Literatura académica sobre el tema "Public auction act"

Agrarian Law is one of the legal materials that are directly related to the livelihood of every individual society and the order of life of Indonesian society. The citizens until now are still very dependent on the activities and efforts that mostly work as agrarian, so that the land is one of Agrarian object which is the support and hope for every individual society in order to carry out a prosperous life order. The process of selling the land is divided into two ways: general sales and special sales by auction conducted by the State Property Office and Auction. This auction is conducted in the framework of repayment of debt secured by mortgage rights. This matter is regulated in Act No. 4 Of 1996 concerning Land Mortgage Rights and Objects Related to the Land and Regulation of Minister of Finance Number 27/PMK.06/2016 concerning Guideline for Auction Implementation of Auction or public sale is a part of the occurrence the transfer of rights. According to Article 41 paragraph (1) of Government Regulation No. 24 of 1997 concerning Land Registration explains that the transfer of rights through auction can only be registered if it is proven by quotation of auction minutes made by auction officials.Keywords: Auction Sales; Mortgage Right Objects; Land Registration.

The article analyzes both existing and proposed legal acts in the field of promoting and generating energy from renewable sources. The model of energy management based on renewable sources is implemented differently in individual countries. With the increasing share of renewable energy and the level of objectives for the coming years, it is essential that they are achieved with the lowest possible cost of support from public funds. For this reason, many countries have decided to gradually move to the auction system, giving control over the costs, structure and capacity increase of new RES installations. The research problem is the evaluation of the effectiveness of the auction system against the background of the instruments used so far, both in terms of the increase in new generation capacities and the costs of achieving the intended objectives. These issues, due to the short period of functioning of the new system, have not been properly identified yet. The study uses data from the years 2010-2018. The spatial range was mainly in Poland, but examples from other countries around the world were also used. The research and analysis used a comparative method and a list of individual renewable energy production technologies according to the analyzed values. It has been hypothesized that an auction system based on competitive principles, more effectively and with lower support of public funds will allow for achieving goals related to the promotion of renewable energy sources. The aim of the article is to present the current and new RES support system, prices obtained in auctions and the first experience in its implementation. The research material were Eurostat and GUS statistical materials, documents from the European Commission, the Ministry of Energy, the Energy Regulatory Office, reports on support systems from European countries and Poland. Research methods used in the work include analysis of documents, normative acts, subsequent amendments to the Act on renewable energy sources and regulations issued on their basis. The assessment and recognition of the level of support in the auction system in countries that have been using this instrument for many years was also made. These analyses allowed the assessment of the effects of the auctions carried out, their advantages and disadvantages, and helped formulate conclusions in the field of organizational changes ensuring efficient functioning of the auction system.

The case of official positional auction under Indonesia legal system is not yet determined hence on this case, the civil servant regulation is adopted as a reference on goverment organization. Therefore, the government body or state officials may consider any policy in order to fullfil the public demand. Indonesian officials have right to act based on Fress Ermessen’s principle which can provides the freedom for authorized party to make decision as long as it is still on the track and does not overreach legal procedure. Consequently, the official positional auction is considered as a policy that belong to all state officials as long as it does not againts the law.

The recent zero-priced award of $11–70 billion in digital TV (DTV) licenses by the federal government occurred when auctions had been initiated for non-broadcast licenses and when the seven decade-old regime of ‘public trusteeship’ in broadcasting had become famous for licensee reneging on promised obligations. Policymakers nonetheless declined to auction DTV licenses when enacting the Telecommunications Act of 1996, rejecting a plea from the Senate Majority Leader. This paper provides an overview of the episode and investigates three basic questions. (1) Why does Congress continue a regulatory system that routinely fails to provide the benefits it is supposed to generate? (2) Why did the National Association of Broadcasters propose high definition television as a way of keeping land mobile operators off an unused spectrum? (3) Why did Congress delegate to the FCC the decision to award licenses for digital television broadcasting?

AbstractElectronic reverse auctions (e-RAs) are considered to be an effective tool for negotiating tender prices and achieving cost savings. Furthermore, if multicritera evaluation is used, it can be expected that e-RAs will also contribute to achieving benefits in other areas, e.g. helping to minimize life-cycle costs. This study aims to analyse the mutual relationships between selected e-RA variables. More specifically, correlation analysis is applied to explore real e-RA data representing public tenders for construction work. This study’s findings reveal that the correlations examined are generally weak or very weak. Furthermore, it has been found that the value of correlation coefficients varies depending on the type of structure, and that public tenders are usually evaluated solely on the basis of the criterion of the lowest bid price. Recommendations for public authorities in using e-RAs in the role of the buyer are also provided at the end of this paper.

The paper applies a typology of agency models of corruption, based on the conformity of principal and agent’s preferences to the “ideal” preferences of society. The proposed approach has allowed to theoretically substantiate the existence of new models of corrupt behavior, quasi- and totalitarian corruption, and subsequently to reveal cases of such agents’ behavior in the public procurement practice. In conditions of inefficient regulation, developed by the mala fide principal, bona fide agents in an effort to best meet the needs of society may violate certain provisions of regulatory legal acts or regulatory policy principles (quasi-corruption) whilst the mala fide agents do the same things for bribes (efficient corruption). On the other hand, in some cases the agents have to act in accordance with the inefficient regulation, being deprived of the possibility to violate it (totalitarian corruption). In the paper, the discussion of assumptions of different models, presented in the typology, including quasi- and totalitarian corruption, has been found in the academic literature. The paper examines the hypothesis that the proposition of Russian single-source procurement regulation which directly restricts annual small purchasing of contracting authorities provokes totalitarian corrupt behavior of buyers making them use electronic reverse auctions instead of single-source procurement to award small contracts.

