In lieu of an abstract, here is a brief excerpt of the content:Dharma Bums: The Beat Generation and the Making of Countercultural PilgrimageP. J. JohnstonI believe in the sweetness of Jesus And Buddha— I believe, In St. Francis, Avaloki Tesvara, the Saints Of First Century India A D And Scholars Santidevan And Otherwise Santayanan Everywhere.(Kerouac 1959: 15)Preliminary Polemics“PILGRIM, n. A traveler that is taken seriously.”—Ambrose Bierce, The Devil’s Dictionary 2007: 133As Beat commentator Stephen Prothero describes in his (...) article “On the Holy Road: The Beat Movement as Spiritual Protest” (1991), the Beats and their pilgrimages have most emphatically not been taken seriously. Both critics and scholars have been unkind to members of the Beat generation, and this unkindness has manifested itself in relative neglect of the Beats in all possible aspects of scholarly investigation. But nowhere does this appear more pronounced than in the area of Beat religion. Though some recent scholarship has been picking up from this earlier neglect and it is now [End Page 165] possible to find serious biographies of most of the major Beat writers and some belated attention to the movement as a literary phenomenon, the only book-length treatment of Beat Buddhism I was able to locate (Tonkinson 1995) hardly qualifies as a scholarly work and was published not by an academic press but as a special feature of the Buddhist magazine Tricycle. Prothero hypothesizes that this is because of the movement’s reputation as rebellious and antinomian—in its heyday the movement was characterized in identical unsavory terms by publications representing interests as diverse as Life and Playboy, with the latter describing the Beats as “nihilists” and the former claiming that the Beats were at war with “Mom, Dad, Politics, Marriage, the Savings Bank, Organized Religion, Literary Elegance, Law, the Ivy League Suit and Higher Education, to say nothing of the Automatic Dishwasher, the Cellophane-wrapped Soda Cracker, the Split-Level House and the clean, or peace-provoking H-bomb” (Prothero 1991: 206). Norman Podhoretz of Partisan Review went further still, claiming that the Beats were “hostile to civilization” and that the movement as a whole amounted to “a revolt of the spiritually underprivileged and crippled of soul” and “an affirmation of death” (ibid., 206). One couldn’t ask for a more passionate disavowal of the Beats or a more thorough polemic that the movement was profoundly antireligious.This could not contrast more with the Beats’ representation of their movement and its aims, with Jack Kerouac going so far as to reinterpret the crucial term “Beat” (a term for someone down and out originally borrowed from criminal street jive) as a noun derived from the adjective “beatific,” a specifically religious term familiar from such phrases as “the beatific vision” (ibid., 206–207). Several of the representative Beat writers were practicing Buddhists, influencing the entire movement to such an extent that Buddhist ideas and imagery suffused Beat literature as a whole. Ginsberg and Kerouac especially emphasized the positive and constructive elements of their spiritual vision, arguing that literature such as On the Road and Howl should be understood as religious affirmations of what is good and holy rather than as purely critical undertakings: “For the crucifix I speak out, for the Star of Israel I speak out, for the divinest man who ever lived who was German (Bach) I speak out, for sweet Mohammed I speak out, for Buddha I speak out, for Lao-tse and Chuang-tse I speak out” (ibid., 206–207). Or, as Allen Ginsberg put it less lyrically (and rather more bluntly): “Howl is an ‘Affirmation’ by individual experience of God, sex, drugs, and absurdity... the poems are religious and I meant them to be” (ibid., 207).But for the most part, Beat asseverations in no way diminished scholarly wariness about the Beat movement and its spirituality—as Prothero concludes, “the tendency among literary scholars is to see these [religious] concerns as tangential rather than constitutive” while “historians of American religion who have explored beat spirituality have tended to focus almost exclusively on the beats’ engagement with Zen and then to dismiss that engagement as haphazard” (ibid., 207).It is my contention that the mainstream scholarly neglect of Beat spirituality is in some part... (shrink)

Cartwright et al. in European Journal for Philosophy of Science, 10 and the new mechanists agree that regular behaviors described in cp laws are generated by mechanisms. However, there is disagreement with regard to the two questions that Cartwright at al. ask: the epistemological question and the ontological question. Most importantly, Cartwright et al. argue that the explanation involved is a CL-explanation, while the new mechanists insist that mechanistic explanation and CL-explanation are competitors. In this reply, I will highlight some (...) worries regarding Cartwright et al.’s analysis of the relationship between mechanisms and cp laws and I will provide alternative answers to the two questions in line with the new mechanistic approach. (shrink)

