Search results for 'M. Tom' (try it on Scholar)

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  1. E. R. John, L. S. Prichep, W. Kox, P. Valdes-Sosa, J. Bosch-Bayard, E. Aubert, M. Tom, F. diMichele & L. D. Gugino (2001). Invariant Reversible QEEG Effects of Anesthetics. Consciousness and Cognition 10 (2):165-183.score: 240.0
    Continuous recordings of brain electrical activity were obtained from a group of 176 patients throughout surgical procedures using general anesthesia. Artifact-free data from the 19 electrodes (...)of the International 10/20 System were subjected to quantitative analysis of the electroencephalogram (QEEG). Induction was variously accomplished with etomidate, propofol or thiopental. Anesthesia was maintained throughout the procedures by isoflurane, desflurane or sevoflurane (N = 68), total intravenous anesthesia using propofol (N = 49), or nitrous oxide plus narcotics (N = 59). A set of QEEG measures were found which reversibly displayed high heterogeneity of variance between four states as follows: (1) during induction; (2) just after loss of consciousness (LOC); (3) just before return of consciousness (ROC); (4) just after ROC. Homogeneity of variance across all agents within states was found. Topographic statistical probability images were compared between states. At LOC, power increased in all frequency bands in the power spectrum with the exception of a decrease in gamma activity, and there was a marked anteriorization of power. Additionally, a significant change occurred in hemispheric relationships, with prefrontal and frontal regions of each hemisphere becoming more closely coupled, and anterior and posterior regions on each hemisphere, as well as homologous regions between the two hemispheres, uncoupling. All of these changes reversed upon ROC. Variable resolution electromagnetic tomography (VARETA) was performed to localize salient features of power anteriorization in three dimensions. A common set of neuroanatomical regions appeared to be the locus of the most probable generators of the observed EEG changes. (shrink)
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  2. E. R. John, L. S. Prichep, W. Kox, P. Valdes-Sosa, J. Bosch-Bayard, E. Aubert, M. Tom, F. diMichele & L. D. Gugino (2002). Invariant Reversible QEEG Effects of Anesthetics - Volume 10, Number 2 (2001), Pages 165-183. Consciousness and Cognition 11 (1):138-138.score: 240.0
     
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  3. W. M., Édouard Driault, Michel Lhéritier, Edouard Driault & Michel Lheritier (1926). Histoire diplomatique de la Grèce de 1821 à nos joursΣύγχρονος Ἱστορία τω̑ν Ἑλλήνων καὶ τω̑ν λοιπω̑ν λαω̑ν τη̑ς Ἀνατολη̑ς ἀπὸ 1821 μέχρι 1921. 'Υπὸ Π. Καραλίδου. Τόμ. i-v. [1821-62]Histoire diplomatique de la Grece de 1821 a nos joursSugxronos Istoria twn Ellhnwn kai twn loipwn lawn ths Anatolhs apo 1821 mexri 1921. 'Upo P. Karalidou. Tom. i-v. [1821-62]. [REVIEW] Journal of Hellenic Studies 46:132.score: 240.0
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  4. Hugh Lloyd-Jones (1986). The Revised Teubner Sophocles R. D. Dawe: Sophoclis Tragoediae, Tom. I2: AiaxElectraOedipus Rex. Pp. Xiv+164. Leipzig: Teubner, 1984. 39 M. [REVIEW] The Classical Review 36 (01):10-12.score: 72.0
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  5. Luuk Matthijssen (2003). Tom M. Van Engers, Knowledge Management: The Role of Mental Models in Business Systems Design. Ph.D. Thesis, Vrije Universiteit Amsterdam. Belastingdienst (Dutch Tax and cusToms Administration). [REVIEW] Artificial Intelligence and Law 11 (1):63-67.score: 72.0
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  6. Neil Cooper (1994). Logic, Facts and Representation: An Examination of R. M. Hare's Moral Philosoph By Tom Rønnow-Rasmussen. Lund University Press. 1993 248 Pp., SEK 205. [REVIEW] Philosophy 69 (267):112-.score: 72.0
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  7. A. E. Douglas (1983). Three of Cicero's Philosophical Works Esther Bréguet: Cicéron, La République, Tom. 1: Livre I; Tom. 2: Livres IIIV. (Collection Budé.) Pp. 277 (193247 Double); 209 (7120 Double). Paris: Les Belles Lettres, 1980. Konrat Ziegler: M. Tullius Cicero, De Legibus. 3. Auflage Überarbeitet Und Durch Nachträge Ergänzt von Woldemar Görler. (Heidelberger Texte, Lateinische Reihe, 20.) Pp. 171. Freiberg/Würzburg: Verlag Ploetz, 1979. Paper. Julio Pimental Alvarez: Marco Tulio Cicerón, Disputas Tusculanas, Vol. 1: Libros III; Vol. 2: Libros IIIIV. (Bibliotheca Scriptorum Et Romanorum Mexicana.) Pp. Ccxxi + 87 (Double); Cxxxv + 130 (Double). Ciudad Universitaria México: Universidad Nacional Autónoma de Mexico, 1979. Paper. [REVIEW] The Classical Review 33 (02):213-215.score: 72.0
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  8. G. C. Richards (1942). More Letters of Erasmus Opus Epistolarum D. Erasmi Roterodami. Tom. X. Ediderunt H. M. Allen Et H. W. Garrod. Pp. Xxiv+440; 2 Plates. Oxford: Clarendon Press, 1941. Cloth, 28s. Net. [REVIEW] The Classical Review 56 (02):89-90.score: 72.0
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  9. Stephen Bann (1990). Reviews : Louis Marin, Portrait of the King, Trans. Martha M. Houle, Foreword by Tom Conley, London: Macmillan, 1988, £29.50, 290 Pp. Wendy Steiner, Pictures of Romance: Form Against Context in Painting and Literature, London: University of Chicago Press, 1988, £22.50, 218 Pp. [REVIEW] History of the Human Sciences 3 (2):301-305.score: 72.0
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  10. Paul Kerlinger (1989). Falcon Fortunes Peregrine Falcon Populations: Their Management and Recovery Tom J. Cade James H. Enderson Carl G. Thelander Clayton M. White. [REVIEW] Bioscience 39 (11):812-813.score: 72.0
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  11. Luuk Matthijssen (2003). Tom M. van Engers,. Ph. D. Thesis, Vrije Universiteit Amsterdam. Belastingdienst (Dutch Tax and Customs Administration). [REVIEW] Artificial Intelligence and Law 11 (1):63-67.score: 72.0
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  12. G. C. Richards (1938). Opus Epistolarum Des. Erastni Roterodami. Tom. IX Ediderunt H. M. Allen Et H. W. Garrod. Pp. Xxiv + 497; 2 Plates, 1 Woodcut. Oxford: Clarendon Press, 1938. Clot 28s. [REVIEW] The Classical Review 52 (05):201-.score: 72.0
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  13. Luuk Reviewer-Matthijssen (2003). Review of Knowledge Management: The Role of Mental Models in Business Systems Design by Tom M. van Engers Vrije Universiteit Amsterdam, Belasting-Dienst, Apeldoorn 2001. [REVIEW] Artificial Intelligence and Law 11 (1):63-67.score: 72.0
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  14. G. C. Richards (1926). Opus Epistolarum Des. Erasmi Roterodami. Denuo Recognitum Et Auctum Per P. S. Allen, M.A., Et H. M. Allen. Tom. V., 15221524. Pp. Xxiii + 631; with 4 Plates. Oxonii: In Typographeo Clarendoniano, 1924. 28s. Net. [REVIEW] The Classical Review 40 (01):38-39.score: 72.0
