s2fieldsofstudy: Art Physics

text:
Rates of $D^{*}_{0}(2400)$, $ D_J^*(3000) $ as the $D^{*}_{0}(2P)$ and $D^{*}_{0}(3P)$ in $B$ Decays

In this paper, we use the instantaneous Bethe-Salpeter method to calculate the semi-leptonic and non-leptonic production of the orbitally excited scalar $ D_0^* $ in $ B $ meson decays. When the final state is $ 1P $ state $ D_0^*(2400) $, our theoretical decay rate is consistent with experimental data. For $ D_J^*(3000) $ final state, which was observed by LHCb collaboration recently and here treated as the orbitally excited scalar $D^{*}_{0}(2P)$, its rate is in the order of $ 10^{-4} \sim 10^{-6}$. We find the special node structure of $D^{*}_{0}(2P)$ wave function possibly results in the suppression of its branching ratio and the abnormal uncertainty. The $3P$ states production rate is in the order of $ 10^{-5}$.

I. INTRODUCTION
The semi-leptonic and non-leptonic decays of B mesons are the frequently studied decays and also the dominant production channels of charmed mesons. During the last decades, for many important cases such as providing precise value of CKM element V cb , the channels of B decays to S-wave ground states of D mesons have been extensively measured and studied by the ALEPH, CLEO, OPAL, BABAR and Belle Collaborations [1][2][3][4][5][6][7][8] besides the theoretical studies.
In recent years, many collaborations reported several charmed resonances including some orbitally excited D mesons, which attracts lots of attention. The Belle and BABAR Collaborations reported the semi-leptonic B decays to P-wave D * mesons by using fully reconstructed B tags [9,10] and the Belle, BABAR and LHCb Collaborations reported the non-leptonic decays B → D * 0 π(K) [11][12][13][14][15]. They inspired many theoretical studies on the excited charmed states using different models, for example, the light-front quark model [16], the constituent quark model [17], as well as the Bethe-Salpeter method [18], etc.
In 2013, the LHCb Collaboration reported several resonances around 3000 MeV, D J (3000) 0 and D * J (3000) +,0 [19]. The D J (3000) and D * J (3000) were observed in the D * π and Dπ invariant mass spectrum respectively. Their quantum numbers J P are still undetermined and many theoretical studies give different assignments [20][21][22][23]. In our previous works [24,25], we calculated the strong decays and the leptonic productions of D J (3000) and we favoured it as the excited 2P (1 + ) broad state . For D * J (3000), we calculated its strong decays and our results favoured it as the excited scalar 2P (0 + ) state [26].
We notice that, in current experiments and theories, the knowledge of B semi-leptonic and non-leptonic decays to orbitally excited D * 0 meson is still rather poor. Thus this work will focus on the leptonic decays B → D * 0 − ν and non-leptonic decays B → D * 0 X, where the initial state could be B − or B 0 , the final state D * 0 is the excited scalar D * 0 (nP ) 0 or D * 0 (nP ) + ( n = 1, 2, 3), and X is a light meson. Currently, the 1P states D * 0 (2400) 0 and D * 0 (2400) + have been well studied, while 2P and 3P states haven't. The newly detected D * J (3000) +,0 are treated as the 2P scalars in this paper and our results will help to determine their quantum numbers. The processes of B leptonic decays to them could be their important production ways.
In our previous study [27], we found that large relativistic corrections exist in the processes where a heavy-light excited state is involved. We also found that the highly excited state has larger relativistic effect than its corresponding ground state. Thus when a process includes an excited state, a relativistic method or model is needed. In this paper, we use the Bethe-Salper (BS) method based on the relativistic BS equation. The relativistic effect is well concerned by solving the BS equation and applying the BS wave function.
The rest contents of this paper are organized as follows: in section 2, we present the formalism of semi-leptonic production process, including the leptonic and hadronic matrix elements by using the BS method. Then the factorization approach is used to derive the formalism of non-leptonic process in section 3. In section 4, we show our numerical results and comparison with the results of other model. Finally, discussions and short summary are given in section 4.

II. FORMALISM OF SEMI-LEPTONIC DECAYS
We take B − (B 0 ) → D * 0 0 (D * + 0 ) − ν as an example to show the calculation details of semi-leptonic process. The Feynman diagram is shows in Fig. 1.
The transition amplitude T can be expressed as : where G F is the Fermi weak coupling constant, V cb is the CKM matrix element, J ξ is the charged weak current and l ξ is the leptonic matrix.
Then the square of amplitude can be expressed by the function of hadronic and leptonic tensor, where the leptonic tensor can be written as following form: We derive the hadronic matrix element by using the relativistic BS method where q f = q − mu m b +mu P f , ϕ P and ϕ P f are the instantaneous BS wave functions of the initial state B meson and final state D * 0 mesons. They are obtained by completely solving the BS equation. The processes of solving the Salpeter equation and obtaining the wave functions are not shown here. More details can be found in our previous works [28][29][30]. We just give a brief review in the appendix. n i are the form factors whose results are shown in next section.
Then the decay width can be given by the phase-space integral After the simplification, it can be rewritten as
The effective Hamiltonian H ef f can be expressed as [31,32]: c i is the Wilson coefficient which depends on the renormalization scale µ.
By using the factorization approach, the transition matrix elements D * 0 X|H ef f |B involving the 4-quark operators can be split into the product of two matrix elements Then the transition amplitude can be expressed as where, q denotes the d or s quark; a 1 = c 1 + 1 Nc c 2 is the effective Wilson coefficient, where N c = 3 is the number of colors. We choose the scale µ ≈ m b for B decays and adopt the effective Wilson coefficient a 1 = 1.14 [35]. The annihilation matrix element can be written as where X P means pseudoscalar (π, K) and X V means vector mesons (ρ, K * ); f X is the corresponding decay constant; ε µ is the polarization vector of X V and it satisfies the completeness Same as the semi-leptonic case, we write the square of amplitude by the hadronic and light meson tensor where h µν is same as Eq. 7, and the light meson tensor is Then the decay width can be obtained by

IV. RESULTS AND DISCUSSION
In our calculations, we adopt the same parameters as what we used before [26]: The CKM matrix elements [36] and the involved mesons' decay constants are [19,36,37]:

A. Semi-leptonic decays
The form factors relevant to the hadronic transition matrix elements of B → D * 0 (1P − 3P ) ν are shown in Fig. 3, where t = (P − P f ) 2 and t m is the momentum transfer at the zero recoil(the maximum value of t). Table I shows the decay widths and branching ratios of semi-leptonic production of the ground state D * 0 (2400). With varying the parameters by ±5%, we can obtain the uncertainty of the results. Because there is almost no difference between the results of l = e and l = µ, only the values of l = e are given below.
For comparison, we also give the results of cascade decays to Dπ which are shown in Table II. Recently, Ref. [16] used covariant light-front quark model to calculate the channel B + → D * 0 (2400) 0 l + ν l → D − π + , whose result of branching ratio is 2.31 ± 0.25 × 10 −3 . And Ref. [17] shows that B(B + → D * 0 with the constituent quark model. Considering the uncertainty, our results are consistent with the experimental and other models' results. The form factors for the semi-leptonic production process of D * 0 (2400) , D * J (3000) and Then we use the same method to calculate the 2P state D J (3000), which is shown in given in Table IV and get smaller uncertainty.  For 3P states, the wave function has two nodes, and the value change from negative to positive after the second node. The cancellation gets smaller than the case of the 2P state.
Thus, the final branching ratio seems to be fine and the uncertainty is not very large. Considering the masses of these states have errors, the branching ratio of their semi-leptonic production changing with their masses are given in Fig. 5. For 1P state D * 0 (2400), the results have small changes. But the branching ratio of 2P state D * J (3000) dramatically decrease to nearly zero with increase of mass. The mass changing will also cause the wave function shift. That means the overlapping integral cancellation will increase as the mass increasing. For 3P state, it can be seen that the curves of l = e have minimum points around m = 3.175 GeV, which means the overlapping integrals have the maximum cancellation at that mass value. After that, the values increase again. For l = τ , because of the small phase space, the branching ratios have the downtrend from the beginning to the end.
Then, the normalized lepton spectra of the semi-leptonic production are presented in Fig.   6. Because there are almost no difference between l = e and l = µ, only the channels of B − → D * 0 0 e − ν e and B − → D * 0 0 τ − ν τ are given here. The spectrum peaks of 2P and 3P states move left because phase space decreases, especially for l = τ .

B. Non-leptonic production
The non-leptonic production results of 1P state D * 0 (2400) are shown in Table V. The D * 0 π and D * 0 ρ channels get the order of 10 −3 , while D * 0 K and D * 0 K * modes are in the order of 10 −5 and 10 −4 , respectively.    (7.7 ± 0.5 ± 0.3 ± 0.3 ± 0.4) × 10 −5 [14], respectively, which are much lower than the branching ratio of the previous channel. For D * 0 K channel, the LHCb collaboration shows the result [38], which is also lower than our calculation. From the perspective of symmetry, the non-leptonic results of these channels should be similar. But different experimental results show marked discrepancy, which need more experimental data accumulations and theoretical attentions.

Mass GeV
Then, like the previous section, the non-leptonic productions of 2P and 3P states are also considered and the results are shown in Table VII and VIII, respectively.
Similar to the semi-leptonic occasion, the results of 2P state D * 0 (3000) have a large uncertainty , which can also be explained by the node structure of BS wave function. Because the phase spaces of 2P and 3P state are close, their branching ratios reach similar magnitude.
We also draw the branching ratios changing with the mass of D * 0 in Fig. 7. Like the semi-  There are also minimum points of 3P states' curves at 3.175 GeV, where the maximum cancellation of overlapping integral occurs.

V. SUMMARY
Based on the instantaneous BS framework, we calculate the semi-leptonic and nonleptonic productions of several excited D * 0 states from B mesons. For 1P state D * 0 (2400),

Mass(GeV)
Branching Ratio (c)Braching ratio vers the mass of 2P state 3.10 3.12 3.14 3. the branching ratios of B → D * 0 e − ν e are in the order of 10 −3 , which is consistent with the results of present experiments and other models. For non-leptonic channels, the experiments didn't get quite consistent results while our calculating consists with parts of present experimental results. For 2P states D * J (3000), we get suppressed branching ratios in the order of 10 −5 ∼ 10 −6 and large uncertainty in both semi-leptonic and non-leptonic channels. The cancellation in overlapping integral, which is caused by its one-nodes structure of the BS wave functions, could explain the abnormal results. For 3P states, their ratios are of the same order of magnitude as 2P states' results because they have similar phase spaces. The two-nodes structure of 3P states wave functions makes the cancellation smaller than that of 2P states and get the minimum branching ratios if their masses are around 3.175 GeV.
Our work could give some inspiration to future experiment and we expect more attention on these production processes of the orbitally excited D mesons.


New Gorgons, Still Lives

Death assumes many faces in Macbeth, but the variety of corpses and ghosts which tyrannise the play’s protagonist signals problems larger than one man’s ruthlessness or paranoia. Contemporary ballads often feature similar ontological confusion about where and how life ends, sometimes imagining the dead with the same sense of their vital non-being, moral authority, cunning magic, and important place in the community. Like Macbeth, these ballads also powerfully of surveillance and households as sites of neglect, streets as settings where poverty spreads, and families as traps where new life gets put out. In fastening their gaze upon dead bodies which subvert rot and defy decay, Macbeth and contemporary ballads picture the collective social body as somebut also near death. Alas, poor country! Almost afraid to know itself. It cannot Be called our mother, but our grave, where nothing, But who knows nothing, is once seen to smile; Where sighs and groans and shrieks that rend the air Are made, not marked; where violent sorrow seems A modern ecstasy. The dead man’s knell Is there scarce asked for who, and good men’s lives Dying or ere they sicken (Macbeth 4.3.164-73).

