The term “hypnozoite” is derived from the Greek words hypnos and zoon. Hypnozoites are dormant forms in the life cycles of certain parasitic protozoa that belong to the Phylum Apicomplexa and are best known for their probable association with latency and relapse in human malarial infections caused by Plasmodium ovale and P. vivax. Consequently, the hypnozoite is of great biological and medical significance. This, in turn, makes the origin of the name “hypnozoite” a subject of interest. Some “missing” history that (...) is now placed on record shows that Miles B. Markus coined the term “hypnozoite”. While a PhD student at Imperial College London, he carried out research that led to the identification of an apparently dormant form of Cystoisospora. In 1976, he speculated: “If sporozoites of Isospora can behave in this fashion, then those of related Sporozoa, like malaria parasites, may have the ability to survive in the tissues in a similar way.” He adopted the term “hypnozoite” for malaria in 1978 when he wrote in a little-known journal that this name would “… describe any dormant sporozoites or dormant, sporozoite-like stages in the life cycles of Plasmodium or other Haemosporina.” At that time, the existence of a hypnozoite form in the life cycle of Plasmodium was still a hypothetical notion. In 1980, however, Wojciech A. Krotoski published details concerning his actual discovery of malarial hypnozoites, an event of considerable importance. (shrink)

The term "hypnozoite" is derived from the Greek words hypnos (sleep) and zoon (animal). Hypnozoites are dormant forms in the life cycles of certain parasitic protozoa that belong to the Phylum Apicomplexa (Sporozoa) and are best known for their probable association with latency and relapse in human malarial infections caused by Plasmodium ovale and P. vivax. Consequently, the hypnozoite is of great biological and medical significance. This, in turn, makes the origin of the name "hypnozoite" a subject of interest. Some (...) "missing" history that is now placed on record (including a letter written by P. C. C. Garnham, FRS) shows that Miles B. Markus coined the term "hypnozoite". While a PhD student at Imperial College London, he carried out research that led to the identification of an apparently dormant form of Cystoisospora (synonym: Isospora). In 1976, he speculated: "If sporozoites of Isospora can behave in this fashion, then those of related Sporozoa, like malaria parasites, may have the ability to survive in the tissues in a similar way." He adopted the term "hypnozoite" for malaria in 1978 when he wrote in a little-known journal that this name would "... describe any dormant sporozoites or dormant, sporozoite-like stages in the life cycles of Plasmodium or other Haemosporina." At that time, the existence of a hypnozoite form in the life cycle of Plasmodium was still a hypothetical notion. In 1980, however, Wojciech A. Krotoski published (together with several co-workers) details concerning his actual discovery of malarial hypnozoites, an event of considerable importance. (shrink)

Social Cognition is a collection of readings from the four-volume set of Blackwell Handbooks of Social Psychology that examine the mental representations that ...

Multiple pressures are today propelling the private sector towards corporate social responsibility (CSR) without detracting from the firm’s competitive advantage,profitability, and hence, its own sustainability. Achieving credible CSR is often a longterm process, taking years to fully develop, institute, and pay off financially, yet current research is limited by its ambiguity and methodological inconsistencies, and by the short time horizon of many studies. This paper responds to this gap by developing and testing a multifaceted, long-term model of firm sustainability practices. (...) The dataset we develop spans ten years, which to our knowledge is the first time such a cumulative long-term view has become possible in the study of CSR actions. Our findings reveal a number of significant relationships which together suggest the existence of a long-term “halo” effect in CSR-committed companies, whereby responsible behavior in the CSR arena is positively associated with other positive aspects of firm operations, including financial performance and a lack of evidence of “greenwashing.”. (shrink)

This is an extremely lucid analysis of free will, the relativity of values, and the relationship between them, based on the “dignity of the individual … because one is the ultimate originator of one’s own ends”. It is an analysis which avoids “mystery at all costs … [and] … appeals to mysterious forms of agency”. Kane’s theory neither requires nor rules out mind/body dualism, the appeal to noumenal selves, or other nonoccurrent causes.