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  15. W. Rhys Roberts (1911). Allen's Erasmi Epistolae, Vol. II Opus Epistolarum Des. Erasmi Roterodami Denuo Recognitum Et Auctum Per P. S. Allen, M.A., Collegii Mertonensis Socium. Tom. II. Oxonii in Typographeo Clarendoniano. MCMX. Pp. Xx + 608. 18s. Net. [REVIEW] The Classical Review 25 (04):118-120.score: 72.0
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  16. W. Rhys Roberts (1907). Erasmus Opus Epistolarum Des. Erasmi Roterodami Denuo Recognitum Et Auctum Per P. S. Allen, M.A., E Coll. Corporis Christi. Tom. I. 14841514. 9½×5¾. Pp. Xxiv + 616. Oxonii in Typographeo Clarendoniano. Mcmvi. I8s. Net. [REVIEW] The Classical Review 21 (04):108-113.score: 72.0
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  17. Francesca M. Bosco, Livia Colle, Silvia De Fazio, Adele Bono, Saverio Ruberti & Maurizio Tirassa (2009). Th.O.M.A.S.: An Exploratory Assessment of Theory of Mind in Schizophrenic Subjects. Cogprints 18 (1):306-319.score: 48.0
    A large body of literature agrees that persons with schizophrenia suffer from a Theory of Mind <span class='Hi'>span>(ToM)<span class='Hi'>span> deficit.<span class='Hi'>span> (...)span> most empirical studies have focused on third-person,<span class='Hi'>span> egocentric ToM,<span class='Hi'>span> underestimating other facets of this complex cognitive skill.<span class='Hi'>span> Aim of this research is to examine the ToM of schizophrenic persons considering its various aspects <span class='Hi'>span>(first vs.<span class='Hi'>span> second order,<span class='Hi'>span> first vs.<span class='Hi'>span> third person,<span class='Hi'>span> egocentric vs.<span class='Hi'>span> allocentric,<span class='Hi'>span> beliefs vs.<span class='Hi'>span> desires vs.<span class='Hi'>span> positive emotions vs.<span class='Hi'>span> negative emotions and how each of these mental state types may be dealt with)<span class='Hi'>span>, to determine whether some components are more impaired than others.<span class='Hi'>span> We developed a Theory of Mind Assessment Scale <span class='Hi'>span>(Th.o.m.a.s.<span class='Hi'>span>) and administered it to 22 persons with a DSM-IV diagnosis of schizophrenia and a matching control group.<span class='Hi'>span> Th.o.m.a.s.<span class='Hi'>span> is a semi-structured interview which allows a multi-component measurement of ToM.<span class='Hi'>span> Both groups were also administered a few existing ToM tasks and the schizophrenic subjects were administered the Positive and Negative Symptoms Scale and the WAIS-R.<span class='Hi'>span> The schizophrenic persons performed worse than control at all the ToM measurements;<span class='Hi'>span> however,<span class='Hi'>span> these deficits appeared to be differently distributed among different components of ToM.<span class='Hi'>span> Our conclusion is that ToM deficits are not unitary in schizophrenia,<span class='Hi'>span> which also testifies to the importance of a complete and articulated investigation of ToM. (shrink)
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  18. Mikel Torres Aldave (2009). Capacidades y derechos de los animales: argumentos a favor de la teoría de M.C. Nussbaum. Dilemata 1 (1).score: 42.0
    Many publications in the field of animal ethics consider the theories of Peter Singer and Tom Regan as the main arguments for the direct moral consideration of (...)
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  19. Tom Sorell & G. A. J. Rogers (eds.) (2005). Analytic Philosophy and History of Philosophy. Oxford University Press.score: 30.0
    Philosophy written in English is overwhelmingly <span class='Hi'>analyticspan> philosophy, and the techniques and predilections of <span class='Hi'>analyticspan> philosophy are not only unhistorical but (...)span> usually aspires to a very high degree of clarity and precision of formulation and argument, and it often seeks to be informed by, and consistent with, current natural science. In an earlier era, <span class='Hi'>analyticspan> philosophy aimed at agreement with ordinary linguistic intuitions or common sense beliefs, or both. All of these aspects of the subject sit uneasily with the use of historical texts for philosophical illumination. In this book, ten distinguished philosophers explore the tensions between, and the possibilities of reconciling, <span class='Hi'>analyticspan> philosophy and history of philosophy. Contributors: M. R. Ayers, John Cottingham, Daniel Garber, Gary Hatfield, Anthony Kenny, Steven Nadler, G. A. J. Rogers, Tom Sorell, Catherine Wilson, Yves Charles Zarka. (shrink)
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  20. Nhung T. Nguyen, M. Tom Basuray, William P. Smith, Donald Kopka & Donald McCulloh (2008). Moral Issues and Gender Differences in Ethical Judgment Using Reidenbach and Robin's (1990) Multidimensional Ethics Scale: Implications in Teaching of Business Ethics. [REVIEW] Journal of Business Ethics 77 (4):417 - 430.score: 30.0
    In this study, we examined moral issues and gender differences in ethical judgment using Reidenbach and Robins [Journal of Business Ethics 9 (1990) 639) multidimensional ethics (...)scale (MES). A total of 340 undergraduate students were asked to provide ethical judgment by rating three moral issues in the MES labeled: ‚sales’, ‚auto’, andretailusing three ethics theories: moral equity, relativism, and contractualism. We found that female studentsratings of ethical judgment were consistently higher than that of male students across two out of three moral issues examined (i.e., sales and retails) and ethics theories; providing support for Eaglys [1987, Sex Differences in Social Behavior: A Social-role Interpretation. (Lawrence Erlbaum Associates, Inc, Hillsdale, NJ, England)] social role theory. After controlling for moral issues, womens higher ratings of ethical judgment over mens became statistically non-significant. Theoretical and practical implications based on the studys findings are provided. (shrink)
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  21. T. Nguyen Nhung, William M. Tom Basuray, Donald Kopka P. Smith & Donald McCulloh (2008). Moral Issues and Gender Differences in Ethical Judgment Using Reidenbach and Robin's (1990) Multidimensional Ethics Scale: Implications in Teaching of Business Ethics. Journal of Business Ethics 77 (4).score: 30.0
    In this study, we examined moral issues and gender differences in ethical judgment using Reidenbach and Robins [ Journal of Business Ethics 9 (1990) 639) multidimensional ethics (...)
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  22. Nhung T. Nguyen, M. Tom Basuray, Donald Kopka & Donald McCulloh (2012). Moral Awareness in Business Ethics Education. Journal of Business Ethics Education 9:79-100.score: 30.0
    In this study, a U.S. Mid-Atlantic universitys business ethics education program was assessed as part of the assurance of learning assessment using a sample of (...)