ambiguities are social and epistemological as well as biological, consequences of com-2 Macbeth himself notes the ontological upset when, startled by the appearance of Banquo's ghost at the banquet, he comments: "The times has been / That, when the brains were out, the man would die, / And there an end. But now they rise again / With twenty mortal murders some face of the unburied corpse is a tyrannical one, and its claims on the living in a world where some people belong more than others. Some bodies absorb violence but some can repel it, some maintain connections while others stand on shakier ground, and some simply linger longer, their refusal to disintegrate providing radical evidence of belonging.
Macbeth's outburst when he sees Banquo's ghost thus expresses the frustration of the statesman as well as of the murderer: the brutal killer thinks the job is done, the bureaucrat wants the numbers to match up. The anxious wish for a lost world of dead bodies "safely stowed" in Hamlet Scholars like Valerie Traub point out the way Shakespeare frequently represents female bodies is that this undecay is both a theatrical achievement and a social product, a hardwon victory in a battle over scarce resources, where belonging has become a commodity in a community whose borders have become unstable.
Those critics who describe the reappearance of the dead on Shakespeare's stage in the worlds the dead reoccupy, although these concerns often explicitly animate many early modern broadsides and ballads circulating soon after Macbeth is written, when the plague is also in the air. That some things might reject the insults which dead bodies absorb, or merely refuse to stay safely stowed is the subject, for in Macbeth, an inertia variegated in its outlines as living things in Shakespeare's play are made to gradually expire or waste away. When creatures die in Macbeth they do not disappear; if they rot they also continue to exert a hold on other living things around them. "What bloody man is that?" Duncan asks at the outset of Macbeth (1.2.1), and his question signals a pervasive curiosity about bodies which crowd around the living and take their power from their proximity to the grave. "Who withdrawal, his almost endlessly protracted ending.
Dead things are not humbled or abased or abjected, but kept in view in Macbeth, forbidden to dissolve completely. Battered but not despised, they hover and sometimes retain their shape, and although they threaten Macbeth as much as the image of the unborn child, the future the baby encapsulates is no match for the spectre of common life which the dead seem to conjure and inhabit. Often there is no need for reanimation, and we are reminded that the boy left in charge in The Midwife's Lament does not rescue the babies he knows about but simply keeps track of their whereabouts. "Unstable," "nonteleological," "mongrel" forms of being, like the "rest- We can put Mantegna's image next to those of Duncan's corpse, Banquo's ghost, Macbeth, each of these images equivocal in its powers to awe and astonish and transform its audience. In Mantegna's painting, of the mourners gathered around him, their grief a lifeless thing next to the unmoving object of their devotion, the cavernous space they inhabit more empty than ing," Willard Speigelman observes. 11 Such a clash of forms of being can make out? Shakespeare makes us wonder, too. In the absence of brain scans or monitors to detect the faintest of heartbeats, he provides Lear with only a mirror and feather to catch Cordelia's breath. Other than Polonius's smelly carcass, the playwright more typically leaves his audience with a trove of more ambiguous nonbeings, Antony's bloated shape trailing Cleopatra's sympathetic handling, and to measure growth, grasp illness, and plan for the future were no doubt thwarted by these lifeless beings who continued to take up space and interrupt renewal, like 10 I borrow the term from Lucinda Cole, who puts sick people and rats together as active carriers of disease and abjected parts of the household in the early modern period. Malcolm's army of broken branches, a collection of energies that move and can strike, but do not grow.
where two kinds of being vie for attention. Seventeenth-century ballads often point to similar dismal spectacles which couple life with death and detail conditions where the confusions between the two states can themselves lead to murder, famine, or neglect. If the mourners take up little space in Dead Christ, the evidence as comprised by people we cannot always see and whose invisibility is often punishing. 12 Historian Mildred Campbell likewise observes that as the term "population" starts to replace the phrase "numbers of people" at this time, living creatures come into view as objects that can isolated, counted, ejected, transplanted, starved, Duncan's reprieve from death -given his resemblance to her sleeping father -only Antigone, itarian states to be maintained." Antigone's predicament, Butler explains, makes us wonder "which social arrangements can be recognised as legitimate love, and which human losses can be explicitly grieved as real and consequential loss?" (24).
Yet we might also ask what it means to die if one's powers continue to feed the state or nourish the polity? A revised way of experiencing and calculating the losses Butler describes becomes obvious when we put The Midwife's Lament next to a picture of infanticide supplied in a 1633 ballad No naturall Mother, but a Monster, promised good things: loving parents, beauty and favor -her appearance "in every part / made completely" -but wildness and wilfulness lead her to sin. Pregnant and abandoned by the child's father, the narrator secretly delivers a child and strangles it to avoid suspicion, seeing the unwanted baby as a "fault" and "foule fact." Notably, the young woman's mistress only notices her shrunken belly, not the pregant one; the baby is a surplus thing not meriting much attention and dis-kills it, the second time by the woman who only comments on the absence, and the third time by the song itself, which only considers its existence in passing, more interested in the young woman's plight and the varieties of shame she undergoes.
This narrator compares herself negatively to "Savage creatures" like snakes and tygers who take better care of their young: the female snake protecting her children by hiding them in her belly, making herself pregnant a second time, while the "Tyger," "though by kind, truculent, truculent," is "wondrous tender" to her of nature, and she remains an aberration before and after her crime, even when she uses her lament to warn other "Sweet Maidens" to "take heed" and avoid her mistakes. She is an exception to the rules which arrange and elevate life, as much an outcast or lost cause as the infant she murders.
The same aberrations organise social relations in the Midwife's Lament, however, because the Midwife is apparently only one of many strangers in Poplar. Although she provides no information about her crimes, her confession in the ballad notwithstanding, she has been overlooked for thirty years, during which time she has been permitted to fashion her household as a place of deliberate cruelty. This place is secret and disconnected, and only the voice of children -the baby's cries, the boy's directions -point out, explain, and ultimately correct the foul situation.
The adult world is negligent, hard of hearing, slow to act and insensitive to pain, almost dead to the face of the future. The loathing of new life is profected onto like, weak, defenceless, and sickly. The Midwife is as bad or spoiled as the babies under her watch, but life tends to waste and, left on its own, nature spoils the things in its care. The state then assumes its power through outrage at carnage and garbage, as a refuge from, rather than an antidote to the ravages of the home. Appointed with an hourglass, one of the skeletons invites us to consider whether they are blocking the household or heralding the creation of a new setting. Decay happens, and this region has room for it.
Some early modern historians describe a "shift" from "epidemic to endemic" causes of death in an increasingly urbanised London, so that the end of life becomes inevitable rather than accidental or unpredictable, the result of living in a household, a necessary outcome which happens, as No naturall Mother explains, because animals are able to protect their young while humans sadly, miserably cannot. The increasin and by separate households rather than spread across them, such that "everyday violence" might erupt within and be caused by domestic space. 13 Close ties become ones that strangle or starve, and intimate settings are ones that deplete and conceal.
Even worse is what happens when someone is completely obscured by the household.
"Truculent, truculent," the maid in No naturall Mother is more cruel than "Savage creatures" as well as an early and unmourned casualty. In contrast, the Midwife of Poplar has her own household and is only exposed when she goes outside.
A woodcut from 1655 entitled Nine Images of the Plague in London (Figure 3) discloses these new dimensions of London as a site of estrangement and evacuation.
Nine panels detail the systematic replacement of the quick with the dead. The only as produce the many carriages and ships which transport the living away. Civil order is clear, but preoccupied with shutting down homes and streets, and carefully separating the living bodies from corpses. In some ways, the image describes the Golden Age Macbeth reminisces about, a world in which the dead can be safely and securely stowed; but the faces of the living are blank, hidden from us, and unimportant. There is no other reason for their living except to take care of the dead, and no motive for authority or use for power, except to guarantee that the dismissal, transport, and shut-down are neatly and completely accomplished.
A 1672 ballad entitled Bloudy news from Germany engineering process whereby weak people are removed by the same process that 13 I draw on the term "everyday violence" from Nancy Scheper-Hughes' study of motherhood in Brazil.
eliminates the wicked. At the outset of Bloudy news, the audience is told that -unlike songs about love or war -the harms recounted here are deliberate, carefully planned, nance / and nothing give to me," so he collects them in a barnyard and burns them the Clergy Man with vermin who infest his home and waste his stores; these rats he lay." There results from this devastation no human justice or human knowledge, however, no new community, no vision, or restoration or renewal or drop of milky human kindness. That retribution is delivered by "vermin" merely suggests that the poor disdained as worthless recover some power but not their humanity in rislowly creatures, the beggars are neither rescued nor redeemed. There is no trace where they found his name / Of Letters" leaving "none," the rich Clergy Man's awful Who is blamed, who can heal, who can punish, and who gets rewarded are draof activity. Bloudy news does not encourage the audience to think about the victims' names, their thoughts, or their surprises; but the vermin who replace the poor and haunt their killer after their deaths have moral authority and can enjoy success, even if they do not spread beyond the precincts or survive to reproduce themselves.
They also have an important role to play as agents of the state, power rearing its head by creeping on the ground and scurrying behind the walls, weaponising pestilence and decay. The ballad makes no call for more food, better oversight, Christian charity, or perhaps a more attentive God who hears people before their deaths.
Instead, Bloudy news imagines the state as employing the weak to punish the strong without envisioning a way to make the weak less so. That vermin are no longer evil (if still poisonous) is really the only transformation.
in these ballads underscore the way that "questions of population were very much She also cites the reports which circulated in contemporary broadsides detailing how growing swarms of people threatened order, health, and public safety. In one example we hear: "Our multitudes like too much blood in the body do infect our country with plague and poverty . . . our land hath brought forth, but it hath not brought forth" (174). Similar references to milk and blood in Macbeth echo these fears, just as the scriptural allusions in broadsides which Campbell explores can also be linked to Shakespeare's play, one of them even duplicating Malcolm's directions to his makeshift army: "If thou beest much people, get thee up to the woods and cut trees for thyself in the land of the Perezites and of the Giants" (175). The danger posed by the poor as well as their swelling numbers and disguised appearance are what convert the desperation of the masterless men whom Macbeth interviews into a credential; but the wastage sometimes provided political thinkers like John Gaunt and William Petty with reasons, in turn, to reconsider whether a large and growing population was a measure of a society's health or failure. 14 The way that dead things are immune and incorruptible -carriers of disease no longer subject to its ravages -reminds us that those things that make us human have little to do with keeping us alive.
The ballads under review here suggest that this state of rootlessness also characterises the narrow space between the living and the dead, as well as between the human and the inhuman, or the messy forces of pollution and the even hand of justice. A population of uncertain beings was expanding in the seventeenth century, and the numbers of the poor and homeless increasingly included apprentices, servants, prostitutes, and sailors; actually, according to Patricia Fumerton, the percentage of these people who comprised England's population might have been as high the actions of these nameless agents appear random and motiveless, "reckless," and they can successfully come together to deliver a blow. what kind of future to expect from a community intent on uncovering shadows merely in order to spread them.