Settlement of non-performing loans by auction guarantee Encumbrance often bring up the resistance of the debtor in the form of Civil Lawsuit filed to the District Court which is due to the complexity of the auction and there are some weaknesses in the Act Mortgage particular Article 6 and Article 20 is often used as an opportunity to apply for resistance by the debtor. Which is the subject of research is related to the cause of the resistance of the debtor and construct legal protection for the debtor, which will then be analyzed reasons debtor resistance and constructing legal protection for debtors. It is important for creditors to be careful in the credit granting process and the handling of non-performing loans with the auction encumbrance to keep attention on merit, good faith and respect for the property of others, the presence of assessors public good repute be important in determining the value of the limit the object of the auction.

Problem setting. In modern conditions, the relevance of the study of public procurement is conditioned by the fact that the functioning of the state and local self-government bodies, the fulfillment of their socially important tasks, which are assigned to them, are impossible without adequate material and resource support. As S. Levchenko rightly points out, public procurement concerns practically all spheres of economy and is one of the most important means of socio-economic policy of the country. Not only productivity but also the speed of economic growth of a country depends on their effectiveness. Analysis of scientific research. It is significant that public procurement has been the subject of scientific research by experts in civil, administrative and commercial law (for example, O. Kurepina, A. Yu. Misak, O. O. Sergachova, M. S. Solovyov, etc.). At the same time, given the dynamic nature of national legislation, including in the area of public procurement, the purpose of this scientific article is to analyze the legal mechanism of public procurement in Ukraine. Article’s main body. We would like to note positively the attempt of the legislator to consolidate the principles of public procurement. These include such principles as: fair competition among participants; maximum savings and efficiency; openness and transparency at all stages of procurement; non-discrimination of participants; objective and impartial evaluation of the tender proposals; Prevention of Corruption and Abuse [5, Art. 3]. At the same time, the content of some of the principles is disclosed in the text of the analyzed regulatory act. In particular, it is a principle of nondiscrimination of participants, the essence of which is that domestic and foreign participants of all forms of ownership and organizational and legal forms participate in procurement procedures on equal terms. Customers provide free access to all participants for procurement information. The legislation prohibits the establishment of discriminatory requirements against participants. In addition, the legislator draws attention to the need for procurement planning. Procurement is carried out in accordance with the annual plan. The annual plan, the annex to the annual plan and changes thereto shall be published free of charge on the web site of the Procurement Authorization Authority within five days of their approval [5, Art. 4]. In our opinion, the stated requirements of the legislator regarding the planning of public procurement should be consolidated as one of the principles of their implementation, since the planned nature of public procurement is one of the main characteristics of their implementation. However, the content of all other principles enshrined in the Law on Public Procurement remains unclear. Apparently, this approach needs adjustments. Conclusions and prospects for development. Thus, it is advisable to include in the stages of public procurement such as: 1) the publication of procurement information; 2) the election of one of the following procedures: (a) open tendering; (b) competitive dialogue; (c) the negotiated procurement procedure. We emphasize that within each of the above procedures are contained, so to speak, their own stages. The stages of the open auction include: 1) announcement of the open tender procedure; 2) availability of tender documentation; 3) submission of the tender proposal; 4) opening, reviewing and evaluation of bids; 5) deciding on the intention to conclude a purchase contract.

