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Ethical Virtuosity challenges you to identify, articulate, defend and live the personal values and ethical principles that define who you are and how you lead others. You’ll learn how to make a formal commitment to demonstrate ethics, integrity and responsible personal conduct in all that you do. You’ll also examine how to consistently identify and resolve ethical dilemmas in a manner that reflects goodness and virtueâ€Â"that’s what the concept "ethical virtuosity" is all about. Renowned author Dr. Louie Larimer presents seven simple steps that lead to ethical virtuo

I start with the premise that the decoupling of the state from civil society and the reassertion of the multitudes over the unitary figure of 'the people' coincides with a vacuum in political institutions of the state. Against Chantal Mouffe's promotion of an 'agonistic democracy', I argue that the emergent idiom of democracy within networked, informational settings is a non- or post-representative one that can be understood in terms of processuality. I maintain that a non-representative, processual democracy corresponds with new institutional formations peculiar to organised networks that subsist within informationality.

AbstractBodily affects, in Viveiros de Castro's sense of the term, are not just physical characteristics, such as the comportment, mannerisms or tastes consistently ascribed to a given subject. They are also 'forces', 'energies' or 'talents' which are taught, acquired and refined over time. This article argues that virtuosity and fortune are bodily affects which Mongols hold to varying degrees. Through the Mongolian game called 'The Stag', the article shows how players refine their virtuosity affect while receiving sudden influxes of fortune. Virtuosi and novice game players exchange perspectives in the pedagogy of play, travelling along an 'ontological spiral' of knowledge which renders the winning moves transparent.

The purpose of the article is to identify the main aspects of the development of virtuosity in folk dance ensembles of Ukraine of the Soviet era. Methodology. The historical method is applied for an objective consideration of the historical and political context; systematization of information about virtuoso movements in the dances of different choreographers; an art criticism analysis of folk stage dances was used to identify virtuosic choreographic vocabulary. Scientific novelty. For the first time, the virtuoso vocabulary of Ukrainian folk dance was analyzed in the activity of folk dance ensembles of Ukraine in Soviet times through a historical and cultural prism. Conclusions. In line with socialist realism, proclaimed the leading aesthetic and cultural landmark of the artistic sphere in the early 30s. XX century in the USSR, the creation of professional and amateur folk dance ensembles took place under the slogan of preserving national identity. At the same time, Ukrainian folk stage dance turned into one of the instruments of Soviet propaganda. The works of K. Baloh, K. Vasylenko, P. Virskyi, L. Kalinin, A. Kryvokhyzh, V. Petryk, Y. Chuperchuk and other choreographers in amateur and professional folk dance ensembles in Soviet times allow us to talk about highlighting the phenomenon of virtuosity in folk stage dance, which is a reflection of one of the leading trends in choreographic art – the complication of vocabulary of folk stage dance. In the context of the socialist realism art, the phenomenon of virtuosity was of a contradictory nature. On the one hand, there was a complexity of traditional and use of new virtuosic movements from the arsenal of classical ballet, interaction with sports testified to the development of virtuoso vocabulary of folk stage dance, enrichment of its expressive means, on the other, virtuosity in Soviet times is a substitute for the emasculated traditional content of folk dance.

In this essay, I argue that the Mano River War should be understood as a conflict to which the ubiquitous presence of digital media was crucial. This was a war structured by the economy of attention. To profit in this economy, combatants and non-combatants were required to play to an audience that they knew was there, but often could only sense or apprehend in the most abstract way. The realities of constantly being available to be seen were crucial to understanding the spectacular performance of violence in this conflict.

Immersed in the flow of activities, diplomats and other international practitioners are simultaneously influenced by past experiences and constantly innovating in response to situations that are never exactly the same. The conceptual tools of International Relations scholars must be capable of capturing this practical reality. To that end, I introduce in this article a relational approach to agency that can make sense of practitioners' innovative ways of doing things in practice. Practice theorists in IR often emphasize hierarchies, struggle, and the role of habitus in shaping practices. Both building on and departing from them, I dig into the logic of practical sense and discuss Pierre Bourdieu's concepts of regulated improvisations, virtuosos/amateurs, and illusio to grasp agency in practice. I develop the idea that international actors are primarily practical and put improvisations and virtuosity — rather than rationality, cognitive processes, emotions, norm-compliance, path-dependency or even habits/habitus — in the foreground. I contend that this approach holds broader promise for the analysis of international politics than existing conceptions. We have much to gain by focusing on how international practitioners in their local contexts actually improvise in the moment. These improvisations in specific sites are constitutive of the 'big picture' of international politics. I take diplomatic practices in embassies and in permanent representations as an illustration.

In post-9/11 America, digital war games have increasingly come to provide a space of cyber-deterrence where Americans are able to `play through' the anxieties that attend uncertain times and new configurations of power. This article seeks to examine the increasingly close relationship between the US military and the digital-game industry, along with the geographies of militarism that this has produced. Focusing on the contribution that digital war games make to a culture of perpetual war and in the manufacture of consent for US domestic and foreign policy, the Pentagon's mobilization and deployment of digital games as an attempt to create a modern version of the noble war fantasy is critically examined. With particular reference to America's Army, the official US Army game, the article seeks to examine the influence of digital war games in the militarization of popular culture and in shaping popular understandings of geopolitics.