"Be saFely Thus"
A 1625 woodcut representing The City as a maiden welcoming back the people who had deserted London during the plague (Figure 4) seems like a happy counterweight to the piccontemporary ballads. Lady's Macbeth's murderous embrace can be displaced by the expansive caress imagined in this woodcut, the size of the woman in the illusof the recovered. Yet this image also imagines London as a collection of gates and doorways, empty of families or neighborhoods, although accessible to all. Such gle church. Like King Edward's touch in Act 4 of Macbeth -"Full of grace" and "strange virtue" -the woman's embrace is inviting, but not connective.
Many lowly things become visible and public in seventeenth-century ballads of a bureaucracy to manage this surveillance is accompanied by the increasingly narrowed focus of the nuclear family. Arthur Kinney makes a similar observation, noting that Macbeth's "cognitive composure" is achieved by sequestration and mathematics as well as by the establishment of borders and curtailment of attentions (26). "To be thus" is "nothing" "but to be safely thus" (3.9.47) when the project of sustaining life becomes aligned with the project of outlawing it, pushing out "derelict" versions. 16 erate an entire kingdom, the people Edward helps are kept alive without really being brought into existence. Rather than being bound together, they have simply been cured of disease: no blood is shared or spilled in this process, and the social body remains a dismembered and disordered thing, with no common language, no linked meanings, and no planned future. Individual subjects take shape in this world without being products of families or traditions; instead, they are collections of sympathies and ailments, bundles of concerns that run close to the surface, vicare things they hold in common and, of course, the experience of being without.
Like the ballad infants buried in the cellar, silent and fearsome, these people are only as alive as a bad dream.
Perhaps the broken twigs Malcolm amasses into an army in Act 5 of Macbeth provide a better example of this community, or at least a more positive one: any hole or gap in the arrangement can be easily repaired, after all, so that whatever pulls things apart does so only momentarily. If "an authentic politics" enforces what Roberto Esposito calls "a space of meaning" where "the production of life cannot be opened," nature reasserts itself in the marching mass Malcolm assembles, as Esposito also explains, arguing that "where the materiality of life unfolds," "something like political action can no longer emerge" (150). 17 Shakespeare also reminds us, however, that the "materiality of life" may not only unfold: it might crawl or stumble, hide in a corner, or turn itself into a ball. Macbeth's severed head is a rough icon, not a broken one, and babies can be revived so that they can be murdered again.
Dead Christ,


THE ANALYSIS OF LEADERSHIP CHARACTER OF SNOW QUEEN OF ARENDELLE IN DISNEY MOVIE “FROZEN”

Animated movie "Frozen" tells the story of the adventures of a girl named Anna and her friends against Snow Queen. Snow Queen act coused, freezing in the whole empire and the people suffer from the cold. Snow Queen is actually anna’s sister named Elsa. However, in this story is not to discuss about the adventures of Anna against her sister Elsa, but will discuss the character of Elsa. Character is a person depicted in a narrative or drama. Elsa’s character as a princess of the kingdom in Arendelle is a authoritative, loving, coward and insecure. But on the other hand, as the Snow Queen character she was variably, she is assertive and daring. we know that the attitude and character are very important to describe a certain person, if someone does not have the character that he just became him, nobody. A leader should have the attitude and character of it own self to lead the group, nation or kingdom so that the people in the country or the kingdom prosper.

Introduction
Character is one of the most important things in ourselve , because character formed attitude, behavior and act of person. As a leader for example, a leader must have a explicit and strong character, and able to take appropriate action to resolve a problem. The character that raised in this discussion is Elsa's character, who became a Queen of Arendelle, an animation movie titled "Frozen" adapted from the classic story of the Snow Queen by Hans Christian Andersen.
On the movie told the story Elsa and her Sister Anna, who is a daughter of a royal king in Arendelle. As the eldest child of the king, Elsa crowned as a Queen of Arendelle after her parents died in an accident. Elsa's character while viewed from her personality side she is very Elegant, Powerful, caring, fierce, reserved, regarl, warm and protective. Although she crowned as the Queen, she was a little hesitant and afraid of her leadership to lead the people in the Kingdom of Arendelle, with her magic strengths.
In Frozen movie, I want to discuss about the differences of Elsa's leadearship character being a Snow Queen and Queen of Arendelle. This analysis will focus on what makes Elsa has two different leadership characters.

Data source
I decided to examine the leadership character because it seems different when Elsa become a leader or Queen of Arendelle and the Leader of snow queen. There are some differences that we can see in the Frozen movie such as when Elsa appointed to be the queen of Arendelle and lead her people. As the queen of Arendelle, she looks reserved and poised but infact she has no fear and frightened, she has no responsibility as a queen, let Arendelle passing the winter that she made. Despite of it, the characters of leadearship changing when she become a snow queen. Feel free to do anything without doubt, power, hard hitting, confident and regal. This article analyzed by observing Frozen movie, from this we can see how the leadership character change.