Let me walk. Let me go at my own pace. Let me feel life as it moves through me and around me. Give me drama. Give me unexpected curvilinear corners. Give me unsettling churches and beautiful storefronts and parks I can lie down in. The city turns you on, gets you going, moving, thinking, wanting, engaging (Elkin 37, emphasis our own). Walking Is ThinkingAs feet pound the pavement, synaptic movement follows. To clear the head, one must get up and walk.In her 2016 book Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, Lauren Elkin traces the figure of the walking woman— often herself—through literary and artistic movements and the metropolis. She explores the act of flânerie, of wandering the city, as performed by George Sand, Virginia Woolf and Martha Gellhorn, amongst other peripatetic female thinkers. For Elkin, walking is at once an act of protest, of pleasure, a way to navigate personal pain, but also a way of thinking. She writes, “sometimes I walk because I have things on my mind, and walking helps me sort them out” (21).In “On the Rhythms of Walking and Seeing: Two Walks across the Page”, Evija Trofimova and Sophie Nicholls take this further, and amble towards one another thoughtfully, but from other sides of the globe. They address Elkins’s “sorting out” by coming together, not in the physical, but on the page. They address the frustration that can occur before the words appear on the page, when we as writers are “stuck”—and how moving away from the static confines of the office, away from the desk, and going for a walk, makes the work much richer when we return. Yet walking is more than that again: Trofimova and Nicholls also demonstrate how companionable the act of walking is, and how co-writing can achieve this simpatico too. Their essay is a conversation, a walk together, a work together. It is rhythmic and roaming, and like Elkin, references thinkers who have relied on the ramble to relieve the block.Walking Is WritingWhile we were editing this issue, Rebecca Solnit’s book Wanderlust: A History of Walking appeared on the reference list of many articles we received. Wanderlust, first published in 2001, has become a contemporary classic—part of a “Walking Canon”, if you will—for its exhaustive study of walking and its artistic, philosophical, and political histories. Like Trofimova and Nicholls, Daniel Juckes also engages with Solnit’s work in his article “Walking as Practice and Prose as Path Making: How Life Writing and Journey can Intersect.” Reflecting on W. G. Sebald, Marcel Proust, and the family memoir he was writing, Juckes refers to Solnit’s discussion of the connection between place, path, and memory. He writes that “if a person is searching for some kind of possible-impossible grounding in the past, then walking pace is the pace at which to achieve that sensation (both in the world and on the page).” Like in dreams, this realm of im/possibility can occur through writing, but is also fostered through walking. As Solnit reminds us, “exploring the world is one of the best ways of exploring the mind, and walking travels both terrains” (13). In Juckes’s work we see how walking and memory can be intimately connected; how both, as Juckes puts it, are bound up in “the making of connections between present and past,” as we tread across old associations and they are made anew.Walking Is PrivilegeAs we discuss the pedestrian benefits of walking, it would be remiss to fail to acknowledge those with restricted mobility due to a disability or illness. Ableism permeates the world we live in. As such, an important aspect of this issue is examining how issues relating to dis/ability are a critical part of discourses around walking, and highlight inequities in access and the language we use to discuss it.We are particularly proud of Chingshun Sheu’s article, “Forced Excursion: Walking as Disability in Joshua Ferris’s The Unnamed”, which engages with disability theory in its discussion of Ferris’s 2010 novel. In Ferris’s text, the protagonist’s involuntary stints of walking to exhaustion appear as disability, affecting his work, relationships and ultimately, his mortality. Sheu uses the text to explore the complexity and limitations of disability models, noting that “disability exists only at the confluence of differently abled minds and bodies and unaccommodating social and physical environs.”Walking Is PosthumanChantelle Bayes approaches these unaccommodating environs from a different angle, discussing how “marginalised groups are usually the most impacted by the strict control and ordering of contemporary urban spaces in response to utopian imaginaries of who and what belong.” Bayes’s article, “The Cyborg Flâneur: Reimagining Urban Nature through the Act of Walking”, recasts Benjamin’s flâneur as cyborg, drawing on feminist writings from Debra Benita Shaw, Rob Shields, and Donna Haraway—the latter of whom is particularly influential for her recent contributions to eco-feminist thought. Bayes takes us into virtual urban spaces, by examining how a revisionist concept of flânerie can be reconfigured online, allowing “for new environmental imaginaries to be created.” Bayes’s concept is at once exciting and daunting: is walking through an app what we have to look forward to in the age of the Anthropocene? Will our cities continue to be more accommodating to the lucky few? Walking as a non-corporeal action is an unsettling thought, and intriguing for this discomfort. Walking Is GentrificationLet us guide you through these city streets to our next article, as Craig Lyons, Alexandra Crosby and H. Morgan Harris take us to Sydney’s inner West, an area becoming increasingly unaccommodating for many thanks to rising living costs. Their article, “Going on a Field Trip: Critical Geographical Walking Tours and Tactical Media as Urban Praxis in Sydney, Australia”, situates us in Marrickville, which they remind us is “unceded land of the Cadigal and Wangal people of the Eora nation who call the area Bulanaming.” Already this space is contested, as all Australian urban spaces all, palimpsests of Indigeneity, colonisation, and capital. Field Trip recognises this layering, operating as “a critical geographical walking tour through an industrial precinct,” prompting participants to take part in an act of resistance merely by walking the space.It recalls Mirror Sydney, writer Vanessa Berry’s blog (a book of the same name was published this year) that maps Sydney’s disappearing quirks. In a June entry, she notes after a walk that “in the last week new signs have gone up, signs for the impending auction of the two warehouses that make up the green building: ‘Invest, Occupy or Redevelop.’ It’s the last option that has Marrickvillians nervous” (Berry). These redevelopment nerves are confronted by Lyons, Crosby, and Harris as they examine gentrification in the area, as developers seek to exploit the area’s diverse population to attract wealth. They see their walking tour as a work of activism, a way of confronting the rapid gentrification of their city, stating that “via a community-led, participatory walking tour like Field Trip, threads of knowledge and new information are uncovered. These help create new spatial stories and readings of the landscape, broadening the scope of possibility for democratic participation in cities.”Walking Is PoliticalBeing able to walk is to exercise democracy. Last year in Australia, Clinton Pryor, a Wajuk, Balardung, Kija and a Yulparitja man, walked from Perth, near his home in Western Australia, to Canberra, to protest the treatment of First Nations peoples in Australia (Morelli). Indeed, one of the places where Pryor, dubbed “the Spirit Walker”, met his most rapturous welcome was in Sydney’s Redfern, not far from Marrickville. When Pryor reached Redfern, and the crowd that awaited him, he said, “I just walked in here and can’t tell you what Redfern has meant to us all over the years. Everyone knows Redfern is where we made our stand,” referring to the place’s reputation as the heartland of Australia’s Black Power movement (Murphy).Pryor’s walk demonstrates ambulatory political power—it became a march. Alina Haliliuc transports us to Bucharest, far from Australia’s dusty roads, in her article “Walking into Democratic Citizenship: Anti-Corruption Protests in Romania’s Capital”. Like Pryor, the subjects of her article “have been using their bodies in public spaces to challenge politicians’ disregard for the average citizen.” Haliliuc draws attention to the how the Romanian public have mobilised, marching the streets and affecting real change, striving—or striding—for democracy in a region plagued by increasing political instability. Walking Is ArtFor about three years, from 1972, American artist Adrian Piper would dress up as a man she dubbed the “Mythic Being”, donning an afro wig, a moustache and sunglasses, walking the streets of New York City presenting as a man. She documented some of these public appearances in works that appeared in her 2018 retrospective at New York’s Museum of Modern Art (MoMA) titled “Adrian Piper: A Synthesis of Intuitions 1965-2016”. John Bowles writes that Piper, who is mixed race, uses the Mythic Being figure to “engage critically with popular representations of race, gender, sexuality, and class, challenging viewers to accept personal responsibility for xenophobia, discrimination, and the conditions that allow them to persist” (257). After being lucky enough to view the MoMA exhibition earlier this year, I was reminded of the Mythic Being when reading Derrais Carter’s article, “Black Wax(ing): On Gil Scott-Heron and the Walking Interlude”. Carter examines Scott-Heron’s walks through Washington, DC as shown in the 1982 film about the musician, Black Wax. Like much of Piper’s oeuvre, the film is a meditation on race and power in the United States, splicing footage of live performances with “walking interludes” such as Scott-Heron strolling past the White House with his toddler daughter. Carter remarks that he is “interested in the film as a wandering text, one that pushes at tensions in order to untether the viewer from a constricting narrative about who they might be”. Walking can perform this untethering, at once generating and diffusing tension about identity and space. Scott-Heron’s cinematic strolls through DC, filmed when conservative President Ronald Reagan was at the height of his power, demonstrate how walking can be a subversive, revolutionary form of artistic expression. Walking Is WayfindingIn the feature article of this special issue, “Walking as Memorial Ritual: Pilgrimage to the Past”, Susan Sigre Morrison explores the complex relationship between the human and the nonhuman and centres on pilgrimage to shape this discussion. Morrison traces four pilgrimages she has taken as a young child through to her adulthood, reflecting on memory, ecocriticism, the sacred, and the Anthropocene along the way. Thickly woven, Morrison’s writing ranges between her own memories, the limestone of the Jurassic, the life of a small insect she encounters in a meal, and extracts from her mother’s diary entries telling of hikes she undertook with the child Morrison. Throughout, Morrison dwells on Donna Haraway’s concept of “making kin”, and asks, “How can narrative avoid the anthropocentric centre of writing, which is inevitable given the human generator of such a piece?”In thinking about walking and her body, walking and memory, walking and the nonhuman world, walking in the city and the country, Morrison lays down the suggestions of paths that many of the articles in this special issue then follow. “Landscape not only changes the writer, but writing transforms the landscape and our interaction with it”, Morrison writes, voicing a sentiment that, in various ways, many of the authors in this issue, and the scholars and writers they discuss, hold to be true, and fascinating, and from which so much work and thought around walking springs.Why do we walk? This is the question that we as editors kept returning to, when first we had the idea to collate a special issue on walking. While the history of walking is a well-trodden path, reaching back to the Romantics in England, the flâneurs in Paris, and the psychogeographers in cities everywhere, we resolved to look to the walkers of the contemporary world for this issue. In an age of increasingly sophisticated and prevalent technology, what is the role of the embodied act, the lived experience, of walking? With this special issue, it is our pleasure to offer a selection of work that speaks to why we walk, how we walk, and what walking means in contemporaneity. We thank the contributors, and those who expressed their interest in contributing, as well as the anonymous peer reviewers, for their work—and we hope that this issue might inspire, or prompt, or remind you, the reader, to search out your own walks.ReferencesBerry, Vanessa. “The Ming On Building”. Mirror Sydney, 15 June 2018. 4 Oct. 2018 <https://mirrorsydney.wordpress.com/2018/06/15/the-ming-on-building/>.Bowles, John Parish. Adrian Piper: Race, Gender, and Embodiment. Durham: Duke University Press, 2011.Elkin, Lauren. Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London. London: Vintage, 2016.Morelli, Laura. “Spirit Walker, Clinton Pryor Reaches Redfern on His Walk for Justice.” NITV, 11 Aug. 2017. 4 Oct. 2018 <https://www.sbs.com.au/nitv/nitv-news/article/2017/08/11/spirit-walker-clinton-pryor-reaches-redfern-his-walk-justice>.Murphy, Damien. “Long Walk for Justice: ‘Spiritual Walker’ Clinton Pryor Crosses the Country for His People.” Sydney Morning Herald, 10 Aug. 2017. 4 Oct. 2018 <https://www.smh.com.au/national/nsw/long-walk-for-justice-spiritual-walker-clinton-pryor-crosses-the-country-for-his-people-20170810-gxtsnt.html>.Solnit, Rebecca. Wanderlust: A History of Walking. London: Granta, 2014.

