual and aesthetic practice of performance as alive art.These arguments connect concepts from aesthetic an

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35

Antze, Rosemary Jeanes. "Dance of India: Culture, Philosophy and Performance." Dance Research Journal 17, no. 2 (1985): 98–100. http://dx.doi.org/10.1017/s0149767700015503.

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36

Birch, David. "Re‐orienting semiotics: Performance philosophy and theory." Continuum 2, no. 2 (1989): 7–25. http://dx.doi.org/10.1080/10304318909359362.

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37

Wariyatno, Nanang Gunawan, Han Ay Lie, Fu-Pei Hsiao, and Buntara Sthenly Gan. "Design Philosophy for Buildings’ Comfort-Level Performance." Advances in Technology Innovation 6, no. 3 (2021): 157–68. http://dx.doi.org/10.46604/aiti.2021.7309.

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The data reported by Japan Meteorological Agency (JMA) show that the fatal casualties and severe injuries are due to heavy shaking during massive earthquakes. Current earthquake-resistant building standards do not include comfort-level performance. Hence, a new performance design philosophy is proposed in this research to evaluate the quantitative effect of earthquake-induced shaking in a building. The earthquake-induced response accelerations in a building are analysed, and the response accelerations related with the characteristic property of the building are used to evaluate the number of S

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38

Yang, Xiao Long. "Difference and Identity in Piano Performance Information." Proceedings 47, no. 1 (2020): 59. http://dx.doi.org/10.3390/proceedings2020047059.

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With the arrival of the information society, the research on the philosophy of music art has been paid more and more attention to, and the difference and identity in the information of piano performance is worth our deep thinking. In the new era of social information, it is a timely topic which breaks through the traditional research methods of piano art and utilizes the research system of information philosophy. Based on the perspective of information philosophy, this paper attempts to reveal the difference and identity of the main body of piano performance information by observing the ontolo

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Ó Maoilearca, John. "Laruelle, Immanence, and Performance: What Does Non-Philosophy Do?" Performance Philosophy 3, no. 3 (2017): 718. http://dx.doi.org/10.21476/pp.2017.33143.

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François Laruelle’s ‘non-philosophical’ practice is connected to its performative language, such that to the question 'what is it to think?, non-philosophy responds that thinking is not “thought”, but performing. Non-philosophy is equally described by Laruelle as ‘transcendental practice’, an ‘immanent pragmatics’, or a ‘universal pragmatics’ that is ‘valid for ordinary language as well as for philosophy:’ He insists that we look at ‘that-which-I-do-in-saying and not just what I say’ – for the latter is simply what happens when thought is ‘taken hold of again by philosophy.’ Resisting this hol

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Mullis, Eric. "Performance and the philosopher’s costume: Richard Shusterman as the Man in Gold." Studies in Costume & Performance 5, no. 1 (2020): 13–31. http://dx.doi.org/10.1386/scp_00011_1.

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This article discusses philosopher Richard Shusterman’s artistic collaboration with Yann Toma which entails the use of costume, photography and public performance. The project advances the interdisciplinary field of somaesthetics and raises questions about conventions of professional philosophy, including what philosophers conventionally wear and how philosophical inquiry is advanced. Aspects of costume theory and contemporary movement performance are used to analyse Shusterman’s autobiographical methodology and the project’s performative aims.

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CULL, LAURA. "Performance as Philosophy: Responding to the Problem of ‘Application’." Theatre Research International 37, no. 1 (2012): 20–27. http://dx.doi.org/10.1017/s0307883311000733.

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This article begins from the premise that a ‘critical turning point’ has been reached in terms of the relationship between performance and philosophy. Theatre and performance scholars are becoming increasingly engaged in philosophical discourse and there are growing amounts of work that take philosophy – from the work of Plato to Heidegger and Deleuze – as their guiding methodology for performance analysis. However, this article argues that we need to go further in questioning how we use philosophy in relation to performance, and that theatre and performance scholarship should attempt to go be

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42

Bar-Elli, G. "Ideal Performance." British Journal of Aesthetics 42, no. 3 (2002): 223–42. http://dx.doi.org/10.1093/bjaesthetics/42.3.223.

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43

Мелякова, Юлія Василівна. "PERFORMANCE IN THE METHODOLOGY OF PHILOSOPHY OF LAW." Bulletin of Yaroslav Mudryi National Law University. Series: Philosophy, philosophies of law, political science, sociology 3, no. 38 (2018): 110–18. http://dx.doi.org/10.21564/2075-7190.38.140009.