Theoretical Review
There are some theories that use in this research, such as:  Carl Roger's Theory "The organism has one basic tendency and striving -to actualize, maintain, and enhance the experiencing organism" (Rogers, 1951, p. 487).
This theory show that someone tries to defend and implement something to make it become real. For a leader or a king, they will try to defend what is rightfully theirs and convience tranquility for people. I chosed this theory because this theory is related to what I research, like a Queen Elsa who lead the kingdom of Arendelle. She crowned as a Queen to replace her father in her propose to defend the power of kingdom  'Good leaders are made, not born'. If you have the desire and willpower, you can become an effective leader. Good leaders develop through a never ending process of self-study, education, training, and experience (Jago, 1982). To support the theory, there is a behavioral theory of leadership (1940's-1950's) which said "great leader are made not born".
This theory means that a leader are not born with ability to lead or become a leaders unexpectedly. But they are born and learn how to be a leader. This show that in frozen movie, Queen Elsa is not born with the ability to lead the kingdom, but as the time goes by Queen Elsa can reign over Arendelle and rules her kindom with a genuine smile, self-confidence to protect her kingdom with the power and mostly spends her spare time using the ability that she has to pleasure herself, her sister Anna and the entire kingdom of Arendelle.

Research Method
Research method for this movie, I use descriptive method. Define descriptive method as involve collection of the data in order to answer the questions. Dawson (2002) states : "Descriptive research attempts to describe sytematically a situation, problem, phenomenon, service or program, or provides information about, say, living condition of a community, or describes attitudes towards an issue".

Discussion
According to the view, queen Elsa needs relationship with another social individual because as the leader of Arendelle kingdom, she needs a figure of father to show her and teach her to lead her people. Based on the theory, queen Elsa leadership could be seen that she did not have self convidence to lead her people and she does not know how to addapt in social life with people in Arrendelle. This is because of she has a soul traped in fear, afraid of hurting people around her. So the better way is hiding in her room for many years without having interaction with the environment, and the coronation as a queen of Arendelle is her first interaction with people. Eventhough she's anxious of hurting people with the power that she had but still has to be poised, in fact it's opposite from the character. On the other side, fleeing from Arendlle make her to take a decision to change from fear to self-confidence, no doubt of doing something, regal and hard hitting.

Conclusion
A leader is someone who can organize, direct, and organize a group of people to follow orders so that what is expected to be achieved. A leader must be bold and be responsible for everything that happen in the organization, group, nation or a kingdom. From the result that have been discussed show that Elsa's character of leadership in Arendelle kingdom is out of leadership character, it is because of she does not have responsible of her kingdom and her people. A true leadership character must have responsible for anything she has.


Ethicizing algorithms

oberto Simanowski has been studying the softwarization of culture for more than two decades. As founder and general editor of Dichtung Digital, an international, bilingual (German and English) journal for digital aesthetics started in 1999, he has charted the material and conceptual changes brought about by the use of software in the fields of art and literature. This work bears witness to his interest not only in the development of a critical vocabulary for writing about digital artforms, but also to his continued concern with a critical pedagogy of the digital. His earlier works, some of which were published only in German, include Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations (University of Minnesota Press, 2010), Digitale Medien in der Erlebnisgesellschaft: Kultur –

oberto Simanowski has been studying the softwarization of culture for more than two decades. As founder and general editor of Dichtung Digital, an international, bilingual (German and English) journal for digital aesthetics started in 1999, he has charted the material and conceptual changes brought about by the use of software in the fields of art and literature. 1 This work bears witness to his interest not only in the development of a critical vocabulary for writing about digital artforms, but also to his continued concern with a critical pedagogy of the digital. His earlier works, some of which were published only in German, include Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations (University of Minnesota Press, 2010) (Edition Suhrkamp, 2002).
During the 2010s, Simanowski's theoretical concerns expanded to include the forms and effects of digitization on diverse social practices, including the political and ethical implications of the massive automation of our symbolic exchanges and social interactions. Networked mobile media and cloud computing services became the infrastructure for the exponential datafication of human activity, opening up entire new fields of lived experience for exploitation, surveillance and control. 24/24 algorithmic collection and processing of datapoints -which defines our current media regime -raises questions that could hardly have been imagined in the days of stand-alone digital devices and do-it-yourself software tools. Simanowski's latest book, The Death Algorithm and Other Digital Dilemmas (2018;German edition, 2017), is part of a significant body of critical interventions that include The ethical issues and digital dilemmas outlined in Simanowski's new book originate in a troubling assessment of the ongoing global research and development programme for extending digital technologies to all spheres of human life. Thus digital capitalism, as a new stage in the material development of the current economic world system dominated by big data mega-corporations, combines with the emergence of digital states holding almost limitless power of surveillance and control. Edward Snowden's 2013 revelations about the collaboration between the USA National Security Agency and internet and telecommunication companies 2 , Cambridge Analytica's social media profiling 3 , Google's unauthorized processing of millions medical records 4 , generalized surveillance of students' communications in American schools 5 or 2 James Ball, Julian Borger and Glenn Greenwald, "Revealed: how US and UK spy agencies defeat internet privacy and security." The Guardian, 6 September 2013.