Argentine tango has been investigated by scholars of various disciplinary backgrounds. A broad range of empirical methods has been used in this research. But little attention has been paid to the artefacts which participate in the practice of Argentine tango. Following the programmatic claims of the ‘practical turn’ in the social sciences and in cultural studies, practices are always linked with the materiality of the practising bodies and of the artefacts participating in practices. Thus materiality is indispensable for the analysis (...) of any practice. How materiality can be included into the generating of data and the analysis is little discussed in practice theories. High heels in Argentine tango are the example to demonstrate the necessary application of various qualitative research instruments to investigate the role of artefacts in practice. High heeled female dancing shoes as used in Argentine tango are analysed with respect to their gendered performative and symbolic impact. (shrink)

Much recent work in Cognitive Linguistics and neighbouring disciplines has adopted a so-called usage-based perspective in which generalizations are based on the analysis of authentic usage data provided by computerized corpora. However, the analysis of such data does not always utilize methodological findings from other disciplines to avoid analytical pitfalls and, at the same time, generate robust results. A case in point is the strategy of using corpus frequencies. In this paper, we take up a recently much debated issue from (...) construction grammar concerning the association between verbs and argument-structure constructions, and investigate a construction, the English as-predicative, in order to test the predictive power of different kinds of frequency data against that of a recent, more refined corpus-based approach, the so-called collexeme analysis. To that end, the results of the application of these corpus-based approaches to an analysis of the as predicative are compared with the results of a sentence-completion experiment. Concerning the topic under consideration, collexeme analysis is not only shown to be superior on a variety of theoretical and methodological grounds, it also significantly outperforms frequency as a predictor of subjects’ production preferences. We conclude by pointing out some implications for usage-based approaches. (shrink)

An argument evaluation inventory distinguishing between different levels of theory-evidence differentiation was designed corresponding to the levels of argument observed in argument generation tasks. Five scenarios containing everyday theories about a social problem, and arguments to support those theories were presented to 170 participants from two age groups (15 and 22 years) and different educational tracks. Participants had to rate the validity of arguments proposed by a story figure, to support the theory, to choose the best argument, and to (...) justify their choice. The rating task proved to be very difficult for all age groups, with only 49% of the university students consistently rating valid evidence-based arguments higher than flawed arguments. Competence improved with age and educational level. In the choice task more than 80% of the adults preferred an argument that reflected theory-evidence differentiation over mere theory elaboration or flawed reasoning. However, only adults with a university education were able to also explicitly justify their choice. Overall, these findings imply that laypersons have similar conceptual problems in differentiating theory from evidence as it has been reported for evidence generation tasks (Kuhn, 1991). Performance on the choice task suggests that some implicit awareness of differences between theory and evidence may precede a full, explicit understanding. Implications for education are discussed. (shrink)

An increasing number of European research projects return, or plan to return, individual genomic research results (IRR) to participants. While data access is a data subject’s right under the General Data Protection Regulation (GDPR), and many legal and ethical guidelines allow or require participants to receive personal data generated in research, the practice of returning results is not straightforward and raises several practical and ethical issues. Existing guidelines focusing on return of IRR are mostly project-specific, only discuss which results to (...) return, or were developed outside Europe. To address this gap, we analysed existing normative documents identified online using inductive content analysis. We used this analysis to develop a checklist of steps to assist European researchers considering whether to return IRR to participants. We then sought feedback on the checklist from an interdisciplinary panel of European experts (clinicians, clinical researchers, population-based researchers, biobank managers, ethicists, lawyers and policy makers) to refine the checklist. The checklist outlines seven major components researchers should consider when determining whether, and how, to return results to adult research participants: 1) Decide which results to return; 2) Develop a plan for return of results; 3) Obtain participant informed consent; 4) Collect and analyse data; 5) Confirm results; 6) Disclose research results; 7) Follow-up and monitor. Our checklist provides a clear outline of the steps European researchers can follow to develop ethical and sustainable result return pathways within their own research projects. Further legal analysis is required to ensure this checklist complies with relevant domestic laws. (shrink)