Greek Philosophers of the Hellenistic Age examines an important but frequently neglected group of philosophers writing after Aristotle between the third and first centuries B.C. The work of a distinguished intellectual historian, this book is based on an erudite reading of a vast number of primary sources: the Greek and Latin writings of the philosophers, and the fragments, paraphrases, and testimonies from their lost works. Kristeller explores the thought of Epicurus; Zenon and Cleanthes, the founder of the Stoic school and (...) his successor; Pyrrhon and Arcesilaus, the founder of Skepticism and the philosopher who introduced it into the Platonic Academy; and Chrysippus, the third head of the Stoic school and its most important representative. Other figures include Carneades and Philo of Larissa, the second and third representatives of Skepticism in the Platonic Academy, respectively; Panaetius, the first leader of Middle Stoicism; and Antiochus of Ascalon, the head of the Academy, who led it back from Skepticism and prepared Middle Platonism, which paved the way for Neoplatonism. Originally presented as a series of lectures before the Scuola Normale Superiore in Pisa, Italy, Greek Philosophers of the Hellenistic Age assesses a group of philosophers who exerted an enormous influence upon pagan and Christian writers of late antiquity - including Cicero and St. Augustine - and on many medieval and early modern philosophers, theologians, and other thinkers. (shrink)

Carl Hoefer has argued that determinism in block universes does not privilege any particular time slice as the fundamental determiner of other time slices. He concludes from this that our actions are free, insofar as they are pieces of time slices we may legitimately regard as fundamental determiners. However, I argue that Hoefer does not adequately deal with certain remaining problems. For one, there remain pervasive asymmetries in causation and the macroscopic efficacy of our actions. I suggest that what Hoefer (...) may have shown us is that causation, not determinism, was the threat to free will all along. Additionally, Hoefer might avoid the problem of the asymmetry of macroscopic efficacy by noting we have a very small region of space-time completely determined by our choices. However, this move implies our freedom to act is freedom to do very little, given that the region is trivial. I suggest that Hoefer should instead claim that we do have pervasive macroscopic efficacy toward the past, though I am unsure of how well this thesis works. Regardless, there remains a problem that the inside-out perspective requires us to see our choices as brute facts or random occurrences. Attempts to resolve this problem seem to require either a theory of agent causation or a traditional compatibilist argument, making Hoefer’s thesis extraneous, unless he can show us that these require the inside-out perspective. However, Hoefer has not yet shown us this, so there is work to be done. (shrink)

Jacob Sparks critiques our recent work on commodification by arguing that purchasing love indicates one has defective preferences. We argue A) it is possible to purchase these things without having defective preferences, B) Sparks has not shown that acting such defective preferences is morally wrong, C) that Sparks’ misunderstands the Brennan–Jaworski Thesis, and so has not produced a counterexample to it, and finally D) that when we examine the processes by which love is gifted, it is unclear whether these (...) processes should be preferred. (shrink)

We conceptualise CSR communication as a process of reciprocal influence between organisations and their audiences. We use an illustrative case study in the form of a conflict between firms and a powerful stakeholder which is played out in a series of 20 press releases over a 2-month period to develop a framework of analysis based on insights from linguistics. It focuses on three aspects of dialogism, namely (i) turn-taking (co-operating in a conversation by responding to the other party), (ii) inter-party (...) moves (the nature and type of interaction characterising a turn, i.e. denial, apology or excuse) and (iii) intertextuality (the intensity and quality of verbal interaction between the parties). We address the question: What is the nature and type of verbal interactions between the parties? First we examine (a) whether the parties verbally interact and then (b) whether the parties listen to each other. We find evidence of dialogism suggesting that CSR communication is an interactive process which has to be understood as a function of the power relations between a firm and a specific stakeholder. Also, we find evidence of intertextuality in press releases by six firms which engage in verbal interaction with the stakeholder. We interpret this as linguistic evidence of isomorphic processes relating to CSR practices resulting from the pressure exerted by a powerful stakeholder. The lack of response by ten firms that fail to issue press releases suggests a strategy of ‘watch-and-wait’ with respect to the outcome of the conflict. (shrink)

In Martin Luther King’s Debt to Hegel John Ansbro recalls King’s interview with The Montgomery Adviser where King identified Hegel as his favorite philosopher. This kind of observation is engaging on a number of levels and not all of them are complimentary. One of the reasons why Ansbro’s account is both interesting and important is because it will come, for some, as a surprise; it is an observation that has a “shock” value. So long as there is a constituency supporting (...) the racist claims made by such texts as The Bell Curve: Intelligence and Class Structure in American Life, there will be, even in the Academy, those who find it hard to believe, that an African-American could access Hegel’s philosophical project and appropriate it as part of an intellectual enterprise. An attendant phenomenon subsequent to the shock of such disclosures, particularly where they cannot be dismissed as erroneous, is the need to show that the thought in question is in debt to a white male of European descent. That is, it is too often the case that once a black intellectual is recognized for having engaged the western tradition’s philosophical canon the interest is shifted to demonstrating a debt and intimating a lack of originality on the part of the black intellectual. It may be that this is the unintentional slight of some commentators, but the structure for an economy of debt is always already bound up in questions of ownership. The task in navigating these rough waters requires a disciplined analysis of the black intelligentsia’s “readings” of the western canon that does not give way to making hasty assumptions about debt. (shrink)