In January of this year, artist Christian Marclay’s 24-hour video installation The Clock came to Melbourne. As Ben Lerner explains in 10:04, the autofictional novel Lerner published in 2014, The Clock by Christian Marclay “is a clock: it is a twenty-four hour montage of thousands of scenes from movies and a few from TV edited together so as to be shown in real time; each scene indicates the time with a shot of a timepiece or its mention in dialogue, time in and outside of the film is synchronized” (52). I went to see The Clock at ACMI several times, with friends and alone, in the early morning and late at night. Each time I sank back into the comfortable chairs and settled into the communal experience of watching time pass on a screen in a dark room. I found myself sucked into the enforced narrative of time, the way in which the viewer – in this case myself, and those sharing the experience with me – sought to impose a sort of meaning on the arguably meaningless passing of the hours. In this essay, I will explore how we can expand our thinking of the idea of autofiction, as a genre, to include contemporary forms of digital media such as social media or activity trackers, as the authors of these new forms of digital media act as author-characters by playing with the divide between fact and fiction, and requiring their readers to ascertain meaning by interpreting the clues layered within. I will analyse the ways in which the meaning of autofictional texts—such as Lerner’s 10:04, but also including social media feeds, blogs and activity trackers—shifts depending on their audience. I consider that as technology develops, we increasingly use data to contextualise ourselves within a broader narrative – health data, media, journalistic data. As the sociologist John B. Thompson writes, “The development of the media not only enriches and transforms the process of self-formation, it also produces a new kind of intimacy which did not exist before … individuals can create and establish a form of intimacy which is essentially non-reciprocal” (208). New media and technologies have emerged to assist in this process of self-formation through the collection and publication of data. This essay is interested in analysing this process of self-formation, and its relationship to the genre of autofiction.Contemporary Digital Media as AutofictionWhile humans have always recorded themselves throughout history, with the rise of new technologies the instinct to record the self is increasingly becoming an automatic one; an instinct we can tie to what media theorist Nick Couldry terms as “presencing”: an “emerging requirement in everyday life to have a public presence beyond one’s bodily presence, to construct an objectification of oneself” (50). We are required to participate in ‘presencing’ by opting-in to new media; it is now uncommon – even unfavourable – for someone not to engage in any forms of social media or self-monitoring. We are now encouraged to participate in ‘presencing’ through the recording and online publication of data that would have once been considered private, such as employment histories and activity histories. Every Instagram photo, Snapchat or TikTok video contributes to an accumulating digital presence, an emerging narrative of the self. Couldry notes that presencing “is not the same as calling up a few friends to tell them some news; nor, although the audience is unspecific, is it like putting up something on a noticeboard. That is because presencing is oriented to a permanent site in public space that is distinctively marked by the producer for displaying that producer’s self” (50).In this way, we can see that in effect we are all becoming increasingly positioned to become autofiction authors. As an experimental form of literature, autofiction has been around for a long time, the term having first been introduced in the 1970s, and with Serge Doubrovsky widely credited with having introduced the genre with the publication of his 1977 novel Fils (Browning 49). In the most basic terms, autofiction is simply a work of fiction featuring a protagonist who can be interpreted as a stand-in for its author. And while autofiction is also confused with or used interchangeably with other genres such as metafiction or memoir, the difference between autofiction and other genres, writes Arnaud Schmitt, is that autoficton “relies on fiction—runs on fiction, to be exact” (141). Usually the reader can pick up on the fact that a novel is an autofictional one by noting that the protagonist and the author share a name, or key autobiographical details, but it is debatable as to whether the reader in fact needs to know that the work is autofictional in the first place in order to properly engage with it as a literary text.The same ideas can be applied to the application of digital media today. Kylie Cardell notes that “personal autobiographical but specifically diaristic (confessional, serial, quotidian) disclosure is increasingly positioned as a symptomatic feature of online life” (507). This ties in with Couldry’s idea of ‘presencing’; confession is increasingly a requirement when it comes to participation in digital media. As technology advances, the ways in which we can present and record the self evolve, and the narrative we can produce of the self expands alongside our understanding of the relationship between fact and fiction. Though of course we have always fabricated different narratives of the self, whether it be through diary entries or letter-writing, ‘presencing’ occurs when we literally present these edited versions of ourselves to an online audience. Lines become blurred between fiction and non-fiction, and the ability to distinguish between ‘fake’ and ‘real’ becomes almost impossible.Increasingly, such a distinction fails to seem important, and in some cases, this blurred line becomes the point, or a punchline; we can see this most clearly in TikTok videos, wherein people (specifically, or at least most typically, young people—Generation Z) play with ideas of truth and unreality ironically. When a teenager posts a video of themselves on TikTok dancing in their school cafeteria with the caption, “I got suspended for this, don’t let this flop”, the savvy viewer understands without it needing to be said that the student was not actually suspended – and also understands that even less outlandish or unbelievable digital content is unreliable by nature, and simply the narrative the author or producer wishes to convey; just like the savvy reader of an autofiction novel understands, without it actually being said, that the novel is in part autobiographical, even when the author and protagonist do not share a name or other easily identifiable markers.This is the nature of autofiction; it signals to the reader its status as a work of autofiction by littering intertextual clues throughout. Readers familiar with the author’s biography or body of work will pick up on these clues, creating a sense of uneasiness in the reader as they work to discern what is fact and what is not.Indeed, in 10:04, Lerner flags the text as a work of autofiction by sketching a fictional-not-fictional image of himself as an author of a story, ‘The Golden Vanity’ published in The New Yorker, that earned him a book deal—a story the ‘real’ Ben Lerner did in fact publish, two years before the publication of 10:04: “a few months before, the agent had e-mailed me that she believed I could get a “strong six-figure” advance based on a story of mine that had appeared in The New Yorker” (Lerner 4).In a review of 10:04 for the Sydney Review of Books, Stephanie Bishop writes:we learn that he did indeed write a proposal, that there was a competitive auction … What had just happened? Where are we in time? Was the celebratory meal fictional or real? Can we (and should we) seek to distinguish these categories?Here Lerner is ‘presencing’, crafting a multilayered version of himself across media by assuming that the reader of his work is also a reader of The New Yorker (an easy assumption to make given that his work often appears in, and is reviewed in, The New Yorker). Of course, this leads to the question: what becomes of autofiction when it is consumed by someone who is unable to pick up on the many metareferences layered within its narrative? In this case, the work itself becomes a joke that doesn’t land – much like a social media feed being consumed by someone who is not its intended audience.The savvy media consumer also understands that even the most meaningless or obtuse of media is all part of the overarching narrative. Lerner highlights the way we try and impose meaning onto (arguably) meaningless media when he describes his experience of watching time pass in Marclay’s The Clock:Big Ben, which I would come to learn appears frequently in the video, exploded, and people in the audience applauded… But then, a minute later, a young girl awakes from a nightmare and, as she’s comforted by her father (Clark Gable as Rhett Butler), you see Big Ben ticking away again outside their window, no sign of damage. The entire preceding twenty-four hours might have been the child’s dream, a storm that never happened, just one of many ways The Clock can be integrated into an overarching narrative. Indeed it was a greater challenge for me to resist the will to integration. (Lerner 52-53)This desire to impose an overarching narrative that Lerner speaks of – and which I also experienced when watching The Clock, as detailed in the introduction to this essay – is what the recording of the self both aims to achieve and achieves by default; it is the point and also the by-product. The Self as DataThe week my grandmother died, in 2017, my father bought me an Apple Watch. I had recently started running and—perhaps as an outlet for my grief—was looking to take my running further. I wanted a smart watch to help me record my runs; to turn the act of running into data that I could quantify and thus understand. This, in turn, would help me understand something about myself. Deborah Lupton explains my impulse here when she writes, “the body/self is portrayed as a conglomerate of quantifiable data that can be revealed using digital devices” (65). I wanted to reveal my ‘self’ by recording it, similar to the way the data accumulated in a diary, when reflected upon, helps a diarist understand their life more broadly. "Is a Fitbit a diary?”, asks Kylie Cardell. “The diary in the twenty-first century is already vastly different from many of its formal historical counterparts, yet there are discursive resonances. The Fitbit is a diary if we think of diary as a chronological record of data, which it can be” (348). The diary, as with the Apple Watch or Fitbit, is simply just a record of the self moving through time.Thus I submitted myself to the task of turning as much of myself into digital data as was possible to do so. Every walk, swim, meditation, burst of productivity, lapse in productivity, and beat of my heart became quantified, as Cardell might say, diarised. There is a very simple sort of pleasure in watching the red, green and blue rings spin round as you stand more, move more, run more. There is something soothing in knowing that at any given moment in time, you can press a button and see exactly what your heart is doing; even more soothing is knowing that at any given time, you can open up an app and see what your heart has been doing today, yesterday, this month, this year. It made sense to me that this data was being collected via my timepiece; it was simply the accumulation of my ‘self,’ as viewed through the lens of time.The Apple Watch was just the latest in a series of ways I have tasked technology with the act of quantifying myself; with my iPhone I track my periods with the Clue app. I measure my mental health with apps such as Shine, and my daily habits with Habitica. I have tried journaling apps such as Reflectly and Day One. While I have never actively tracked my food intake, or weight, or sex life, I know if I wanted to I could do this, too. And long before the Apple Watch, and long before my iPhone, too, I measured myself. In the late 