Synaesthesia is a heterogeneous phenomenon, even when considering one particular sub-type. The purpose of this study was to design a reliable and valid questionnaire for grapheme-colour synaesthesia that captures this heterogeneity. By the means of a large sample of 628 synaesthetes and a factor analysis, we created the Coloured Letters and Numbers questionnaire with 16 items loading on 4 different factors . These factors were externally validated with tests which are widely used in the field of synaesthesia research. The questionnaire (...) showed good test–retest reliability and construct validity . Our findings are discussed in the light of current theories and new ideas in synaesthesia research. More generally, the questionnaire is a useful tool which can be widely used in synaesthesia research to reveal the influence of individual differences on various performance measures and will be useful in generating new hypotheses. (shrink)

The non-heart-beating cadaver donor procurement process might come in conflict with the organ sharing system by diverting organs from potential recipients. It might also have a negative effect on public attitudes about transplantation. The process could start society down a slippery slope leading to extending donor criteria. Some of these scenarios are merely theoretical, but the procedure should be monitored to avoid such problems.

The fulcrum of this work is knowledge: what it is and how it is generated within the context of a capitalist society. First, Marx’s analysis of the objective labour process is extended to the mental labour process. Then, objective and mental labour processes are defined in terms of objective and mental transformations, with consideration paid to which of the two types of transformation is determinant. This requires a discussion of dialectical logic and formal logic. Within dialectical logic, two types of (...) processes are introduced: open ended and pre-determined. It is argued that computers (both traditional and quantum) and Artificial Intelligence cannot generate new knowledge, because they (a) rely on formal logic, i.e. they cannot engage in open-ended dialectical processes, and (b) are impervious to social determination. Connectedly, Artificial Intelligence systems such as ChatGPT cannot be a substitute for human thought or writing, because of the inevitability of ‘model collapse’. Next, focus is shifted to a specific form of knowledge: the ‘Copenhagen interpretation’ of quantum mechanics. It is shown that this interpretation is steeped in irrationalism and that it is a variant of pro-capitalist ideology. Finally, the social-historical roots of this ideology are revealed. (shrink)

In the expanding repertoire of practices designed to increase the supply of organs for transplantation, non-heart-beating cadaver organ donation has generated an ongoing debate in the literature. The continuing stream of articles is disquieting in part because it documents a troubling "trial-and-error ethics" approach to the formulation of organ procurement policy, and because it raises serious questions about the reasons that the development of this policy is being mediated by published communication. In the light of concerns about the implicit support (...) and credibility that professional publications give to organ procurement policies, restraint in publishing articles about non-heart-beating organ donation as well as in devising such policies is strongly advocated. (shrink)

Bernard Norton's friends in the history of science have had many reasons for commemorating, with admiration and affection, not only his research and teaching but no less his conversation and his company. One of his most estimable traits was his refusal to beat about the bush in raising the questions he thought worthwhile pursuing. I still remember discoursing at Pittsburgh on Darwin's route to his theory of natural selection, and being asked at the end by Bernard what were Darwin's (...) views on heredity. I answered with the conventional waffle to the effect that the theory concerned the populational fate rather than the individual production and transmission of heritable variation, so that whatever views Darwin had on heredity had only a subsidiary place in his theorizing. Bernard was not fooled. ‘I would have thought’, he said, ‘that in order to understand anyone's theorising about evolution it would be necessary to look at his views on heredity’. (shrink)

The University of Pittsburgh Medical Center (UPMC) "Policy for the Management of Terminally Ill Patients Who May Become Organ Donors after Death" proposes to take organs from certain patients as soon as possible after expected cardiopulmonary death. This policy requires clear understanding of the descriptive state of the donor's critical cardiopulmonary and neurologic functional capacity at the time interventions to sustain or harvest organs are undertaken. It also requires strong consensus about the moral and legal status of the donor during (...) dying and confirmation of death. There has been no need for the clarity and precision that this policy relies upon, and thus the needed research and conceptual work has not previously been generated. The empiric base and societal consensus are both too frail to provide justification for this policy at this time. (shrink)