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  23. Tom Lindstrøm (2008). Nonlinear Stochastic Integrals for Hyperfinite Lévy Processes. Logic and Analysis 1 (2):91-129.score: 30.0
    I develop a notion of nonlinear stochastic integrals for hyperfinite Lévy processes and use it to find exact formulas for expressions which are intuitively of the form (...)
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  24. William Wernick (1967). Review: Ralph M. Toms, Systems of Boolean Equations. [REVIEW] Journal of Symbolic Logic 32 (1):132-133.score: 30.0
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  25. Matthew Kieran (2010). Teaching & Learning Guide for: Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value. Philosophy Compass 5 (5):426-431.score: 24.0
    Up until fairly recently it was philosophical orthodoxyat least within analytic aesthetics broadly construedto hold that the appreciation and evaluation of works as art (...)and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter-relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests ('Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 12943), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work's moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1. Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 12660. This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2. Carroll, Noël. Beyond Aesthetics: Philosophical Essays . Cambridge: Cambridge UP, 2009. Part IV consists of six distinct essays on questions concerning the inter-relations between art and morality including the essay cited above and the author's articulation and defence of moderate moralism. 3. Gaut, Berys. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182203. 4. Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work's value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5. Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 15599. A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6. Kieran, Matthew. 'Forbidden Knowledge: The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 5673. A general argument for immoralism is elaborated by outlining when, where and why a work's morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7. Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8. Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 12739. This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9. Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191200. This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10. Walton, Kendall. 'Morals in Fiction and Fictional Morality, I.' Proceedings of the Aristotelian Society, Suppl. 68 (1994): 2751. This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials 'Aesthetics and Ethics: The State of the Art.' American Society of Aesthetics online (Jeffrey Dean): http://www.aesthetics-online.org/articles/index.php?articles_id=15 >. 'Art, Censorship and Morality' downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/OU Open2.net as part of the Ethics Bites series): http://www.open2.net/ethicsbites/art-censorship-morality.html >. 'Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 12943 (Matthew Kieran): http://www3.interscience.wiley.com/journal/118557779/abstract >. 'Ethical Criticism of Art.' Internet Encyclopedia of Philosophy (Ella Peek): http://www.iep.utm.edu/a/art-eth.htm >. 'Fascinating Fascism.' New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag): http://www.nybooks.com/articles/9280 >. 'The Beheading of St. John the Baptist (1450s), Giovanni de Paolo' (Tom Lubbock): http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-beheading-of-st-john-the-baptist-1450s-giovanni-di-paolo-1684900.html >. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS): http://www.listal.com/video/3848698 >. Sample Syllabus Topic I Autonomism/AestheticismAnderson, James C. and Jeffrey T. Dean. 'Moderate Autonomism.' British Journal of Aesthetics 38.2 (1998): 15066. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism . New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith . Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006, 12739. • ——. 'Tragedy and Moral Value.' Australasian Journal of Philosophy 73.2 (1995): 23949. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature . Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191200. Topic II Imaginative Capacities, Intelligibility and ResistanceMoran, Richard. 'The Expression of Feeling in Imagination.' Philosophical Review 103.1 (1994): 75106. • Nichols, Shaun. 'Just the Imagination: Why Imagining Doesn't Behave Like Believing'. Mind & Language 21.4 (2006): 45974. • Stokes, Dustin. 'The Evaluative Character of Imaginative Resistance'. British Journal of Aesthetics 46.4 (2006): 387405. • Tanner, Michael. 'Morals in Fiction and Fictional Morality, II'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 5166. • Walton, Kendall (1994). 'Morals in Fiction and Fictional Morality, I'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 2751. • Weinberg, Jonathan. 'Configuring the Cognitive Imagination.' New Waves in Aesthetics . Eds. K. Stock and K. Thomson-Jones. London: Palgrave Macmillan, 2008. 20323. Topic III Moralism and EmotionsCarroll, Noël. 'Moderate Moralism.' British Journal of Aesthetics 36.3 (1996): 22337. • Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.12660. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapter 10. • ——. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182203. • Hume, David. 'Of the Standard of Taste.' Selected Essays . Oxford: Oxford UP, 1993 [1757]. 13353. • Kieran, Matthew. 'Emotions, Art and Immorality.' Oxford Handbook to the Philosophy of Emotions . Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681703. • Tolstoy, Leo. What is Art? . London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and KnowledgeAristotle. Poetics . Trans. M. Heath. London: Penguin, 1996 [367322 BC]. • Carroll, Noël. 'The Wheel of Virtue: Art, Literature and Moral Knowledge.' Journal of Aesthetics and Art Criticism 60.1 (2002): 326. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. 'Art and Cognition.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 11526. • Kieran, Matthew. 'Art, Imagination and the Cultivation of Morals.' Journal of Aesthetics and Art Criticism 54.4 (1996): 33751. • Nussbaum, Martha. 'Finely Aware and Richly Responsible: Literature and the Moral Imagination.' Love's Knowledge . New York: Oxford UP, 1990. 14868. • Plato. The Republic . Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist ContextualismHarold, James. 'Immoralism and the Valence Constraint.' British Journal of Aesthetics 48.1 (2008): 4564. • Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 15599. • ——. 'Ethical Criticism and the Vices of Moderation.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 34255. • John, Eileen. 'Artistic Value and Moral Opportunism.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 33141. • Kieran, Matthew. 'Forbidden Knowledge:The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 5673. • Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. 'Moral Vices as Artistic Virtues: Eugene Onegin and Alice.' Philosophia 36.2 (2008): 18193. Focus Questions 1. What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2. What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3. How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4. How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5. What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)
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  26. Roger White (2010). You Just Believe That Because…. Philosophical Perspectives 24 (1):573-615.score: 24.0
    I believe that Tom is the proud father of a baby boy. Why do I think his child is a boy? A natural answer might be that (...)
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  27. Paulina Karbownik (2010). Koniec kryzysu, początek dramatuMarcel Gauchet o kondycji współczesnej polityki. Hybris 13.score: 24.0
    Marcel Gauchet to mało znany w Polsce historyk i filozof francuski. Żadna z jego książek nie została do tej pory przetłumaczona na język polski. Dostępny w tym (...)