2000s, I kept an online blog. Rebecca Blood notes that the development of blogging technology allowed blogging to become about “whatever came to mind. Walking to work. Last night’s party. Lunch” (54). Browning expands on this, noting that bloggingemerged as a mode of publication in the late ’90s, expressly smudging the boundaries of public and private. A diaristic mode, the blog nonetheless addresses (a) potential reader(s), often with great intimacy — and in its transition to print, as a boundary-shifting form with ill-defined goals regarding its readership. (49)(It is worth noting here that while of course many different forms of blogging exist and have always existed, this essay is only concerned with the diaristic blog that Blood and Browning speak of – arguably the most popular, and at least the most well known, form of blog.)My blog was also ostensibly about my own life, but really it was a work of autofiction, in the same way that my Apple Watch data, when shared, became a work of autofiction – which is to say that I became the central character, the author-character, whose narrative I was shaping with each post, using time as the setting. Jenny Davis writes:if self-quantifiers are seeking self-knowledge through numbers, then narratives and subjective interpretations are the mechanisms by which data morphs into selves. Self-quantifiers don’t just use data to learn about themselves, but rather, use data to construct the stories that they tell themselves about themselves.Over time, I became addicted to the blogging platform’s inbuilt metrics. I would watch with interest as certain posts performed better than others, and eventually the inevitable happened: I began – mostly unconsciously – to try and mould the content of my blogs to achieve certain outcomes – similar to the way that now, in 2019, it is hard to say whether I use an app to assist myself to meditate/journal/learn/etc, or whether I meditate/journal/learn/etc in order to record myself having done so.David Sedaris notes how the collection of data subconsciously, automatically leads to its manipulation in his essay collection, Calypso:for reasons I cannot determine my Fitbit died. I was devastated when I tapped the broadest part of it and the little dots failed to appear. Then I felt a great sense of freedom. It seemed that my life was now my own again. But was it? Walking twenty-five miles, or even running up the stairs and back, suddenly seemed pointless, since, without the steps being counted and registered, what use were they? (Sedaris, 49)In this way, the data we collect on and produce about ourselves, be it fitness metrics, blog posts, Instagram stories or works of literature or art, allows us to control and shape our own narrative, and so we do, creating what Kylie Cardell describes as “an autobiographical representation of self that is coherent and linear, “excavated” from a mass of personal data” (502).Of course, as foregrounded earlier, it is important to highlight the way ideas of privacy and audience shift in accordance with the type of media being consumed or created. Within different media, different author-characters emerge, and the author is required to participate in ‘presencing’ in different ways. For instance, data that exists only for the user does not require the user, or author, to participate in the act of ‘presencing’ at all – an example of this might be the Clue app, which records menstruation history. This information is only of interest to myself, and is not published or shared anywhere, with anyone. However even data intended for a limited audience still requires participation in ‘presencing’. While I only ‘share’ my Apple Watch’s activity with a few people, even just the act of sharing this activity influences the activity itself, creating an affect in which the fact of the content’s consumption shapes the creation of the content itself. Through consumption of Apple Watch data alone, a narrative can be built in which I am lazy, or dedicated, an early riser or a late sleeper, the kind of person who prefers setting their own goals, or the kind of person who enjoys group activities – and knowing that this narrative is being built requires me to act, consciously, in the experience of building it, which leads to the creation of something unreal or fictional interspersed with factual data. (All of which is to admit that sometimes I go on a run not because I want to go on a run, but because I want to be the sort of person who has gone on a run, and be seen as such: in this way I am ‘presencing’.)Similarly, the ephemeral versus permanent nature of data shared through media like Snapchat or Instagram dictates its status as a work of autofiction. When a piece of data – for instance, a photograph on Instagram – is published permanently, it contributes to an evolving autofictional narrative. The ‘Instagrammed’ self is both real and unreal, both fictional and non-fictional. The consumer of this data can explore an author’s social media feed dating back years and consume this data in exactly the way the author intends. However, the ‘stories’ function on Instagram, for instance, allows the consumption of this data to change again. Content is published for a limited amount of time—usually 24 hours—then disappears, and is able to be shared with either the author’s entire group of followers, or a select audience, allowing an author more creative freedom to choose how their data is consumed.Anxiety and AutofictionWhy do I feel the need to record all this data about myself? Obviously, this information is, to an extent, useful. If you are a person who menstruates, knowing exactly when your last period was, how long it lasted and how heavy it was is useful information to have, medically and logistically. If you run regularly, tracking your runs can be helpful in improving your time or routine. Similarly, recording the self in this way can be useful in keeping track of your moods, your habits, and your relationships.Of course, as previously noted, humans have always recorded ourselves. Cardell notes that “although the forms, conditions, and technology for diary keeping have changed, a motivation for recording, documenting, and accounting for the experience of the self over time has endured” (349). Still, it is hard to ignore the fact that ultimately, we seem to be entering some sort of age of digital information hoarding, and harder still to ignore the sneaking suspicion that this all seems to speak to a growing anxiety – and specifically, an anxiety of the self.Gayle Greene writes that “all writers are concerned with memory, since all writing is a remembrance of things past; all writers draw on the past, mine it as a quarry. Memory is especially important to anyone who cares about change, for forgetting dooms us to repetition” (291). If all writers are concerned with memory, as Greene posits, then perhaps we can draw the conclusion that autofiction writers are concerned with an anxiety of forgetting, or of being forgotten. We are self-conscious as authors of autofictional media; concerned with how our work is and will continue to be perceived – and whether it is perceived at all. Marjorie Worthington believes that that the rise in self-conscious fiction has resulted in an anxiety of obsolescence; that this anxiety in autofiction occurs “when a cultural trope (such as 'the author' is deemed to be in danger of becoming obsolete (or 'dying')” (27). However, it is worth considering the opposite – that an anxiety of obsolescence has resulted in a rise of self-conscious fiction, or autofiction.This fear of obsolescence is pervasive in new digital media – Instagram stories and Snapchats, which once disappeared forever into a digital void, are now able to be saved and stored. The fifteen minutes of fame has morphed into fifteen seconds: in this way, time works both for and against the anxious author of digital autofiction. Technologies evolve quicker than we can keep up, with popular platforms becoming obsolete at a rapid pace. This results in what Kylie Cardell sees as an “anxiety around the traces of lives accumulating online and the consequences of 'accidental autobiography,' as well as the desire to have a 'tidy,' representable, and 'storied' life” (503).This same desire can be seen at the root of autofiction. The media theorist José van Dijck notes thatwith the advent of photography, and later film and television, writing tacitly transformed into an interior means of consciousness and remembrance, whereupon electronic forms of media received the artificiality label…writing gained status as a more authentic container of past recollection. (15)Autofiction, however, disrupts this tacit transformation. It is a co-mingling of a desire to record the self, as well as a desire to control one’s own narrative. The drive to represent oneself in a specific way, with consideration to one’s audience and self-brand, has become the root of social media, but is so pervasive now that it is often an unexamined, subconscious one. In autofiction, this drive is not subconscious, it is self-conscious.ConclusionAs technology has developed, new ways to record, present and evaluate the self have emerged. While an impulse to self-monitor has always existed within society, with the rise of ‘presencing’ through social media this impulse has been made public. In this way, we can see presencing, or the public practice of self-performing through media, as an inherently autofictional practice. We can understand that the act of presencing stems from a place of anxiety and self-consciousness, and understand that is in fact impossible to create autofiction without self-consciousness. As we begin to understand that all digital media is becoming inherently autofictional in nature, we’re increasingly required to force to draw our own conclusions about the media we consume—just like the author-character of 10:04 is forced to draw his own conclusions about the passing of time, as represented by Big Ben, when interacting with Marclay’s The Clock. By analysing and comparing the ways in which the emerging digital landscape and autofiction both share a common goal of recording and preserving an interpretation of the ‘self’, we can then understand a deeper understanding of the purpose that autofiction serves. ReferencesBishop, Stephanie. “The Same but Different: 10:04 by Ben Lerner.” Sydney Review of Books 6 Feb. 2015. <https://sydneyreviewofbooks.com/10-04-ben-lerner/>.Blood, Rebecca. "How Blogging Software Reshapes the Online Community." Communications of the ACM 47.12 (2004): 53-55.Browning, Barbara. "The Performative Novel." TDR: The Drama Review 62.2 (2018): 43-58. Davis, Jenny. “The Qualified Self.” Cyborgology 13 Mar. 2013. <http://thesocietypages.org/cyborgology/2013/03/13/the-qualified-self/>.Cardell, Kylie. “The Future of Autobiography Studies: The Diary.” a/b: Auto/Biography Studies 32.2 (2017): 347-350.Cardell, Kylie. “Modern Memory-Making: Marie Kondo, Online Journaling, and the Excavation, Curation, and Control of Personal Digital Data.” a/b: Auto/Biography Studies 32.3 (2017): 499-517.Couldry, Nick. Media, Society, World: Social Theory and Digital Media Practice. Great Britain: Polity Press, 2012.Greene, Gayle. “Feminist Fiction and the Uses of Memory.” Signs 16.2 (1991): 290-321.Lerner, Ben. 10:04. London: Faber and Faber, 2014.Lerner, Ben. “The Golden Vanity.” The New Yorker 11 June 2012. <https://www.newyorker.com/magazine/2012/06/18/the-golden-vanity>.Lupton, Deborah. “You Are Your Data: Self-Tracking Practices and Concepts of Data.” Lifelogging. Ed. Stefan Selke. Wiesbaden: Springer, 2016. 61-79.Schmitt, Arnaud. “David Shields's Lyrical Essay: The Dream of a Genre-Free Memoir, or beyond the Paradox.” a/b: Auto/Biography Studies 31.1 (2016): 133-146.Sedaris, David. Calypso. United States: Little Brown, 2018.Thompson, John B. The Media and Modernity: A Social Theory of the Media. California: Stanford University Press, 1995.Van Dijck, José. Mediated Memories in the Digital Age. Stanford: Stanford UP, 2007.Worthington, Marjorie. The Story of "Me": Contemporary American Autofiction. Nebraska: University of Nebraska Press, 2018.