In A Contribution to the Critique of Political Economy, Karl Marx outlined his idea of a material 'base' and politico-cultural 'superstructure'. According to this formula, a material reality - wealth, income, occupation - determined your politics, leisure habits, tastes, and how you made sense of the world. Today, the importance of material deprivation, in terms of threats to life, health and prosperity, are as acute as ever. Despite the continued importance of inequality and disadvantage, the identities apparently generated by these (...) realities are increasingly detached from material circumstances. In many casesthe identity has become a powerful signifier in its own right, and is now instrumentalised, idealised and imitated. People attempt to police the boundaries and determine the significance of the identity, so that the identity matters more than the lives of the individuals concerned. These powerful identities can be used for various purposes, from the commercial to the aesthetic to the political. This trend has accelerated in recent years, with increasing precarity and increasingly obvious inequality fuelling anger, and the internet acting as a perfect mechanism for identity theft. Identity Theft covers four different kinds of identity most susceptible to these trends - class, race, sex and age - considering how the boundaries of different identities are policed, and how different versions of the same identity can be deployed to different ends. Ultimately, the argument is not just that 'identities are more complex' than they appear, but rather that there are more important commonalities. Many totemic 'culture war' issues are not particularly contested, but have broad appeal, or little concern for most people. In the UK at least, what might be called a 'culture war' is waged largely on the periphery by crank politicians, social media groups and newspaper columnists. If there is one argument to be taken from this book, it is a call for conscientious objection in the culture wars.,. (shrink)

The Pittsburgh protocol is ethically and legally acceptable as written, but more research is needed to determine if it can be implemented in ways that will observe the procedures that make it ethically acceptable. If so, its desirability as public policy will depend on the number of organs it is likely to generate and its effects on public attitudes toward organ donation generally. In the final analysis, the controversial aspects of this protocol concern symbolic issues about respect for the dead (...) and near dead, rather than substantive concerns that real patient interests will be harmed. (shrink)

Kevin Starr’s Golden Dreams is the culmination to some forty years of scholarship on the unfolding theme of a “California Dream,” that imaginal component to the growth of the self-identity and increasing international economic power of the most populous state in the American Union. Indeed, the period 1950–1963 that the book meticulously covers forms in many ways the most imposing manifestation of that Dream. This essay reviews the central features of Starr’s account, particularly the infrastructural foundations in transportation, water supply, (...) and higher education realized by a triumvirate of California governors, both Republican and Democrat, who regarded themselves as nonpartisan members of the “Party of California”; the expansion of California’s major cities: Los Angeles, San Diego, and San Francisco; the characteristics of the Silent Generation and the culture of “cool Jazz” that dominated the period; as well as the rise of dissident elements among environmentalists, minorities, and Beats, that foretold the protest period of the 1960s. This essay then asks whether Starr has avoided the larger implications of his own narrative that California from this period on had become in most respects a putative nation-state in its own right. From the global impact of its major media industry—Hollywood—to the continued advances of its economic clout throughout the rest of the century as at times the fifth largest economic entity in the world, California may need to be increasingly regarded as a world civilization in itself rather than as a regional civilization to which Starr’s historical narrative has so far constricted it.Corrigenda:The title of the work in footnote 1, p. 270, should be: “Americans and the California Dream, 1850–1915”In footnote 6, p. 274, the title of the last work cited in the note should be: The Dream Endures: California Enters the 1940s. (shrink)

Two leaders in the field offer a compelling analysis of the current state of the art and reveal the steps we must take to achieve a truly robust artificial intelligence. Despite the hype surrounding AI, creating an intelligence that rivals or exceeds human levels is far more complicated than we have been led to believe. Professors Gary Marcus and Ernest Davis have spent their careers at the forefront of AI research and have witnessed some of the greatest milestones in the (...) field, but they argue that a computer beating a human in Jeopardy! does not signal that we are on the doorstep of fully autonomous cars or superintelligent machines. The achievements in the field thus far have occurred in closed systems with fixed sets of rules, and these approaches are too narrow to achieve genuine intelligence. The real world, in contrast, is wildly complex and open-ended. How can we bridge this gap? What will the consequences be when we do? Taking inspiration from the human mind, Marcus and Davis explain what we need to advance AI to the next level, and suggest that if we are wise along the way, we won't need to worry about a future of machine overlords. If we focus on endowing machines with common sense and deep understanding, rather than simply focusing on statistical analysis and gatherine ever larger collections of data, we will be able to create an AI we can trust--in our homes, our cars, and our doctors' offices. Rebooting AI provides a lucid, clear-eyed assessment of the current science and offers an inspiring vision of how a new generation of AI can make our lives better. (shrink)