Proceeding of the Third International Conference of the French-Speaking Society for Theoretical Biology Content Type Journal Article Category Editorial Pages 1-2 DOI 10.1007/s10441-012-9156-2 Authors Slimane Ben Miled, ENIT-LAMSIN, Tunis el Manar University, 13, place Pasteur, Belvédère, B.P. 74, 1002 Tunis, Tunisia Journal Acta Biotheoretica Online ISSN 1572-8358 Print ISSN 0001-5342.

This note criticizes Andrew Brennan's attempt to defend best?candidate theories of the identity of artefacts over time against certain now familiar objections. Adoption of a mereological conception of individuals does not, in itself, provide the means for a satisfactory response to objections of Wiggins and Noonan (some of which are anyway ill?focused). The way forward consists in recognizing that the consequences of best?candidate theories which have been thought objectionable (in particular, commitment to the extrinsicness of identity) do not violate (...) the necessity of identity and imply ? what anyway ought to seem unexceptionable ? that a predicate such as ?constituting the ship which is the Ship of Theseus? does not denote a genuine property of the hunk of matter of which the predicate is true. Once these consequences have been clearly mapped out, the best?candidate theorist's commitment to the extrinsicness of identity does not appear absurd. (shrink)

I argue that democratic citizens have a duty to educate themselves politically. My argument proceeds in two stages. First, I establish a case for the moral importance of individual competence for voting, but also maintain that the substantial content of the required competence must remain open. I do this by way of an assessment of Jason Brennan's provocative defense of epistocracy. I try to show that there is no notion of political competence that can meet with reasonable agreement among (...) citizens and that voter qualification exams are therefore illegitimate. Second, I maintain that the basic premise of Brennan's argument, the right to a competent electorate, is valid and that it corresponds to an individual duty to educate oneself politically. This duty is, in Kant's terminology, a wide and imperfect duty that we owe to our fellow democratic citizens. Yet since the content of competence must be left open, this moral duty cannot be transformed into a legal obligation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning to BreatheFive Fragments Against RacismB. Venkat Mani (bio)For Dr. JLW, for all Black academics and students1. Air HungerI know you, Derek Chauvin. You may think that we first met on May 25, 2020, in Minneapolis. I was called George Perry Floyd. For you, I was just another Black man, a potential criminal. For me, you were not a police officer, but the knee that stands for racism. You (...) kneeled on my windpipe for 9 minutes and 29 seconds. Those were neither my first nor my last memories.You may choose not to recognize me, as you always have. But I do. I recognize every bone, muscle, tendon, pointy curve of the cap, every contour of your strong, heavy, determined, calculating, conniving knee that presses on my windpipe with a false sense of racist superiority. 9 minutes and 29 seconds. As often as you can.We have a history. You have never missed the opportunity of kneeling on my windpipe. You hauled me into your slave ships from various African ports along the Atlantic, then you kneeled on my windpipe all over your cotton and tobacco plantations in the Americas. We met again on schooners from Indian shores journeying across the Indian and Pacific oceans. With slavery banned in the British empire, you turned me into an indentured laborer. You made me put my thumb imprint on a document you created, in a script I could not read, of a language I could not speak. Then you threw me thousands of miles away in Mauritius, Fiji, and numerous Caribbean islands, pressing on my windpipe on sugarcane plantations. My wife, children, sisters, mothers, aunts, brothers, uncles, nephews, nieces, grandparents, great grandparents, we all have lived through those fatal 9 minutes and 29 seconds: on water and land. Repeatedly. Consistently. Incessantly.You want specific dates? April 8, 1857, Barrackpore, Northern India. My name was Mangal Pandey, you called me a Sepoy. You hanged me for standing up against my subjugation by your British East India Company. Against your rule over my land and my people. With your many titles [End Page 41] and names: Major-General Sir Henry Havelock, Lieutenant-General Sir Colin Campbell, Brigadier-General Charles Windham, you rampaged through the streets of Delhi, Meerut, Lucknow, killing anyone in your way so I could be a jewel in Victoria's crown. January 29, 1863, Bear River, Idaho. I was one among the Shoshone of Bia Ogoi, you were Colonel Patrick Connor. You came to us on a frigid morning and killed us by the hundreds. November 15, 1884, the Congo Conference, Berlin. You were called Chancellor Otto von Bismarck and were acting at the behest of sharecropping interests of King Leopold the Second. Your name for me was a "savage." You set up a society to civilize me while you plundered my bounty. You started drawing lines through land, rivers, mountains, deserts. For you, it was the Scramble for Africa. For me, bloody murder. You knelt on my windpipe, smoking a pipe with tobacco my people had grown. April 13, 1919, Jallianwala Bagh, Amritsar. You were called Brigadier General Reginald Edward Harry Dyer. For you, I was just a troublemaking native disrupting the civilized business of the Empire. You surrounded our peaceful gathering in Amritsar and opened fire. Your Nobel Laureate Rudyard Kipling claimed that "you did your duty as you saw fit." By killing us in thousands until the bullets ran out. Rikki Tikki Tavi. May 31, 1921, Tulsa, Oklahoma. Inspired by Jim Crow, your knees came running to us in mobs to massacre us. October 19, 1926, Imperial Conference, London. Your name was Field Marshall the Right Honorable Jan Christian Smuts. For you, I was one among the many "colored" subjects from the Cape Colony. You spoke vehemently against mixing my people with your people. Eloquently, I was told, in favor of apartheid.You know very well, Chauvin, that our acquaintance neither begins in 1857 nor ends in 1926. I could take you on a grand tour of the world and give you all the dates when you appeared in different forms. Your self-induced conviction of racial supremacy over me remained the same... (shrink)