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Oct 2019. https://www.theguardian.com/world/2019/oct/22/school-student-surveillance-bark-gaggle implementation of a social credit system in China 6 are highly significant examples of how data and algorithms are creating new sets of social and political formations which undermine the social and political contract under which we have been living.
If, as seems clearer with each passing day, "[a]nything that can be measured will be measured, in the name of transparency, enlightenment, and truth" (viii-ix), then we should be able to define uses of those measurements in ways that protect our shared ethical values: The ethicization of technology begins with the public in the domain of culture, where values and visions of civilization are negotiated, and aims at legal regulation as an institutional guarantee of our normative preferences. (xxiii) Simanowski's cogent argument about the need for the ethicization of digital technology is based on the analysis of its current and foreseeable uses, including facial recognition software, social media as filters and aggregators of information, the culture of instant gratification, practices of media education, systems of social ranking based on scores, disruption of labour rights caused by global service platforms, and self-driving cars.
Mark Zuckerberg's manifesto "Building Global Community" (published on February 16, 2017 7 ) is the focus of the first chapter. The manifesto's emphasis on technological transparency and interconnectivity as ways of addressing the social problems of globalization are analysed as a rhetorical diversion from Facebook's relentless drive for capitalizing and controlling its users' attention. The manifesto's idealized description of a "civically-engaged community" of global scale contradicts the platforms' in-built affordances for impoverishing public dialogue. Most social media conversations are restricted in scope and context, and the platform does not foster diversity of ideas in political conversations. Actual face-to-face conversations are devalued by the underlying logic of the platform, thus diminishing the quality of the citizens' dialogue. The combination of filter bubbles, fake news and like buttons seems to have been designed to produce simplification, sensationalism and polarization. Although Zuckerberg recognizes the negative effects of social media (as "short-form medium where resonant messages get amplified many times") in preventing nuance and encouraging oversimplification and polarization, the https://www.facebook.com/notes/mark-zuckerberg/building-global-community/10154544292806634/ solution he has to offer is itself algorithmic. What is at stake, as Simanowski shows, are the conditions the platform imposes on its "global community" (7).
One of the premises of The Death Algorithm and Other Digital Dilemmas is that we do not yet understand the deep transformations that networked algorithmic processes are bringing about. The essence of digital technologies is revealing itself -i.e., the non-technological essence of technology according to the Heideggerian concept -in large-scale social and political changes that challenge fundamental ethic and legal principles of post-Enlightenment societies. Despite their scale and rapid pace, changes seem to take place without any full awareness and public discussion of their ethical implications. Simanowski is particularly alert to what he describes as "regressive progress" (x), i.e., the decoupling between technological and social progress which has characterized human history since the scientific revolution in the seventeenth century. Social ranking and facial recognition algorithms are two examples of the extreme datafication of social life that call into question basic human rights. Considered in the light of the emancipated citizen and the public space fostered by prior media technologies, artificial intelligence systems script individual and social behaviours in ways that undermine the cherished principles of autonomy, privacy, liberty and self-determination.
Simanowski's analysis of the death algorithm -which is programmed into a driverless car to enable it to decide, in an emergency, whether to plow into a group of pedestrians, a mother and child, or a brick wall -shows it as a telling symptom of the dominant utilitarian social engineering logic whose calculus of the value of human life contradicts established legal and ethical principles (chapter 7). Automation of a growing number of social functions and human processes results in the silent disruption of social relations, labour practices, and political structures. Humans become commodified into datapoints that can be harvested and analysed for the creation of abstract value. This feedback loop between capturing behaviour through generated data and scripting behaviour through digital interfaces is changing the social fabric in ways that require a critical understanding of digitalization.
Most public policies of the last two decades have been concerned with extending digital literacy across social groups and geographic space. By creating the infrastructure required to offer universal network coverage, promoting digital tools and platforms, and introducing educational programs to foster the use of digital media, governments and teaching institutions have focused on what Simanowski describes as the "traffic cop" model of digital literacy (chapter 4). This model of digital literacy or "media competence" (51) is based on mastering the instrumental performance of the tool, but it falls short of providing the critical skills required for a full understanding of the nature and ecology of the transformations and how they impact on democracy and individual rights, including privacy, work rights and data rights. This critical digital literacy is presented as the "criminal investigation" and citizenship model (63), that is, a practice concerned with the theoretical and philosophical understanding of the digitalization of society. Media education, crucial for the development of an ethics for the digital, has to be redesigned in this second sense if students and teachers are to use "technologies in socially responsive ways" (49).
The tone of the book is often polemical, sometimes offering anecdotal evidence based on the author's encounters with "smombies" (smartphone zombies; chapter 2) and with Uber drivers in Rio de Janeiro and Hong Kong (chapter 6), but Simanowski is always lucid, engaging and eloquent in his arguments. Resorting to fictional dystopias in literature, film and television, and also to digital artworks (chapter 5), as a way of articulating the technological dilemmas we are currently facing, he writes with a sense of the urgency of addressing the momentous changes entailed by algorithmic culture. Given the amount of money to be invested in research on artificial intelligence over the coming decade (namely in the European Union, China, and the USA), and the nearly absent concern with the ethical and political implications of AI in most programmatic documents, The Death Algorithm and Other Digital Dilemmas should also be recommended reading for all policy makers and engineers who are obsessively inventing our digital future.


s2fieldsofstudy: Art History

text:
Lowering the Gaze

This article is written by one of the co-creators of the monumental public sculpture entitled I Am Queen Mary that was done in collaboration with Jeannette Ehlers. Inaugurated on March 31, 2018 the project is the first collaborative sculpture to memorialize Denmark’s colonial impact in the Caribbean and those who fought against it. The essay traces the beginning of the collaboration as a transatlantic conversation that prompted the development of two separate ideas and articulates how the monument represents a point of convergence of the artistic practices of both Belle and Ehlers. Moreover, the essay highlights how the conjoining of the original monument projects created various conversations and tensions around colonial structures and visibility. By entering the work through its coral stone base, it uses the acropodia as a conceptual framework to discuss the hidden infrastructures of coloniality and how - through lowering the gaze and other sensorial shifts - a new kind of embodied knowledge can be gained. The article employs Kevin Quashie’s ideas around the aesthetics of quiet as a way to not only think differently about resistance and blackness as only exterior phenomena, but to consider the power and complexity of interiority. By extension, offering up a similar lense to view the inner life of coloniality, the article discusses how through the acropodia in I Am Queen Mary the invisible structures and labor of not only colonial systems, but the monument itself, can be made transparent.