Being and Nothingness is without doubt one of the most significant books of the twentieth century. The central work by one of the world's most influential thinkers, it altered the course of western philosophy. Its revolutionary approach challenged all previous assumptions about the individual's relationship with the world. Known as 'the Bible of existentialism', its impact on culture and literature was immediate and was felt worldwide, from the absurd drama of Samuel Beckett to the soul-searching cries of the Beat (...) poets. Being and Nothingness is one of those rare books whose influence has affected the mind-set of subsequent generations. Sixty years after its first publication, its message remains as potent as ever - challenging the reader to confront the fundamental dilemmas of human freedom, responsibility and action. (shrink)

Here, we describe how Casas Grandes Medio period (AD 1200 to 1450) shamanic practices of the North American Southwest used tobacco shamanism, a ritual stance called the Tennessee Diviner (TD) posture, and cultural expectations to generate trance experiences of soul flight and divination. We introduce a conceptual model that holds that specific trance experiences are the emergent result of human minds interacting with additional factors including entheogens, cultural expectations, physiological states, postures/movement, and sound/stimulation. Experimental and ethnographic evidence indicates initiating trance (...) with either tobacco intoxication or the TD posture accompanied with a rapidly beating drum or rattle corresponds with perceptions of soul flight, transformation, and divination/information acquisition. Both have similar results but pairing them together as they were during the Medio period likely helped ensure the culturally desired trance experiences. This practice of mutually reinforcing factors was likely part of tobacco‐based shamanism found in other New World cultures as well. We suggest our general model can be applied to other contexts to examine how various aspects of trance induction interact to produce the cultural patterns (and resulting cosmological and spiritual frameworks) anthropologists have documented in other cultures. (shrink)

_Being and Nothingness_ is without doubt one of the most significant books of the twentieth century. The central work by one of the world's most influential thinkers, it altered the course of western philosophy. Its revolutionary approach challenged all previous assumptions about the individual's relationship with the world. Known as 'the Bible of existentialism', its impact on culture and literature was immediate and was felt worldwide, from the absurd drama of Samuel Beckett to the soul-searching cries of the Beat (...) poets. _Being and Nothingness_ is one of those rare books whose influence has affected the mind-set of subsequent generations. Sixty years after its first publication, its message remains as potent as ever - challenging the reader to confront the fundamental dilemmas of human freedom, responsibility and action. (shrink)

Taking Parenting Public makes a compelling case that parenting has become dangerously undervalued in America today. It calls for a new investment—both personal and public—into the work of raising children and argues that we are all "stockholders" in the next generation. With a foreword by Sylvia Ann Hewlett and Cornel West, Taking Parenting Public crosses boundaries to bring together thinkers from diverse fields spanning the political spectrum. It features contributions from distinguished experts in economics, political science, public policy, child (...) development, public health, history, and the media. While recent books have focused on working mothers or absent fathers, Taking Parenting Public is the first volume to take a comprehensive look at the common struggles of parents. These essays go beyond the usual chest-beating about busy parents torn between work and family demands to suggest bold solutions. Instead of the typical call for "parent replacement"—more child care, more after school programs and more mentors—the contributors offer fresh strategies for "parent replenishment," ways to put mothers and fathers back into the lives of their children not only as economic providers, but also as emotional and moral providers. (shrink)

This book is an anthology of commentary and criticism written within the transitional period between Alan Watts' 1973 death and the twenty-first century intellectual horizon. Comprised of 16 essays written and published between 1974 and 1994, with up-to-date introductions from the essayists and other contemporary thinkers, this volume opens a window onto unexplored grounds of Alan Watts' impact within late-twentieth-century discourse - an intermediate space where scholars reoriented their bearings through changing times and emerging academic trends. Offering varied explanations and (...) assessments of Alan Watts, including his influence on the Beat and Hippie generations, and his popularization of Zen Buddhism in America, it tackles unaddressed questions within the milieu of late-twentieth century America from the Reagan Revolution and religious conservatism, to paradigm shifts in Buddhist studies and the rise of post-colonial theory. Contributors' post-mortem analyses and critiques of Watts allow for a thematic rendering of their consonance or dissonance with noted Beat, Hippie, and Zen Buddhism themes of his lifetime. This volume will appeal to scholars and students of humanistic psychology, transpersonal psychology, the psychology of religion, comparative religion, and American studies. (shrink)