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  28. N. Scott Arnold (1983). Hume's Skepticism About Inductive Inference. Journal of the History of Philosophy 21 (1):31-56.score: 24.0
    In lieu of an abstract, here is a brief excerpt of the content: Hume's Skepticism about Inductive Inference N. SCOTT ARNOLD IT HAS BEEN A COMMONPLACE (...)among commentators on Hume's philosophy that he was a radical skeptic about inductive inference. In addition, he is alleged to have been the first philosopher to pose the so-called problem of induction. Until recently, however, Hume's argument in this connection has not been subject to very close scrutiny. As attention has become focused on this argument, a debate has been shaping up concerning just what Hume intended to establish here. The principal purpose of this article is to settle this interpretive issue as decisively as the texts permit. I should also like to locate Hume's main argument about induction in the larger context of his discussion of skepti- cism in book 1 of the Treatise. I shall suggest that arguments for the radical skepticism commonly attributed to Hume can be found only very late in book 1 of the Treatise and that the most famous argument about inductive inference establishes and is intended to establish only a relatively modest form of skepticism. The argument under consideration can found in book l, part 3, section 6 of the Treatise. It can also be found in essays 4 and 5 of the Enquiries and in the abstract of the Treatise published anonymously by Hume. I shall concen- trate on the Treatise version since it is the first and perhaps most explicit formulation of the argument and because part of my purpose is to place this argument in the larger context of book 1 of the Treatise. The received opinion concerning Hume's argument has it that Hume was highly skeptical about the mind's claims to knowledge about the future (or, more generally, about the unobserved). All beliefs arrived at via inductive I should like to thank M. G. Anderson, John Bahde, Jon Nordy, and Robert Paul Wolff, as well as David Fate Norton and a referee for the Journal of the History of Philosophy, for helpful comments on earlier drafts on this article. 32 HISTORY OF PHILOSOPHY inferences are unreasonable or unjustified. The alternative interpretation, to be defended below, is that Hume held that no such belief is or can be rendered certain relative to past experience and that such beliefs are not, upon that account, unreasonable or unjustified. Something like this inter- pretation has been defended by Tom L. Beauchamp, Thomas Mappes, and Alexander Rosenberg. ~ My view differs from theirs in that I shall argue that Hume did offer arguments for the more radical skepticism commonly attri- buted to him (though it is unclear whether he regarded them as decisive). These arguments, however, come at the end of book ~ of the Treatise and are independent of the more famous argument to be discussed below. Defenders of the received view are both numerous and distinguished. Versions of this interpretation of the main argument can be found in the writings of Karl Popper, Wesley Salmon, F. L. Will, and Norman Kemp Smith; most recently a variation on the standard interpretation has been defended by Barry Stroud. The fullest and most elaborate defense of the standard interpretation can be found in a monograph by D. C. Stove. '~ Stove's discussion is perhaps the most impressive because of his painstaking efforts to lay bare the structure of Hume's reasoning and to give a line-by- line analysis of the argument. This has the effect of bringing more clearly into focus the main grounds for the standard view. If this standard interpre- tation is correct, then Hume's position is that scientific method is epistemically no better than &quot;superstition&quot; and &quot;enthusiasm.&quot; And, Hume would be among those for whom this claim, if true, would be very bad news, because one of his primary purposes in the Treatise is to construct a science of man. Thus, this argument is of considerable internal significance because, if my opponents are correct, Hume appears to have cut the ground out from under what he took to be one of his most important projects -- the construc- tion of a science of man. The other feature of this argument that makes it worthy of serious con- sideration is that it is philosophically... (shrink)
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  29. Michael E. Zimmerman (1985). The Critique of Natural Rights and the Search for a Non-Anthropocentric Basis for Moral Behavior. Journal of Value Inquiry 19 (1):43-53.score: 24.0
    MacIntyre, Clark, and Heidegger would all agree that the current problem with moral theory is its lack of a satisfactory conception of human telos. This lack leads (...)
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  30. Paul Standish (2010). Food for Thought: Resourcing Moral Education. Ethics and Education 4 (1):31-42.score: 24.0
    J.M. Coetzee's Elizabeth Costello is an overtly philosophical novel, at the heart of which are questions concerning the relation of human beings to animals and the (...) discussion of animal rights. The nature of its subject matter and the prominence it gives to dialogue, sometimes of an almost Platonic kind, make it a rich potential resource for moral education. This article begins by imagining a course based on extracts from the novel, intended for teenage students or older people. It goes on to make suggestions for further reading. There is now a rich secondary literature that has developed in response to central elements in Coetzee's text, involving the work of Peter Singer, Tom Regan, Cora Diamond, Stanley Cavell, John McDowell, Cary Wolfe, and Ian Hacking, amongst others. This literature raises questions about the nature of moral philosophy, and it has implications for moral education. (shrink)
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  31. Jennifer A. Herdt (2012). David Hume: A Dissertation on the Passions; The Natural History of Religion. Hume Studies 36 (2):233-235.score: 24.0
    The present volume is the fifth out of eight total projected for the Clarendon Edition of the Works of David Hume. Its editor, Tom Beauchamp, is one (...)
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  32. John D. Sommer, Ed Casey, Mary C. Rawlinson, Eva Kittay, Michael A. Simon, Patrick Grim, Clyde Lee Miller, Rita Nolan, Marshall Spector, Don Ihde, Peter Williams, Anthony Weston, Donn Welton, Dick Howard, David A. Dilworth, Tom Foster Digby 3d, Anthony Appiah, David Auerbach, Annette Baier, Seyla Benhabib, Akeel Bilgrami, Richard Boyd, Robert Brandon, Joshua Cohen, Arnold Davidson, Owen Flanagan, Nancy Fraser, Marcia Lind, Alexander Nehamas, Linda Nicholson, Adrian Piper, Lynne Tirrell, Lawrence Blum, Lawrence Foster, Roma Farion, Mitchel Silver, Jenifer Radden, Jack Bayne, Robert K. Shope, Jane Roland Martin, Arthur B. Millman, Beebe Nelson, Robert Rosenfeld, Janet Farrell-Smith, David E. Flesche, Daniel E. Anderson, J. R. Brown, F. Cunningham, D. Goldstick, I. Hacking, C. Normore, A. Ripstein, W. Sumner, Alison M. Jaggar, Harry Deutsch, Irving Stein, John Hund, George Englebretsen, Fred Strohm, D. L. Ouren, P. Bilimoria, F. B. D. & Nora Nevin (1993). Letters to the Editor. Proceedings and Addresses of the American Philosophical Association 66 (5):97 - 112.score: 24.0
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  33. Patricia M. Matthews (1997). Feeling and Aesthetic Judgment: A Rejoinder to Tom Huhn. Journal of Aesthetics and Art Criticism 55 (1):58-60.score: 24.0
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  34. Tom Koch (1998). On the Subject(s) of Jack Kevorkian, M.D.: A Retrospective Analysis. Cambridge Quarterly of Healthcare Ethics 7 (4):436-441.score: 24.0
    To those defining euthanasia as a battle for the principle of self-determination, persons seeking physician assisted death (PAD) are soldiers in the fight for patient autonomy. (...)The reasons they seek it, or the potential of other, non-life-threatening interventions is less important than this principle: individuals have the right not only to choose death (suicide), but to be assisted in dying. They should not be second guessed or denied on the basis of another's distaste for that decision. This paper offers a general review of deaths attributed to Dr. Jack Kevorkian's PAD practice in an attempt to answer two questions: Why do persons seek physician assisted death, and, to what extent does induced death seem, in retrospect, a reasonable and perhaps necessary medical response to specific patient complaints? (shrink)
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  35. Arthur C. Graesser, Cheryl A. Bowers, Tom Trabasso, Brian Harvey, Sunil Cherian, Wade O. Troxell, Timothy Joseph day, Robert M. French, Roger Sansom, Kenneth Aizawa, David Shier, Yakir Levin & Nicholas Power (1996). Book Reviews. [REVIEW] Minds and Machines 6 (3).score: 24.0
  36. Robert M. Nelson & Tom L. Beauchamp (2011). Response to Open Peer Commentaries onThe Concept of Voluntary Consent”. American Journal of Bioethics 11 (8):W1-W3.score: 24.0
    The American Journal of Bioethics, Volume 11, Issue 8, Page W1-W3, August 2011.