This Master’s thesis deals about strategy for Improving Auction of Properties in RS Gavlas Company. The theoretical part is concerned with an auction theory and a contemporary legislation. The practical part examines Czech auction market, an auction process, customer relationship management implementation and legislative problems with the aim to find new possibilities of use for company RS Gavlas.

This thesis explores factors that determine the price for Australian art sold at auction. Using a large data set that comprises over 20,000 sale observations of Australian paintings sold between 1995 and 2003 characteristics associated with the artist, the work and auction are included in a series of hedonic models. In addition to modelling the overall market, differences within defined market segments for Indigenous and Non-indigenous art are explored. The role of artist identity and critical acclaim, the period in which art works are created and the event of an artist death are areas of specific focus within the analysis along with an investigation of the risks and returns associated with Australian art investment. It is found that artist identity is a crucial factor that drives price. Further, the most highly valued Non-indigenous art works are found to be created prior to 1900, although the market for Contemporary art produced post 1980 is associated with relatively high prices also. Distinctions emerge between Indigenous and Non-indigenous art as we consider the period in which works are created and the influence this has upon price. Almost 90 per cent of Indigenous art sold at auction has been created since 1970 and it is works from the 1970s that command the highest prices for Indigenous art sold at auction. This is not unexpected given the rise of Indigenous art in the early 1970s coinciding with the emergence of the Papunya Tula art movement. The death of an artist also proves to have a different influence upon price when we compared Indigenous and Non-indigenous art. For Non-indigenous art there is clear evidence of a death effect upon art prices, where prices typically rise around the time of an artists death before falling back somewhat with the passing of time. For Indigenous art the influence of a living artist's conditional life expectancy upon price proves to be of greater relevance in explaining price where as the artist ages and the term of their life expectancy reduces prices tend to rise. The analysis within this thesis finishes with the construction of a number of short term art price indices where it is found that returns to investment in Indigenous art are generally higher and less risky compared to Non-indigenous art. Australian art generally and Indigenous art in particular is found to have a relatively weak correlation with the stock market suggesting that Australian art has a role to play in a balanced investment portfolio especially taking into account the aesthetic utility that can also be derived as a result of holding art. The research contributes to understanding how the auction market for Australian art operates with emphasis paid to the distinctions and similarities observed within the sub-markets for Indigenous and Non-indigenous art. Insights from this research have the potential to inform public policy on a number of issues including the effect of resale royalties upon the operation of the auction market, and how indigenous economic development may be facilitated through a strong market for Indigenous art.