Consideration of the amazing organized intricacy of human cortical anatomy entails a deeper appreciation of nature that is fully consistent with a mature religious spirit. A brain seems at first glance to be a mere lump of grayish claylike stuff, but facts of basic neuroanatomy compel us to consider that this particular kind of stuff may really contain all the richly tangible and richly ghostly inner essences of emotion, thought, and behavior. Humans are the “college graduates” of evolution. The human (...) cortex is 3,400 times the volume of, yet only slightly thicker (about 3 millimeters) than, that of the mouse. This remarkable sheet is as thin as a graduation‐day “mortarboard” cap, but its 2,600 square centimeter area is four times as large (about 20 × 20 inches if a square; both metric and English units used deliberately). Zooming in, there are about 50 billion cortical neurons; though named after “pyramids,” they are more like tiny “magic trees,” with branches and roots so long and fine that there are 1 or 2 miles of these electrically scintillating fibers within each cubic millimeter of cortex. Cortical neurons communicate intimately: viewed from above, beneath a single square millimeter 100,000 nerve cells intertwine; each such neuron makes 5,000 or more connections with others. These and many additional amazing facts about brain tissue, together with some conjectures about dense connectedness in the mathematics of graph theory, help to bear out the groundwork prepared by such pioneers as Ralph Wendell Burhoe that the spirit and knowledge of science might rejoin that of religion. If it takes enchanted matter to contain consciousness, this is a kind of enchantment that science may well be able to penetrate for eventual thoroughgoing understanding. Inevitable by‐products will be greater reverence for nature and greater awe at the mystery of nature's origin. (shrink)

A selection function based semantics is offered for the 'can' of ability based on the idea that 'John can run a four minute mile' is true iff John would do so under the right conditions, meaning that he would do so under at least one appropriately chosen test condition. Completeness is proved for an axiom system and semantics based on this idea, and the logic turns out to be interestingly different from any standard system of modal logic.

ABSTRACTThis essay covers two criticisms of Brennan’s Against Democracy. The first charges that the public political ignorance findings upon which Brennan relies are not epistemically nuanced to th...

The subject of these lines may be found in Caes. B.C. I. 54, from which they are in part derived, though probably at second hand. The reference is to Caesar's tactics after the floods in the plain around Ilerda. He built a number of coracles after the British fashion, and had them conveyed to a point on the right bank of the Sicoris, twenty-two miles from his camp. In these boats he sent a number of men across the river, (...) who fortified some rising ground. Then he sent a legion across and started the building of a bridge from both sides at once: hue legionem postea traiecit atque ex utraque parte pontem institutum biduo perfecit. (shrink)

The subject of these lines may be found in Caes. B.C. I. 54, from which they are in part derived, though probably at second hand. The reference is to Caesar's tactics after the floods in the plain around Ilerda. He built a number of coracles after the British fashion, and had them conveyed to a point on the right bank of the Sicoris, twenty-two miles from his camp. In these boats he sent a number of men across the river, (...) who fortified some rising ground. Then he sent a legion across and started the building of a bridge from both sides at once: hue legionem postea traiecit atque ex utraque parte pontem institutum biduo perfecit. (shrink)