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  37. Robert M. Nelson, Tom Beauchamp, Victoria A. Miller, William Reynolds, Richard F. Ittenbach & Mary Frances Luce (2011). The Concept of Voluntary Consent. American Journal of Bioethics 11 (8):6-16.score: 24.0
    Our primary focus is on analysis of the concept of voluntariness, with a secondary focus on the implications of our analysis for the concept and the requirements (...)
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  38. Andreas Dorschel, Richard A. Watson, Tom Sorell, David M. A. Campbell & Bernard Linsky (2003). History of Philosophy. Philosophical Books 44 (2):162-168.score: 24.0
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  39. Heinrich Bortis, J. M. Bocheński, Thomas J. Blakeley, Michael M. Boll, John D. Windhausen, Charles E. Ziegler, Tom Rockmore & John W. Murphy (1984). Reviews. [REVIEW] Studies in East European Thought 28 (1):263-264.score: 24.0
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  40. Tom Manly, Veronika B. Dobler, Christopher M. Dodds & Melanie A. George (2005). Rightward Shift in Spatial Awareness with Declining Alertness. Neuropsychologia 43 (12):1721-1728.score: 24.0
  41. Richard M. Zaner & Tom L. Beauchamp (2005). Reflections on the Appointment of Dr. Edmund Pellegrino to the President's Council on Bioethics. American Journal of Bioethics 5 (6):W8-W9.score: 24.0
    (2005). Reflections on the Appointment of Dr. Edmund Pellegrino to the President's Council on Bioethics. The American Journal of Bioethics: Vol. 5, No. 6, pp. W8-W9 (...). doi: 10.1080/15265160500388640. (shrink)
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  42. Tom Huhn (1997). A Lack of Feeling in Kant: Response to Patricia M. Matthews. Journal of Aesthetics and Art Criticism 55 (1):57-58.score: 24.0
  43. Eileen A. Joy (2013). Disturbing the Wednesday-Ish Business-as-Usual of the University Studium: A Wayzgoose Manifest. Continent 2 (4):260-268.score: 24.0
    In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial (...)Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCECRUISING IN THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITYSEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printers year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymena good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnals Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. DISTURBING THE WEDNESDAY-ISH BUSINESS-AS-USUAL OF THE UNIVERSITY STUDIUM: A WAYZGOOSE MANIFEST Eileen A. Joy This time it is not I who seek it out . . . it is the element which rises from the scene, shoots out of it like an arrow, and pierces me. A Latin word exists to designate this wound, this prick, this mark made by a pointed instrument . . . This element which will disturb the studium I . . . call punctum; for punctum is also: sting, speck, cut, little holeand also a cast of the dice. —Roland Barthes, Camera Lucida What enables us to risk change is the feeling that we are understood and (therefore) accompanied. —L.O. Aranye Fradenburg, “Living ChaucerProfessional Challenges. Amateur Solutions. —motto of the Bruce High Quality Foundation In an article in The Chronicle of Higher Education , “Ditch the Monograph,” Jennifer Howard surveys some recent experiments by university presses to cultivate and produce shorter-form e-books (i.e., Princeton Shorts and Stanford Briefs), 1 and wonders if these books might notpull in new readers for serious scholarship,” and at a time, moreover, whenacademic libraries have ever-smaller amounts of money and space to lavish on [longer] books, which often have more pages than they have readers.” 2 Paul Harvey, the new director of Stanford University Press, explains that these books will beaccessible but not simplified, and should be digestible in one or two sessionsbite-sizedand not require a month of reading.” 3 At the same time, we are witnessing the launching of new academic publishing initiatives, such as Anvil Academic, a platform forborn-digitalandborn-again-digital” “post-monograph” (non-book) research that is pinning its hopes for the future of academic publishing on networked anddigital-onlyenvironments that wouldfree scholarly argument from the limitations of the printed monograph and allow authors to bring the full force of technology to the presentation of their work.” 4 It appears important to the academic collective at Anvil to continue to maintain and ensure certain protocols of peer review, but in ways that arebetter suited to network environments.” Conversely, Zer0 Books (an imprint of John Hunt Publishing, Ltd.), one of the more radical and exciting academic imprints out there today, is offering shorter-form books that are very much still books in print as well as available in e-book formats. In their mission statement, Zer0 inveighs (in somewhat hysterical tones) that acretinous anti-intellectualism presidesover a contemporary culture, “cheerled by hacks in the pay of multinational corporations,” and thus the time is ripe for a different set of discourses—“intellectual without being academic, popular without being populist”—and while Zer0 Books, indeed, offers a particularly electric and eclectic list of reasonably-priced, shorter-form books ( Slime Dynamics , Nuclear Futurism , and Levitate the Primate are just a few samples of their bracing titles), they do not offer any of their publications in open-access form. Thus, their desire for a reinvigorated and non-bland, non-consensual sphere of public intellectual debate is still somewhat in the shadow of the multinational corporations (such as Amazon.com, to which all of their book pages link) that their mission statement scorns. 5 While watching the fat of our wayzgoose congeal in the wood-grains of the table in our communal vagabond printers workshop, and while bathed in the autumnal light of the raining Gutenberg-era photons to which Issac Linder has called our attention, 6 I share this admittedly woefully brief and selective overview of current trends in academic publishing initiatives simply to highlight their austerity of (or, perhaps, their overly pragmatic) imagination as well as theirheavymanagerial structures. 7 For even while I applaud the initiative of these initiatives (and I plan to support them with my voice and wallet, being a pluralist, after all), I also despair a little at the ways in which they are each, in their own way, also locked into institutional structures (whether corporate, academic, or even ideological) that determine in advance what is and isnt (supposedly) possible and what is (supposedly) necessary nowsuch that, for example, the monograph is nowoutand shorter books (or serialized e-extracts from longer works) arein,” e-texts are more desirable (and supposedly cheaper to produce and disseminate) than traditional print media, it is necessary to shift (and even dispense with) certain publishing modes to meet the demands of currently popular text-delivery technologies (such as iPads, Kindles, and smart-phones), expert and specialist peer review is still necessary forlegitimacy,” multiple layers of hierarchical and bureaucratic academic-managerial oversight still obtain while at the same time certain layers of important editorial care and curatorship drop away (due to lack of time, money, readersattention spans, space, etc.), the material archive (the dream of Borgess Babelasian library or even Richard Fenymans 24 million library volumes etched on the head of a pin 8 ) should simply be abandoned, and so on. Being among friends in the glow of the para-academic Outside, I will dispense with the posture of academic politesse, and attempt to say what I really feel: if a radically innovative and public cultural-intellectual milieu is to flourish, and if we are to imagine and hope for future Walter Benjamins who will still attempt to cross borders with manuscripts in briefcases that are more important to them than their very own persons, 9 then what we need now is more (more papers, briefcases, Kindles, iPads, filing cabinets, shelves, teletype machines, Linux code, microchips, mimeographs, lithium batteries, candles, pens, javascripts, and so on) and not less of everything (we need print books as well as e-texts, yellow legal pads as well as the mystic writing pads of our Evernote apps, baroquely lengthy multi-volume works as well as broadsides and post-it note scholarship, close and loving and even co-dependent editorial curatorship of otherswork, and so on), and we also need the courage (or foolishness) to depart to extra-territories not bathed in the harsh fluorescent lighting of the academyproper.” The university will continue to be an important site for keeping open the question of thought 10 and for fostering various modes of dissemination, but I also think its time for a subter-fugitive, vagabond, gypsy para-humanities, especially at a time when so many of us are barely hanging on to the university by the skin of our teeth (or hands or minds). 