On a crisp sunny day in what looks and feels like a park I meet in St. Croix for the first time with Helle Stenum, a Danish researcher and lecturer in migration studies, to discuss some preliminary ideas of a collaborative project around the colonial history between the Virgin Islands and its former and longest colonizer -Denmark. This park, located alongside the harbor of Christiansted, a town named after a Danish king, is currently under the auspices of the United States National Park Service. The expansive perfectly cut lawn and tree-lined walkway flanked with wooden benches sanitize what was once a military complex of Danish colonial buildings that included: a scale house, a customs house, a warehouse, a slave auction block (although flattened now to a parking lot), a Steeple building (although no longer functioning as a chapel) and a fortress replete with cannons and a dungeon and a (now hidden away) whipping post. Helle and I sit on a bench that faces the ocean, faces the dock that for centuries ferried goods and people that were classified as goods all at the behest of Danish industry and expansion. It's a few years before the upcoming 100-year anniversary of the 1917 sale and transfer of the Virgin Islands from Denmark to the United States and in 2014 Helle's ideas have crystallized around how one might commemorate such an occasion. She proposes a transatlantic conversation through exhibitions and other programs to be simultaneously housed inside the West Indian warehouse in Copenhagen and the one in Christiansted that we can see in our view. She is talking to me because I am an artist that has been working and thinking about coloniality and colonial structures for several years now and have done previous collaborative projects in Denmark. i She has also spoken to Jeannette Ehlers, a Danish artist of Trinidadian descent who has also been working in a similar trajectory across the Atlantic producing projects that interrogate Danish amnesia around their colonial history. Helle proposes that Jeannette and I each develop a memorial, one in Denmark and one in St. Croix, a gesture that would later lead to the erection of a collaborative monument -I Am Queen Mary -whose first iteration occurs in Copenhagen in March 2018. ii On a painfully cold morning, days before Easter, days before the centennial year would end, days before I Am Queen Mary would be inaugurated, on this snow blanketed morning there were two fully realized sculptures that had not yet become one. The two pieces made in strikingly different ways and from polar opposite materials stood in the fabricator's warehouse on the outskirts of Copenhagen ready to make their journey to the warehouse that stored goods that came from the former Danish West Indies. The large seated female figure had been glued to a peacock chair and recently repainted black. Remnants of the woeful green iteration, the earnest attempt to appear like aged bronze, were visible in the crevices of her skirt folds, arms and feet and looked almost intentional. But there was no more time to debate if a patina bronze effect could be achieved and if it was even desired or necessary. In a final and contested decision, she would be black, painted with paint mixed with plastic that would make her impenetrable to the elements. Although weighing less than 200 pounds, milled out of large chunks of what is known commercially as Styrofoam, she was light for a sculpture of that size, able to be lifted by less than 10 of us. But despite being relatively lightweight she was too big for the warehouse and the door couldn't open to get her out and a beam prevented her from being placed horizontally. It took manipulating her awkwardly and precisely to a 30-degree angle to be able to open and move her through the large garage doors and place her on a flatbed. Strapped in and driven cautiously it was an amazing sight -a colossal black figure sailing through a sea of white snow. As we got closer to the city, people stopped and stared, took pictures and the excitement grew.
With much less drama the companion piece had been wrapped in plastic sheets and placed inside a large trailer quietly arriving beforehand. A structure made of coral stones that many weeks before had been shipped across the Atlantic. Months before that I, along with my studio assistant, Ralph Motta, had dug them out of the ground from my property in Christiansted and carried them back to my studio to be crated for shipping. And years before that (a couple hundred or so) they had been cut out of the ocean by people originally from the western coast of Africa who were brought to labor in the Danish claimed islands in the Caribbean sea. Haagensen, a Danish planter and slave owner described the harvesting process in his journal: Those seastones are collected from the reefs that surround nearly the entire island; this makes things much easier for those plantations located near a beach […] The reefs that grow from out of the sea produce a neverending, limitless quantities of limestone. Just as fast as it is removed, it grows back again. And it is quite convenient to gather because the reef extends above the surface of the sea, with the result that the slaves can stand on it with the water not rising above their feet, except at high tide when it reaches to their thighs and often to their midsections. For that reason, one waits for the low tide and calm weather to undertake this work. The sea is then calm. On such a day, more stones can be cut and gathered than on two other days. When the weather is good, one need not worry that one's slaves will get drowned or hurt. The slaves are not unaccustomed to standing naked the whole day long in the sea gathering stones, although when it is windy, it becomes very cold (Haagensen, 1758(Haagensen, /1995.
In addition to describing the process of harvesting the coral stones, Haagensen also describes the process of making the lime, a binding substance of the stones and bricks made by burning the corals. His description of the labor makes visible in the records what is often invisible in the structures, the perilous labor of African bodies that have built these societies, the veritable foundation of great wealth and industry. But as seemingly descriptive as Haagensen's writings are, there is so much that is still unseen. How did the workers decide which corals to use? How did they get the stones out of the ocean and from the ocean to the land? How did they protect their hands and feet? Did one have to be a good swimmer or be able to hold your breath for long periods? How did their god beliefs inform their labor, or trauma, or joy, or fear, or a myriad of other emotions and positions? There is a set of skills and knowledge present in the work that remains undocumented and subaltern, revealing the tacit nature of the master narrative often dominant in the archives. For Haagensen corals are "limitless" resources and he uses words like "convenience" to describe their availability. He describes the enslaved as not being "unaccustomed" to such work further revealing the biases of his circumstance.
As problematic as it is to see human beings as another kind of natural resource to be extracted, it is part of the logic embedded inside colonial infrastructures and development. In that way the journey the enslaved Africans made centuries before is mirrored in the journey of their afterlives in the form of the coral stones back across the Atlantic. The stones, however, arrived in Denmark much later than anticipated. The expected one-month journey tripled due to customs delays and storms. We had hoped to align the unveiling with the 2017 anniversary of the day the Fireburn iii began-October 1st. However, the late arrival of the corals pushed us to consider showing the sculpture with an empty base, filling them with the corals later. We had to confront the reality of what that would mean, what it would lack, how different the project would be without its other half.
We opened our calendars and looked forward for another meaningful date and landed on March 31st, Transfer Day. This wasn't the kind of day we were looking for. Transfer Day stood in direct opposition to what the Fireburn on Contract Day meant. Yet, we realized that there was a possibility to transform the colonial origination of that day in the same way that the Fireburn had transformed the unfair and oppressive terms of Contract Day. We also imagined that we could stall, and perhaps permanently halt, the closure of the Danish-described "dark chapter" that the end of the Centennial year foreshadowed. We hoped to transfer the spirit of the Fireburn and burn out some of the pain of being conferred from one colonial power to another without consent or consultation. And besides, it would also be Easter. This happenstance seemed like a meaningful and important sign of renewal and rebirth.
The coral stones created a space for another kind of renewal, a continuation and an access to another kind of knowledge. Shortly after they arrived we had the difficult task of cleaning them. They were full of dirt, cement and mold that had developed in their months crated at sea. We rallied assistance from Nina Cramer and Michael Wilson who both had been working on the project with us in varying capacities of scholarly and logistical support. iv Additionally, Roger Matthiesen, a member of parliament who I had met at our presentation of the project at a Black Lives Matter meeting joined us that day. While handling and cleaning the corals he commented with an astute poetics that the coral stones were like the "cotton fields" of the sea. The sharp corals were injurious, leading one to imagine incredulously how those who had originally harvested them managed to do so without the protection of gloves. Roger and Michael also commented on the sensorial whispers of the stones for they spoke not only to the touch, but the smell of the ocean seeped out, and the waves lapping the coral reefs echoed from a distance. The hands of the bodies that had stood naked the whole day long gathering stones were reaching back too-we could feel them.
This communion in the ritual of cleaning the coral reminded me of when I would watch my father, an Anglican priest, enact the ritual of Jesus washing his disciples' feet. During the ceremony Jesus avows to Peter that "unless I wash you, you have no part with me". The washing represents a pedagogy of doing, an access to a kind of knowing and the axis in which the awareness of one's own positionality could be more fully understood. It is embodied knowledge that often fills the gaps and silences of colonial archives. The act of doing and doing again, reenacting past events, actions and positionalities activates a space of possibility and becoming.
Reenactment has been a central part of the process in I Am Queen Mary. Both Jeannette's and my body were separately scanned as we recast ourselves in Huey P. Newton's iconic image in a peacock chair with a sword and a rifle. Inserting our bodies into the history of the Black Panthers was a transnational connection to other resistance movements while centering a female figure. We later created a digital composite of our bodies signaling a hybridization of not just our bodies, but our nations and narratives. This hybrid was used to create an allegorical portrait of Mary Thomas, one of the leaders of the 1878 Fireburn labor revolt in the former Danish West Indies. It is an individual and joint reenactment, additionally invoked through the title I Am Queen Mary, as the viewer is invited to situate themselves inside this history.
Although it's most obvious in the figure, reenactment is also a part of the coral stones in which embodiment occurs on multiple levels. The stones embody various types of sensorial reenactments: tactile, kinetic, sonic and structural. Taken from the ruins of colonial buildings they are reenacted as a new kind of foundation in an art historical context and open up possibilities of revealing the invisible colonial infrastructure.