Virgil, in his description of the establishment of a new city by Aeneas for those Trojans who wished to remain in Sicily, is thinking of the Roman practice of colonial foundation: ‘Meanwhile Aeneas marked out the city with the plough and allocated the houses ’. We may note the personal role of the founder, the ploughing of the ritual first furrow, the organized grants to the settlers and the equality of treatment implied in the use of lot . Virgil was (...) writing at the end of the first century B.C. at a time of great activity in land distribution, but the Romans had been founding colonies from the mid fourth century. Each colony involved the creation of an urban area and the settlement of people on the surrounding agricultural land, and so perpetuated the city state, which was central to ancient life and culture. Indeed a colony was a smaller image of Rome itself. In the early Republic, colonies, either of Latins or of Roman citizens, were established on the periphery of Roman territory, largely for military and strategic reasons. Between 200 and 173 B.C. more than 40,000 may have received plots of land, amounting to about 1,000 square miles of territory. Later, the motives for colonial foundations became more complex, being closely connected with increasing economic and political problems. There can have been few more important aspects in the development of colonies than the need to find land for discharged troops. These in the main were rank and file soldiers who would expect equal shares in land allocations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Virgil, in his description of the establishment of a new city by Aeneas for those Trojans who wished to remain in Sicily, is thinking of the Roman practice of colonial foundation: ‘Meanwhile Aeneas marked out the city with the plough and allocated the houses ’. We may note the personal role of the founder, the ploughing of the ritual first furrow, the organized grants to the settlers and the equality of treatment implied in the use of lot. Virgil was writing (...) at the end of the first century B.C. at a time of great activity in land distribution, but the Romans had been founding colonies from the mid fourth century. Each colony involved the creation of an urban area and the settlement of people on the surrounding agricultural land, and so perpetuated the city state, which was central to ancient life and culture. Indeed a colony was a smaller image of Rome itself. In the early Republic, colonies, either of Latins or of Roman citizens, were established on the periphery of Roman territory, largely for military and strategic reasons. Between 200 and 173 B.C. more than 40,000 may have received plots of land, amounting to about 1,000 square miles of territory. Later, the motives for colonial foundations became more complex, being closely connected with increasing economic and political problems. There can have been few more important aspects in the development of colonies than the need to find land for discharged troops. These in the main were rank and file soldiers who would expect equal shares in land allocations. (shrink)

We have a striking ability to alter our psychological access to past experiences. Consider the following case. Andrew “Nicky” Barr, OBE, MC, DFC, (1915 – 2006) was one of Australia’s most decorated World War II fighter pilots. He was the top ace of the Western Desert’s 3 Squadron, the pre-eminent fighter squadron in the Middle East, flying P-40 Kittyhawks over Africa. From October 1941, when Nicky Barr’s war began, he flew 22 missions and shot down eight enemy planes in his (...) first 35 operational hours. He was shot down three times, once 25 miles behind enemy lines while trying to rescue a downed pilot. He escaped from prisoner of war camps four times, once jumping out of a train as it travelled from Italy into Austria. His wife Dot, who he married only weeks before the war, waited for him at home. She was told on at least three occasions that he was missing in action or dead. For 50 years, Nicky Barr never spoke publicly, and rarely privately, of his war-time experiences. He was very much a forgotten and forgetting hero (for further details, see Dornan, 2002). In his first public interview in 2002 on the Australian documentary program “Australian Story”, Nicky explained his 50 year silence by saying. (shrink)