11 Letsget lostnow, taking the humanities with us like so many suitcases, portable libraries, and sacks of contraband diamonds. Lets figure out inventive ways to radicalize (and thus sustain) the humanities by absconding with them to the streets, alleys, market squares, ateliers, lounges, coffee shops, bookstores, sofas, wine bars, clubs, kitchens, bedrooms, galleries, dive bars, park benches, garages, living rooms, deserted urban zones, and crumbling basements. 12 In short, lets re-boot, lets situate ourselves, like Diogenes on the outskirts of Athens, on the edges of our cities and towns, never losing sight of the places (and institutions) we care about, while also saying, fuck this . Lets embrace a radical, polyglot cosmopolitanism that enunciates ashaggy heart,” where we will haveno fixed abodeand benowhere a foreigner.” 13 Like practitioners of Hakim Beys amour fou , we should strive to beillegalnow, “saturatingourselves with our own aesthetic, engaging in publishing ventures that would fill themselvesto the borderswiththe trajectories of [their] own gestures,” runningon angelsclocks,” our only goal theingestion of the Galaxy,” and never tilting at fates fit only forcommissars & shopkeepers.” 14 One of the things we have lost sight of in the university, and especially in our publishing practices, is the importance of playnow is the time, again cadging from Hakim Bey, toshare the mischievous destinyof runaways, “to meet only as wild children might, locking gazes across a dinner table while adults gibber from behind their masks.” 15 Without non-utilitarian play, and without the right to flail, flounder, and fail while playing, we risk the frigid stasis of the status quo, of always being trapped in what has already been said, what has already been played out . How did we get here? How did the creative arts get so thoroughly de-cathected from theliberalarts? How will we give birth to heretic-misfit love-child thoughts without unbridled play? 16 So much for ontologically anarchic poetics and Beys wild children and crazy love: what about practicalities? Fuck practicality; this aint practical. For me, the most exciting publishing and dissemination ventures going are those such as continent. , Speculations , Itineration , Anarchist Developments in Cultural Studies , the Organism for Poetic Research (OPR) and its publication PELT , Uitgeverij Press, eth press: postmedieval poetries, the Hollow Earth Society, the Bruce High Quality Foundation, the Confraternity of Neoflagellants, and so on 17journals, presses, and alternative research-cultural organizations entirely run and managed by graduate students and post-graduates (and some faculty collaborator) with no financial support to speak of and only tenuous footholds in the university (our academic precariat) and who are publishing or fostering some of the most exciting work in the humanities and arts right now, work that eschews and also troubles the waters of disciplinary genre, “review,” privilege, and status. 18 It is one of the aims of punctum books to assist these and other new (extra- but also para-institutional) publishing initiatives with various forms of regular and longer-term support (economic, editorial, aesthetic, technical, promotional, etc.), but who is paying for this? No one; at least, no oneofficial.” Weve simply scraped together what we have; were running on the heady steam of an international all-volunteer staff and gift-share economies, also martinis, WD-40, ramen, loose change, old Talking Heads albums, matches, a glitter ball, and chewing gum. And yet, we actually believe that an open-access and print-on-demand model (in which all of our publications are both free and available for purchase) may actually lead to something like financial solvency and even jobs, but were not making that a condition of our future plans. We aim to grow through a vast network of talented persons (some situated in universities and cultural institutions with paying jobs, some not) dedicated to a radically independent publishing ventureshumanities that would not be beholden to any specific university or commercial academic interest, and to fostering the broadest possible range of open-access print- and e-based platforms for the sustenance of what we are calling awhimsical para-humanities assemblage”—an assemblage, moreover, that refuses to relinquish any possible form of public-ation (the making of cultural-intellectual stealthpublicsthat would seep in and out of institutional and non-institutional spaces, hopefully blurring the boundaries betweeninsideandoutside”), and we are also intent on resuscitating what we are calling postmedieval and pastmodern forms of publication (from breviary and commentary and florilegium to telegram and liner notes and inter-office memo, from the Book of Hours to the cassette mixtape). The termpara-academicwas devised by Nicola Masciandaro, one of punctums founders, to capture the multivalent sense of something that fulfills and/or frustrates the academic from a position of intimate exteriority. Para-academia is that which is beside academia, a place whose logic encompasses many reasons and no reason at all ( para -, “alongside, beyond, altered, contrary,” from Greek para -, “beside, near, from, against, contrary to,” cognate with Sanskrit para -, “beyond”). The para is the domain of: shadow, paradigm, daemon, parasite, supplement, amateur, elite. The para-academic embodies an unofficial excess or extension of the academic that helps, threatens, supports, mocks (par-ody), perfects and/or calls it into question simply by existing next to it. 19 This accords well, I think, with some of the sentiments expressed by the editors of continent. and Speculations during an online conversation they conducted with each other on theaesthetics of (para)academic practice,” where Michael Austin wanted to distinguish between academia and the university—“I take academia to be the culture of knowledge-communication, while the university happens to be the most notable site of such communication in present society. There is no necessary connection between the two, nor should we assume academia requires the university in order to exist”—and Paul Boshears added this important exemplification of Austins comments: “Both Academia and the University are imagined communities, to borrow Benedict Andersons phrase. However, the University is an institution that accredits, controls, and stamps the passports of those that would enter its territory. It is a striated space as opposed to Academias [more] fluid space.” 20 It is punctums aim to occupy this more fluid space but to also de-territorialize the University itself, disturbing and disrupting the Wednesday-ish, business-as-usual protocols of both the generic university studium and its individual cells and holding tanks, while also extending the very important work of the University into new and often untended spaces. Because our press was founded and is directed by premodernists (medievalists and early modernists), 21 we have some serious love of the book as a material art object and we also embrace the idea of the itinerant and also the cloistered scholar. We also can imagine that printed matter might be of some use during and after our own pre- and post-apocalypticAge(s) of Simplification,” while we are also intent on making use of whatevergenerators of electrical essenceswe can get our hands on. 22 We want it all, and were not inclined to ask for permission topretty, pleaselet us publish whatever it is we want to publish. In this sense, we are also impatiently presentist: we want things now, as opposed to later and if we make mistakes, if we speak (or publish) too soon, too hastily, well depend on what Kathleen Fitzpatrick has termed post-publication review 23 to sort that out. What we need now is more, and not less, thought, with more words, ruly and unruly, jostling with each other across the pages and liquid retina displays of our dispersed yet still ex/intimatecommons.” This is not to say that punctum books does not care about the quality of the work it publishes (we wouldnt publish just anything but we would certainly publish almost anything if it were interesting enough and well-written and if it appears to take seriously what we say we are