I Am Queen
Mary represents an intersection of the trajectory of two parallel artistic practices occurring on different sides of the Atlantic. Our positionality and relationship to power along those axis points was complicated by our shared and unshared colonial histories. This is evidenced in the different ways we engage with violence through Jeannette's Whip It Good performance and my Cuts and Burns series, her whipping black charcoal onto a white canvas and me cutting and burning into white paper. Further evidence is our previous performance video works of our bodies in colonial spaces: my Somebody's Been Sitting in My Chair, Somebody's Been Sleeping in My Bed (2011) in which I reenact the story of Goldilocks and the Three Bears in a plantation great house (today functioning as the Whim Plantation Museum) and her video performance Black Magic in the White House (2009) simulated inside the Danish colonial mansion Marienborg (today functioning as the home of the Danish prime minister). Other points of connection are the ways we have both used our family histories in our works to challenge the supposed objectivity of colonial histories and the different ways we have tried to deal with displacement, loss and fragmentation. Jeannette's attraction to Huey P. Newton and other icons of Blackness was often mediated in her video and photo work. It comes very much out of her Afro-Danish experience and the need to connect to Blackness both as a response to the lack of a physical black community in Denmark, and as a tool of resistance to living in a country where Danishness was defined by whiteness. That erasure of self and the violence implicit is matched in the violence of Whip It Good. Differently, on my side of the Atlantic, living in both the real and symbolic violence of colonial structures with towns named after Danish monarchs, the colonial forts masking as parks and the sugar mills scattered across the landscape like aged tombstones, I was compelled to look for the hidden narratives inscribed in these spaces and subvert their colonial power. Our different positionalities are also evident in how we originally responded to Helle's invitation to develop a monument. I envisioned a monument around an idea of a column (or columns) of the coral stones I found outside my studio. I marveled how their flat edges signaled that someone's hand had marked them, and wanted to work with both the beauty and the tragedy of how they got there. In some ways they looked like readymades, but unlike Duchamp's readymades in which the artistic gesture was the significant act, suppressing or even canceling out the history of how the object came to be, I was starting with the narrative of the object coupling it with the artistic gesture of assemblage. Entitled Trading Post, I assembled the stones in a structure made of plexiglass, exposing the hands of the enslaved Africans that labored them out of the ocean to form the foundations of the colonial era buildings. It was a plinth, but what stood on top would be the discourse created, an acropodium. In Greece acropodia were often used to add monumentality to temple settings and mausoleums. In this case I wanted it to add monumentality to the people whose labor was forced, whose survival miraculous and whose non-survival noteworthy. Trading Post was a place where value was declared, both in the economic framework of a colonial trading zone and as a plinth in an art historical context. Jeannette had also been thinking about value and monumentality when she first envisaged placing a statue of a large black woman to counter Michelangelo's David on the outside of the Danish West Indian warehouse in Copenhagen. Her proposal aimed at counteracting the dominance of Eurocentrism in both the historical Danish narrative and the larger art historical one represented in what is called the Royal Cast collection, currently housed inside the colonial warehouse. It encompasses over 2000 replicas of sculptures from Greek antiquity to the Renaissance. The figure would be an interpretation of a promotional image she created for her solo exhibition in which she recast the character of her performance, Whip It Good, using the iconic Huey P. Newton image of him seated in a peacock chair with a rifle and spear in either hand. The counter-narrative significance of this gesture created inside the Royal Cast collection would be extended into the public realm. Helle later suggested that Queen Mary would be an ideal figure to pay homage to as it would utilize another mythic and historical figure in a similar way that David engendered both qualities. Queen Mary would also be a more direct link to the resistance movements in the Caribbean. However, when the two projects became one a new set of tensions arose around visibility and infrastructure. The design of Trading Post was influenced by the desire for the monument to function as a site-specific counter to the David sculpture that was already positioned outside the colonial warehouse in Copenhagen. It's the reason I Am Queen Mary is the colossal size of 24 ft as she matches and slightly surpasses him in height. However, the aims of the coral stones, designed to showcase the invisible structures of colonialism, were challenged by its dual function as the plinth in I Am Queen Mary. Cultural and literary arts scholar Kevin Quashie describes this tension as a contrast to the normative ways that blackness, black culture and history are represented in public. Framed through the lens of resistance, violence or struggle, responses to colonialism and racism are often imaged as expressiveness, loudness, publicness. This same expectation is what undergirded the critique of the sculpture in the Virgin Islands because contrary to how Queen Mary and the other Fireburn queens had previously been imaged, as standing, charging or in another dynamic posture, in I Am Queen Mary she is seated. This challenged the collective imaginary to envision this cultural icon in another way, in the aesthetics of what Kevin Quashie calls the quiet. He argues that, "An aesthetic of quiet is not incompatible within black culture, but to notice and understand it requires a shift in how we read, what we look for, and what we expect, even what we remain open to. It requires paying attention in a different way" (Quashie, 2012, p. 6). In this way one could also see Queen Mary in a seated position, in contemplation, as an expression of an interiority, representative of the fuller and more complex world of one's inner life. When applying these concepts to the coral stones the aesthetics of quiet serves to highlight in a similar way the "inner life", the quiet infrastructure of coloniality. The activities, the structure, the labor and the inequities that often undergird the more overt expressions of racism and colonialism. As Quashie asserts, to see this requires a shift in how we read, what we look for and what we expect. As evidenced by the numerous photographs that image the monument with the figure alone, this shift is often not realized. By lowering the gaze and entering the piece first through the acropodium one begins to see the plinth as a quiet signal to the foundational labor of the enslaved and the other often invisible colonial infrastructures. The second iteration of I Am Queen Mary which was realized in June 2019 in New York as in indoor sculpture for an exhibition at the Ford Foundation represents a closer approximation to the original intention. Without the David sculpture, the piece differs not just in size, but also in the design of the coral stone base. Instead of being bound in cement, in this version the stones were encased in plexiglass which placed the infrastructure of coloniality centerstage as the plinth becomes transparent.
However, akin to the way that the foundational labor of slave societies is often subsumed by the outputs of that labor, there exists a foundational labor in this project as well, the invisible infrastructure of a public art project that is artist-led by two Black women artists positioned at different sides of the Atlantic and operating in different colonial realities. One of those realities is that the first iteration of the project occurs in Denmark primarily because Jeannette was able to raise funds appropriated for the centennial year from Danish agencies and institutions. However, a non-commissioned artwork means that it still lacks a certain kind of institutional support, that permissions must be sought out, funds raised, insurance purchased and the responsibility of maintenance assumed by the artists until a fuller institutional support is garnered. The ability to navigate all of these issues and bureaucratic entanglements must be met with a certain level of creativity, resolve and labor. It also means that the artists must undertake the work to take up the space to create the dialogues that decoloniality requires. This dialogue did not only happen externally with the project, and with the numerous artist talks and engagements with the press that occurred before the piece was constructed and subsequent to its inauguration. There were also internal dialogues about collaboration and positionality, about African diasporic nuances and disparities, differing access to power and privilege, differing ways to think about Blackness and different needs to respond to because of that positioning, with narrative construction being but one of them.
As a decolonial project, I Am Queen Mary reminds us that it is not only an ocular shift that is required when thinking through colonial pastpresents and trying to find ways to make transparent what stands masking as parks and plinths and shared history. Indeed, a broader sensorial shift is required, for there are parts of the memory that is not collective and part of the quiet that is not silence. The pedagogy of the somatic, of reenactment, provide a methodology to shift the gaze to the quiet of coloniality by allowing access to other sensorial capacities, intimacies and knowledge. In lowering the gaze, similar to an act of bowing one's head in prayer or introspection, there is a process of looking inward that occurs. It is this process that holds the promise of countering the colonial endowment from commandeering our futures-our ability to transform the opacity of the fundaments and see what possibilities exist inside.