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In coalition formation with self-interested agents both social welfare of the multi-agent system and stability of individual coalitions must be taken into account. However, in large-scale systems with thousands of agents, finding an optimal solution with respect to both metrics is infeasible.
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her wish to collaborate with EKTA as part of her doctoral project, we embarked on a multi-year collaboration.It is important to remark here that providing a platform for an outsider is extremely challenging in Kashmir due to potential security risks and suspicions of secret agendas.But given my commitment to the theatre, I decided to take on these risks and to provide space open for Nandita to work with the artistes of EKTA, without putting any restrictions or limitations on the work.The only suggestion I made was that we had to be very careful about the sensitivities and sensibilities of people in Kashmir when dealing with their unimaginable suffering, while approaching the subject with honesty and constructing/deconstructing the content of the play.Such conversations formed the basis of the characters Guide #1 and Guide #2 in the play, representing the insider and the outsider views that were present at every step of the creation of "Chronicles of Kashmir".While Nandita explains the process in detail in this book, I would like to draw your attention to some important points: 1. Being "insiders" who have lived the conflict, our Kashmiri actors and audience could easily connect with the content of the play and its immersion in everyday life in Kashmir.2. When performing in Kashmir, every scene -however much we tried to be indirect -was immediately connected to someone's real-life experience.3. During the process of revealing some concealed realities of Kashmir, about which I happened to be a first-hand source, the actors and the audience often reacted furiously towards Nandita and me, and suspected that we had some secret agenda.4. There were big questions raised, even among my friendship circles within the theatre fraternity, concerning my collaboration with an (Indian) outsider who could not be deemed as "trustworthy".On many occasions, even my actors and members of EKTA asked: why are we doing such a project? 5.In spite of having been a leading pro-freedom activist, in many political and public circles I was viewed suspiciously for my approach to theatre activities that were unconventional.6.It was also a big challenge to maintain consistency of performance in this multi-year project.Every stage included a gap of one year, and there were always new additions of content, concepts, thoughts, audiences and artists -but we did not let the spine of the play break.From 2012 to 2014, the play was performed at the EKTA campus and all of the scenes were set in different rooms and spaces.Most of the scenes were very intense, but the movement of the audience from one space to another allowed them a sigh of relief to prepare for the next powerful scene.I don't mean that the audience was alienated
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her wish to collaborate with EKTA as part of her doctoral project, we embarked on a multi-year collaboration.It is important to remark here that providing a platform for an outsider is extremely challenging in Kashmir due to potential security risks and suspicions of secret agendas.But given my commitment to the theatre, I decided to take on these risks and to provide space open for Nandita to work with the artistes of EKTA, without putting any restrictions or limitations on the work.The only suggestion I made was that we had to be very careful about the sensitivities and sensibilities of people in Kashmir when dealing with their unimaginable suffering, while approaching the subject with honesty and constructing/deconstructing the content of the play.Such conversations formed the basis of the characters Guide #1 and Guide #2 in the play, representing the insider and the outsider views that were present at every step of the creation of "Chronicles of Kashmir".While Nandita explains the process in detail in this book, I would like to draw your attention to some important points: 1. Being "insiders" who have lived the conflict, our Kashmiri actors and audience could easily connect with the content of the play and its immersion in everyday life in Kashmir.2. When performing in Kashmir, every scene -however much we tried to be indirect -was immediately connected to someone's real-life experience.3. During the process of revealing some concealed realities of Kashmir, about which I happened to be a first-hand source, the actors and the audience often reacted furiously towards Nandita and me, and suspected that we had some secret agenda.4. There were big questions raised, even among my friendship circles within the theatre fraternity, concerning my collaboration with an (Indian) outsider who could not be deemed as "trustworthy".On many occasions, even my actors and members of EKTA asked: why are we doing such a project? 5.In spite of having been a leading pro-freedom activist, in many political and public circles I was viewed suspiciously for my approach to theatre activities that were unconventional.6.It was also a big challenge to maintain consistency of performance in this multi-year project.Every stage included a gap of one year, and there were always new additions of content, concepts, thoughts, audiences and artists -but we did not let the spine of the play break.From 2012 to 2014, the play was performed at the EKTA campus and all of the scenes were set in different rooms and spaces.Most of the scenes were very intense, but the movement of the audience from one space to another allowed them a sigh of relief to prepare for the next powerful scene.I don't mean that the audience was alienated
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