looking topimp”: “writing as risk, adventure, a going-forth withoutpapersor guarantees: falling through the hole/ punctum , a falling down, free-fall. . . . quixotic, sagely mad engagements that generate and satisfy noetic-erotic need, textual thought-bodies that give pleasures only to be possessed in their presence”). Nor is this to say that we do not lavish close and creative attention upon the editing, formatting, and creative design of our publications (indeed, we want to distinguish ourselves in this manner from university and commercial academic presses that increasingly either outsource this work or defer upon authors the responsibility for editing and proofing and sometimes even formatting the layout of their own manuscripts). We are not interested in the maintenance of specific genres or disciplines (is it literary theory? poetry? philosophy? art history? memoir? sociology? cybernetics? speculative fiction? who can tell?), and thus we take seriously Derridas belief in a universitywithout conditionwhich has the task, especially by way of the humanities, of ensuringthe principal right to say everything, whether it be under the heading of fiction and the experimentation of knowledge, and the right to say it publicly, to publish it.” 24 We want a radical Open of thought. This is thus also about freedom, something in very short supply in the university these days, and which also has something to do with well-being, with eudaimonia , or flourishing. But we do not scorn the University-at-large, or even specific institutions (Harvard, University of Chicago, Brooklyn College, Eastern Carolina University, Berkeley, whatever), which is to note (again) that para - is also the space of thebesideand thenear,” and more than wanting to go against or beyond the university, we seek a more supplementary (even inter- or co-dependent) relationship, 25 if also an occasionally antagonistic one. And I am not sure I would draw the same distinctions that some of the editors of continent. and Speculations might want to draw betweenacademiaand theuniversity/University.” For me, the university (similar to how both Michael and Paul described academia/Academia) is everywhere and anywhere I am at any given moment, and this also extends to all who think and write alongside me, in whateverlocation,” virtual, material, or otherwise. The university is not just the buildings and lawns demarcated by specific geographical coordinates (42° 2225N, 71° 638W: Harvard), but anywhere we gather to disseminate : I define this as a practice of, quite literally (following the Oxford English Dictionary ), “scattering [knowledge] abroadandsowingthings andspreading [knowledge] here and there,” anddispersing (things) so as to deposit them in all parts.” Obviously, in some cases, specific locations matter a great deal, and the very hard work of the faculty and student activists to preserve the formerly free system of public higher education in California or to maintain the disciplines of philosophy or paleography at certain universities in the UK are extremely worthwhile and important political-pedagogical causes that we should all support however we can. Wherever persons gather to pro-fess and learn, there is something of value worth protecting, while at the same time, the university proper is increasingly becoming lessliveablefor increasing numbers of teaching faculty and actual and potential learners, and we need to pay attention to that. 26 While some people fight the good fight on the inside of specific campuses and even across specific campuses, some of us will have to be willing to create and foster new domains of thinking-together (which is not the same as thinking alike). This will require risk, and a willingness to fall and tumble into holes. Speaking of holes: punctum , in the idioms of the Middle Ages and Roland Barthes (refer to my first epigraph above), is simultaneously the moment (Augustines punctum ; writing as always momentary ), the pricks and punctures and perforations made by awls punching holes in vellum (what makes writing, but even more so, books , possible, opening-to-writing/writing-as-opening), and also thepointed instrumentthat disturbs the studium , the sting , the speck , and the cut , into and out of which anything might fall or emerge, and by which we feel ourselves pierced (writing as shock to the systemours, our minds, our bodies, but also systems more largely). punctum is also the cast of the dice: were taking chances out here. Its a form of play, but its also work, perhaps the best precarious job at present in the humanities-at-large. NOTES See Princeton Shorts: Short Takes, Big Ideas , and “‘ Bite-sizedReading from SUP ,” Stanford University: The Dish , May 17, 2012. There is something delightfully silly in how the titles of both these book series conjure up images of mens underwear, and it also reminds me that not many university presses are run by women. Palgrave Macmillan also recently announced a shorter-form e-book series, Palgrave Pivot . Jennifer Howard, “ Ditch the Monograph ,” The Chronicle of Higher Education , October 14, 2012. “‘Bite-sizedReading from SUP.” “ About Anvil Academic ,” Anvil Academic . See also Adeline Kohs interview with the head editor of Anvil, Fred Moody: “ A Digital Solution to Academic Publishing? Introducing Anvil Academic ,” ProfHacker [ Chronicle of Higher Education weblog], September 24, 2012. I will note here that Anvil was conceptualized and is managed by a consortium of institutions (such as the Council on Library and Information Resources [CLIR], the National Institute for Technology in Library Education [NITLE], and University of Michigan Librarys MPublishing office, which is also partnered with Open Humanities Press), university scholars, and academic librarians, and is partly funded by various universities with an intensive interest in the digital humanities (such as the University of Virginia, Washington University in Saint Louis, and Stanford University, among others). Anvil appears to not have fully made up its mind whether or not it would offer services to those who might want to publish monographs (whether longer or shorter), edited collections, and journals in digital form (at times, in their various statements, they seem to be saying analog-style digital publishing is passé and not their focus, and at others, that they would welcome helping academics with digital platforms for e-versions of academic monographs, etc.). What does appear clear is that one of their chief motivating impetuses and concerns seems to be ensuring the maintenance of traditional forms of expert peer review, albeit within newly innovative digital publishing environments, and yet, at the same time, what is not clear from their website or published pieces on their project is exactly how (or what ) they plan to offer in the way of technical infrastructures, platforms, and ongoing support for those new (and increasingly networked) environments. “ About Us ,” Zer0 Books . Zer0 Books is a subsidiary of John Hunt Publishing, Ltd., a trade publisher based in the UK, known especially for the books it has published in the genres of spirituality orNew Agestudies (through its O-Books, Dodona, Mantra Books, Moon Books, Soul Rocks, and Circle Books imprints) and also in the genres of parapsychology, esoteric and mystic knowledges, holistic health, juvenile fiction, and erotica, among other subjects. While Zer0 Books is a welcome imprint in the multiverse of what might be calledradicalizedpara-academic publishing, it appears to offer practically no editorial support to its authors and also offers multiple levels ofcontracts,” some of which essentially amount to self-publishing. Why I bother to mention this at all will be more apparent as my little wayzgoose diatribe here gathers more steam. Let it be said, however, that I have regularly purchased titles from this imprint because they are publishing authors whose work I admire (Rob Coley and Dean Lockwood, Mark Fisher, Graham Harman, Steve Shaviro, Eugene Thacker, Ben Woodard, to name some but not all), even while I find Zer0s editorial oversight, such as it is, appallingly uneven. In his opening remarks to theAll in a Jurnals Work: A BABEL Wayzgoosesession (2nd Biennial Meeting of the BABEL Working Group, Boston, MA, 20-22 September 2012), from which my remarks here are culled and expanded upon, Isaac shared with us that, “as we proceed into the autumn with our printing projects always ahead of us and to be done, we will tonight literally be bathed not only by the artificial candlelight of our screens, but as well, in part bathed by photons raining