The Significance of Taste: Kant, Aesthetic and Reflective Judgment ROBERT B. PIPPIN 1? THE FUNDAMENTAL QUESTION of the "Analytic of the Beautiful" in the "Critique of Aesthetic Judgment" is easy enough to identify. On what basis, if any, could one claim some sort of universal a priori validity for judgments of the form, "This is beautiful"? In Kant's well-known analysis of this question, the issue is reformulated as: By what right could one claim that another person ought to feel pleasure (...) in the presence of certain objects? Let us call this the "basic question."' There is controversy enough about what Kant means by this basic question and how a deduction of the validity of such judgments is supposed to work. However, shortly after Kant began serious work on a "Critique of Taste" in ~787, the whole issue became even more complicated when the proposed work became a full-blown Critique of Judgment. The question of aesthetic judg- ment was presented within the new, larger topic of reflective judgment, was presumably thereby linked to the problem of teleological judgments, and so to the great general theme of the whole of the third Critique: the purposiveness I am grateful, for comments and criticisms, to Henry Allison, Volker Gerhardt, Rudolf Makkreel, Miles Rind, and to two anonymous referees for this journal. ' Kant's own formulation: "How is a judgment possible in which the subject, merely on the basis of his own feeling of pleasure in an object,.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Porch: Meditations on the Edge of Nature by Charlie HaileyBruce B. JanzThe Porch: Meditations on the Edge of Natureby charlie hailey Chicago: The University of Chicago Press, 2021Charlie Hailey’s The Porch is a difficult book to review. This is not because I have to be measured in my praise—it is an excellent book, well written, with a mix of close observations and rigorous research. It is also (...) not difficult to review because it is challenging to read—it is an absolute joy to read. Hailey is a writer with a sense of rhythm and scene; this work could easily be taught in a course on creative nonfiction as it has that sense of writing craft along with its phenomenological acuity.No, The Porch is difficult to review because I get the sense that Hailey is asking us to do something other than evaluate it for the adequacy of its arguments or the originality of its points, or even the beauty of its writing. He is asking us to enter a world with him, to see things we haven’t seen and see those we have seen in a new way. The chapters are titled “Porch,” “Tilt,” “Air,” “Screen,” “Blue,” and “Acclimate,” and these give an idea of the space he is opening up. It is a space somewhere between a material world and the sense we make of it. The author is entirely committed to both, but not fooled by the illusions or uplifting promises of either.The primary porch of the book is on his cabin on the Homosassa River in Florida. It is a porch that is under threat of rising waters due [End Page 142] to climate change and catastrophe due to hurricanes. It is a porch on an estuary fed by a spring, which means that the water quality and clarity varies greatly over the nine miles of the river’s flow. Animal life abounds. It is, in other words, a porch where one is not going to be easily lulled to sleep, at least if paying the slightest bit of attention.It is perhaps unavoidable that talking about this book means talking about the environment. Indeed, on a first reading, this reminded me more of nature writing than architecture writing. The book is, to be sure, a reflection on architecture at its best, which is to say, the lived aspect of built space, the almost imperceptible but nonetheless real ways in which the liminal space of the porch affords the experience of the membrane between nature and culture, the outside and the inside, the public and the private. But it is also nature writing, inasmuch as a common thread in nature writing is to place us in the middle of nature, as part of it. We are not the designers, nor are we the inhabitants; we are those in the milieu, the middle of cause and effect, actor and acted upon, subject and object. It is a rare book on architecture, even vernacular architecture, that achieves this. The tendency is to always look for the optimization of the built environment, the tweak that will succeed in drawing us out into our best selves or the cute or trendy new feature. That is not Hailey’s goal here.If the porch is one of the best places in the built environment to understand the milieu, it must present itself in those terms beyond the author’s own circumstance. Otherwise, this would just be a paeon to a much-loved place. But the book is full of examples of porches, both literary and real, not just as objects or as liminal spaces between nature and culture, but as sites that show us their inhabitants and guests in unguarded and exploratory moments. If the trope of human vs. nature in American letters is of the human coming to terms with his or her own individuality, striving to tame, dominate, or at least fit into nature, and the trope of human in the built environment often ends up as the externalization of our internal, as-yet unrealized natures, this porch does something entirely different. We neither have the self/other... (shrink)

The promises of precision medicine are often heralded in the medical and lay literature, but routine integration of genomics in clinical practice is still limited. While the “last mile” infrastructure to bring genomics to the bedside has been demonstrated in some healthcare settings, a number of challenges remain — both in the receptivity of today's health system and in its technical and educational readiness to respond to this evolution in care. To improve the impact of genomics on health and disease (...) management, we will need to integrate both new knowledge and new care processes into existing workflows. This change will be onerous and time-consuming, but hopefully valuable to the provision of high quality, economically feasible care worldwide. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

The medieval conception of knighthood remains controversial because the word knight still has romantic connotations for us and, more important, because medieval writers and scribes employed miles and its vernacular equivalents in various, often contradictory ways. The relationship between literary works and social reality is far from clear. The problem is further complicated in Germany by the existence of the ministerials and the role that knighthood is alleged to have played in their ennoblement. One solution is situational analyses of (...) the use of the word miles in specific regions, that is, examinations of who was called a miles by whom, when, and in what context in particular areas, in this case the archdiocese of Salzburg. (shrink)