AbstractIn Part I, entitled Real Estate and the Legal System, we analyze owner-unknown land issues, land acquisitions, and real estate auctions.The use and value of real estate such as land and buildings are significantly affected by public laws and regulations related to urban planning and construction, the environment, and taxation; for example, contract laws such as the Act on Land and Building Leases; private laws regulating torts, collateral enforcement, and so on; tax laws that regulate transfer taxes, ownership taxes, and transaction taxes; and regulations surrounding land use and urban infrastructure development. This paper discusses, therefore, the relationships between these laws and real estate, identifies problems in the laws associated with real estate in Japan, and proposes improvements.First, in recent years, owner-unknown land issues have become a serious concern in Japan. The Japanese registry does not always reflect the actual rightful owner, primarily because such registration is only a perfection requirement in civil law and registration involves a great deal of time and money. For example, because a large extent of land is registered to owners from nearly 100 years ago, it has changed hands many times through inheritance, which means that today, it is extremely difficult to determine the actual owner (inheritor) without spending a great deal of time and money. However, if the profits to be obtained from the land do not justify such expense, the land remains unused as “owner-unknown land.”Buying and selling land under Japanese civil law requires an agreement from all landowners including in the case of shared ownerships; therefore, even if the land has high returns, if it is “owner-unknown land,” it cannot be used effectively. With a focus on unknown-owner land, in this section, four writers provide multifaceted perspectives on the causes thereof, the defects in the current system, and the possible solutions.Eminent domain, the system which allows the acquisition of land against the land owner’s will for public projects, is widely institutionalized in many countries. It works to mitigate the owner-unknown land issues as far as lands are acquired by public projects.Further, real estate auctions are often held when liens are placed on land and/or residences for housing loan defaults. The Japanese civil auction system, which was institutionalized at the end of the nineteenth century, stipulates that a tenancy that is behind on a mortgage may resist a purchase unconditionally as long as the mortgage default period is within 3 years (short-term lease protection system/former Civil Code Article 395). This system was intended to avoid the unstable use of mortgaged properties and to promote the effective use of real estate; however, because the majority of users and the beneficiaries of this system were in fact anti-social groups, it was used to demand money unjustly from debtors and buyers, thus preventing the effective use of the mortgaged properties.When the protection of short-term leases was abolished in 2004, these types of interferences are said to have decreased drastically. However, successful bids for auctioned real estate properties continue to be lower than in general transactions. Therefore, here, we provide a quantitative analysis of these situations and propose further auction system improvements.Below, we introduce the outlines of each theory in Part I.