down on us at 186,282 miles per second,” and also thatthese photons that are raining down on us, will rain down on us all winter, [and] have been raining down on us all year . . . had their origin in the combustion cores at a center of 9 cyg, 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type press to the western world, inaugurating an era that stretches farther into the past and future than [Marshall] McLuhan could justify.” I would note here that I am in deep admiration of the work of Open Humanities Press , and am especially keen on their experimental writing + publishing modes as evidenced in their Living Books About Life series and Liquid Books imprint, edited by Clare Birchall and Gary Hall, as well as in some of their journals, such as Vectors . From my vantage point, OHP has been consistent in thinkingoutside the boxof traditional university and commercial academic publishing and they have published some of the most radical new thinking in the humanities (albeit somewhat slowly ), but they cannot be viewed as completelyindependentof the university milieu from which all of their Editorial and Open-Access Board members, as well as the members of their Steering Group and Partners, hail. I simply seek a more radical, even anti-peer departure out of the academy for so-calledacademicpublishing, while at the same time I support the idea of the university as one place among others where more radical publishing modes might be cultivated (as is the case with Anvil, OHP, Stanford Shorts, etc.), more on which below. See Richard Fenyman, “ Theres Plenty of Room at the Bottom ,” Engineering and Science 23.5 (February 1960): 2236. See Julian Yates, “ The Briefcase of Walter Benjamin/Benjamin Walters Briefcase: An Invent/ Story ,” rhizomes 20 (Summer 2010. Here, as always, I defer to Bill Readings, The University in Ruins (Cambridge, MA: Harvard University Press, 1996). An important, more recent companion to Readingsbook is Christopher Newfield, Unmaking the Public University: The Forty-Year Assault on the Middle Class (Cambridge, MA: Harvard University Press, 2008). Im thinking here especially of all the post-grads with no, or contingent, jobs, the adjunct teaching staff, but also those who, for various reasons (including economic constraints), have been cut off or distanced from university life, who hope that they can play a role in intellectuallife,” but who feel increasingly unable to participate. And here I would also pause to praise para-academic educational initiatives and organizations, such as The Public School New York , The Saxifrage School , The Vancouver Institute for Social Research , The Art School in The Art School , and The Brooklyn Institute for Social Research , to name just a few, no matter how long- or short-lived, that take advantage of non-traditional, non-institutional, and anti-hierarchical spaces in which to craft new teaching and learning environments that still value embodied social-pedagogical practices. Julia Kristeva, Strangers to Ourselves , trans. Leon S. Roudiez (New York: Columbia University Press, 1994), 140. Hakim Bey, “Amour Fou,” in Hakim Bey, T.A.Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism (Brooklyn, NY: Autonomedia, 1991). Bey, “Wild Children,” in T.A.Z. 16. On the importance of artful play to the humanities as well as to well-being, see L.O. Aranye Fradenburg, “Living Chaucer,” Studies in the Age of Chaucer 33 (2011): 4164, where she writes that, “Playing and pretending are crucial to the becomings of living creatures, to adaptation and behavioral flexibility; . . . it is transformative and transforming. We can neither thrive nor survive without it” (57). See also Aranye Fradenburg, “Frontline: The Liberal Arts of Psychoanalysis,” Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 39.4 (Winter 2011): 589609. See Speculations: A Journal of Speculative Realism , Itineration: Cross-Disciplinary Studies in Rhetoric, Media, and Culture , Anarchist Developments in Cultural Studies , Organism for Poetic Research and PELT , Uitgeverij Press , eth press: postmedieval poetries , Hollow Earth Society , Bruce High Quality Foundation , and the Confraternity of Neoflagellants . Or as Vincent W.J. van Gerven Oei put it during our BABEL Waygoose session, “Fuck peer review.” And as Vincent also puts it in one of the five maxims for his press, Uitgeverij (meaning simply, “Publisher”), “Only experiment can present the present. We only care about the new, whether past, present, or future. We enjoy publishing anything thats between categories, obscure, or witnessing the edges of language. For us, all audience is potential” (see footnote 17 for Uitgeverijs website address, where you will find all five maxims in a variety of different languages). Nicola Masciandaro, quoted in Eileen Joy, “ PARTY! Or is it a Panel Discussion on Para-Academic Publishing, or BOTH? ” punctum books [weblog], February 20, 2012. Jamie Allen et alia, “ Discussions Before an Encounter ,” continent. 2.2 (2012): 136147. But is it important to note here that punctum books aims to publish books and other types of texts across a wide range of fields and disciplines, and our Advisory Board is made up of scholars and artists who work on diverse subjects, from political science to architecture to feminist philosophy to metal theory to new media studies to art history and beyond. References to Walter M. Miller, Jr., A Canticle for Leibowitz (Philadelphia: J.B. Lippincott Co., 1959). See Kathleen Fitzpatrick, “Peer Review,” in Kathleen Fitzpatrick, Planned Obsolescence: Publishing, Technology, and the Future of the Academy (New York: New York University Press, 2011), 1549. Jacques Derrida, “The Future of the Profession or the University without Condition (thanks to theHumanities,’ what could take place tomorrow),” in Jacques Derrida and the Humanities: A Critical Reader , ed. Tom Cohen (Cambridge, UK: Cambridge University Press, 2001), 26 [2457]. On the important possibilities of newly imagined co-dependent co-disciplinarities and radically open confraternities as one way of moving the work of the para-“Universityforward, see Jonathan Hsy, “ Lets FAIL Together, yeah yeah YEAH! ” In The Middle , October 5, 2012. As Thomas Gokey, one of Speculations editors, has put it, “In the United States at least, universities have been turned into shell corporations for Sallie Mae. That might sound overly dramatic or overly cynical but I think it is the most accurate way to think about our current situation. Right now the community of questioning, learning, researching and teaching has been captured by a system whose primary function is to extract as much value out of academics as possible. The main thing that universities produce is precarious, indebted, docile workers. Universities are one of the primary tools used to produce and maintain class difference. For the most part the poorest get excluded outright, the richest passGoand collect $200, everyone else gets buried in decades worth of crushing debt for the privilege of receiving an education that will be recognized. An academic is a battery that gets plugged into this dying machine” (Allen et alia, “Discussions Before an Encounter”). (shrink)
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  44. Thomas A. Shipka, Charles E. Ziegler, Maureen Henry, Thomas Nemeth, T. J. Blakeley, Susan M. Easton, John D. Windhausen, Wilhelm S. Heiliger, James G. Colbert, Oliva Blanchette & Tom Rockmore (1982). Reviews. [REVIEW] Studies in East European Thought 24 (4):67-77.score: 24.0
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  45. Tom Sorell (1999). The Cambridge History of the 17th Century Philosophy by D. Garber and M. Ayers (Eds). Cambridge University Press, 1998, 2 Volumes, Pp. XVII + 1616, £90.00 or $175. [REVIEW] Philosophy 74 (3):446-460.score: 24.0
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  46. Beverly Gard, Priscilla D. Keith, Tom Neltner & M. Deborah Millette (2007). Law for Healthy Homes. Journal of Law, Medicine and Ethics 35:43-45.score: 24.0
  47. Thomas Nemeth, Lauren G. Leighton, Thomas A. Shipka, Irving H. Anellis, S. M. Easton, Tom Rockmore, John W. Murphy & F. A. Seddon (1983). Reviews. [REVIEW] Studies in East European Thought 25 (3):67-77.score: 24.0
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  48. Michael Ruse (ed.) (2007). Philosophy of Biology. Prometheus Books.score: 24.0
    Biologists study life in its various physical forms, while philosophers of biology seek answers to questions about the nature, purpose, and impact of this research. What permits (...)
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