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Мелякова, Юлія Василівна, Світлана Борисівна Жданенко, and Владислав Олегович Еґерт. "PERFORMANCE IN THE METHODOLOGY OF PHILOSOPHY OF LAW." Bulletin of Yaroslav Mudryi National Law University. Series: Philosophy, philosophies of law, political science, sociology 3, no. 42 (2019): 96–106. http://dx.doi.org/10.21564/2075-7190.42.170729.

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Sanecka, Anna. "“Odd and Luna” – pedagogical fairy tale about otherness and being different." Journal of Education Culture and Society 11, no. 1 (2020): 73–91. http://dx.doi.org/10.15503/jecs2020.1.73.91.

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Aim. The aim of the article is to present the pedagogical potential of the puppet performance “Odd and Luna” staged in Wroclaw Puppet Theatre. The performance is interpreted from the philosophy of dialogue’s point of view, focused mainly on the philosophy of Polish philosopher Józef Tischner. Methods.The plot and the main theme of the performance – the otherness, loneliness and meeting the Other as a way of overcoming one’s own lack of self-confidence and fear of being different – are described and analysed. The contents of the performance are studied in order to find in its significant

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46

Camp, Pannill. "May Philosophy Flourish: Pantheisticon, Freemasonry, and Eighteenth-Century Ritual Philosophy." Journal of Medieval and Early Modern Studies 51, no. 3 (2021): 553–75. http://dx.doi.org/10.1215/10829636-9295065.

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In eighteenth-century Europe, ritual performance behavior was consciously used for philosophical purposes. The richest documented instances of this involved Freemasonry, a voluntary fraternal order that drew tens of thousands of men, across Europe and beyond, into a secretive ritual practice. Masons understood ritual, the core of Masonic “craft,” as a philosophical activity in itself. Supporting this claim requires a critique of the prevalent view that Freemasonry was uniquely compatible with specific Enlightenment philosophical constructs—constitutional monarchism in political thought and dei

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47

Garcin Marrou, Flore, Amalia Boyer, Charlotte Hess, et al. "What Is Philo-Performance? A roundtable." Performance Philosophy 1, no. 1 (2015): 148. http://dx.doi.org/10.21476/pp.2015.1117.

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This article is an edited transcript of the roundtable entitled “What is Philo-Performance?” that took place in Paris on 28 June 2014, within the framework of the “Theatre, Performance, Philosophy International Conference: Crossings and Transfers in Anglo-American Thought”. The conference was organized by Julien Alliot, Flore Garcin-Marrou, Liza Kharoubi and Anna Street from the LAPS, a French research group on performance philosophy.

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48

Wang, Yingyan. "Examination on Philosophy-Based Management of Contemporary Japanese Corporations: Philosophy, Value Orientation and Performance." Journal of Business Ethics 85, no. 1 (2008): 1–12. http://dx.doi.org/10.1007/s10551-008-9727-y.

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49

Parry-Davies, Ella, and Eliesh S.D. "Siting Performance Philosophy: Positions, Encounters and Reflections at Beirut: Bodies in Public." Performance Philosophy 1, no. 1 (2015): 255. http://dx.doi.org/10.21476/pp.2015.1116.

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Beirut: Bodies in Public was a three-day workshop that took place in Beirut, Lebanon from 9-11 October 2014, supported by a Performance Philosophy grant for interim conference events. The workshop integrated academic research with performances, movement workshops, film, and site-specific responses to the city, and welcomed disciplinary perspectives from a broad range of fields. In this article, the convenors Ella Parry-Davies and Eliesh S.D. reflect on the central issues and encounters foregrounded by the event, and the disciplinary or methodological implications of the project for performance

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50

Cull Ó Maoilearca, Laura. "From the Philosophy of Theatre to Performance Philosophy: Laruelle, Badiou and the Equality of Thought." Labyrinth 19, no. 2 (2018): 102. http://dx.doi.org/10.25180/lj.v19i2.97.

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This article draws from François Laruelle's non-standard philosophy to locate gestures of philosophical "authority" or 'sufficiency" within recent work in the philosophy of theatre - including material from contemporary Anglo-American philosophical aesthetics, and texts by Alain Badiou, such as In Praise of Theatre (2015). Whilst Badiou initially appears magnanimous in relation to theatre's own thinking - famously describing theatre as "an event of thought" that "directly produces ideas" (Badiou 2005: 72) - I argue that this very benevolence, from a Laruellean perspective, constitutes another

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