The Lokpal Act, arguably the most dramatic example of recent activism, is the subject matter of this chapter. After summarizing the episodic history and the institutional details of the Lokpal/Lokayukta laws in India since the late 1960s the chapter begins the narrative in late 2010 with a letter from Arvind Kejriwal to Sonia Gandhi protesting the runaway corruption in telecom auctions and CWG. Arvind Kejriwal spearheaded the formation of India Against Corruption (IAC) demanding a pretty radical Jan Lokpal as an independent authority. Support built up steadily till Anna Hazare’s iconic indefinite fast in April 2011 that captured headline and public imagination alike. The government capitulated after a week, and drafting—difficult and contentious—started. After much wrangling and further fasts, a Lokpal Act came into existence in 2013. Touching middle class urban Indians like nothing before it, the movement exemplified punctuated equilibrium and multiple streams approach.

With increasing prosumers employed with distributed energy resources (DER), advanced energy management has become increasingly important. To this end, integrating demand-side DER into electricity market is a trend for future smart grids. The double-side auction (DA) market is viewed as a promising peer-to-peer (P2P) energy trading mechanism that enables interactions among prosumers in a distributed manner. To achieve the maximum profit in a dynamic electricity market, prosumers act as price makers to simultaneously optimize their operations and trading strategies. However, the traditional DA market is difficult to be explicitly modelled due to its complex clearing algorithm and the stochastic bidding behaviors of the participants. For this reason, in this paper we model this task as a multi-agent reinforcement learning (MARL) problem and propose an algorithm called DA-MADDPG that is modified based on MADDPG by abstracting the other agents’ observations and actions through the DA market public information for each agent’s critic. The experiments show that 1) prosumers obtain more economic benefits in P2P energy trading w.r.t. the conventional electricity market independently trading with the utility company; and 2) DA-MADDPG performs better than the traditional Zero Intelligence (ZI) strategy and the other MARL algorithms, e.g., IQL, IDDPG, IPPO and MADDPG.