People -- Who was Huet? -- The censura : why and when? -- The birth of skepticism -- Malebranche's surprising silence -- The downfall of cartesianism -- Kinds -- Huet a cartesian? -- Descartes and skepticism : the standard interpretation -- Descartes and skepticism : the texts -- Thoughts -- The cogito : an inference? -- The transparency of mind -- The cogito as pragmatic tautology -- Doubts -- The reality of doubt -- The generation of doubt -- The (...) response to doubt -- Rules -- The criterion of truth -- The trump argument -- Circles -- The simple circularity of the meditations -- The inner circle(s) -- Gods -- Gassendist influences -- The objections of objections -- The rejection of intentionality -- Virtues -- Descartes's voice -- Betting the family farm -- The propagation of light -- The heart-beat -- The moving earth -- Faith and reason -- Descartes as methodological academic skeptic. (shrink)

Walton's book is a study of several fallacies in informal logic. Focusing on question-answer dialogues, and committed to a pragmatic rather than a semantic approach, he attempts to generate criteria for evaluating good and bad questions and answers. The book contains a discussion of such well-recognized fallacies as many questions, black-or-white questions, loaded questions, circular arguments, question-begging assertions and epithets, ad hominem and tu quoque arguments, ignoratio elenchi, and replying to a question with a question. In addition, Walton develops several (...) artificial dialogue games and has an excellent discussion of burden of proof in nonlegal contexts. The discussion is for the most part nontechnical and does not presuppose any training in formal logic. It is illustrated with many (sometimes overlong) examples of fallacies drawn from real life--mostly debates in the Canadian House of Commons. . . . Walton's book breaks new ground on a number of issues. Choice This first full-length study of logical fallacies, errors, faults, illicit attacks, blunders, and other critical deficiencies in interrogation and reply has been written in the tradition of informal fallacies in logic. It is especially valuable, readable, and interesting because of the 139 case studies it presents, many of these case studies come from political debates and some from interviews, legal cross-examinations, and other sources. Walton uses these challenging examples of tricky, aggressive, argumentative, or fallacious questions to develop coherent and pragmatic guidelines for criticizing questionable questions (and in some cases their replies) on logical grounds. Among the types of problematic questions analyzed are: the traditional so-called fallacy of many questions, illustrated by the famous Have you stopped beating your wife?; black and white questions; terminologically loaded questions; and questions containing personal attacks. These and other types of problematic questions as well as evasive replies and replying to a question with a question are studied. Critical errors of reasoning are identified and analyzed by developing context-based, normative models of reasonable dialogue in which a questioner must have freedom to ask informative and probing questions, and the respondent must be constrained to give reasonably direct, not overly evasive answers. In this era of negative and evasive political campaigning, with candidates employing skillful tactics of manipulating public opinion to assure election rather than taking clear stands and seriously debating issues in an informed and sincere manner, Question-Reply Argumentation is especially relevant reading for those who take democracy seriously. The methods used reflect a significant shift from earlier semantically based theories to current pragmatic, dialogue-based models, and will be of interest to logicians and linguists. The volume's conclusions should challenge some current preconceptions. Recommended reading for courses in logic, speech communications, linguistics, philosophy of language, areas of political science relating to political discourse and debate, courses on questioning in cognitive psychology, and courses on critical thinking in education. (shrink)

From the start, I followed the case of Jahi McMath with great interest. In December 2013, she clearly fulfilled the diagnostic criteria for brain death. As a neurologist with a special interest in chronic brain death, I was not surprised that, after she was flown to New Jersey, where she became statutorily resurrected and was treated as a comatose patient, Jahi's condition quickly improved. In 2014, her family reported that she sometimes responded to simple motor commands. I shared the general (...) skepticism regarding these reports, assuming that the family was in denial and was misinterpreting spinal myoclonus (a rapid, involuntary twitch generated by the spinal cord) as volitional. The family had noticed that when Jahi's heart rate was above eighty beats per minute, she was more likely to respond, as though the heart rate reflected some sort of inner level of arousal. So they began to make video recordings. I have been privileged to be entrusted with copies of these recordings, forty‐eight of which proved suitable for assessing alleged responsiveness. All have been certified by a forensic video expert as unaltered. The first thing that struck me was that the great majority of the alleged responses were not spinal myoclonus. In fact, they did not resemble any type of spontaneous, involuntary movement described in patients paralyzed from high spinal cord lesions. (shrink)

Since 2000, there has been a flurry of policy activity to address the problem of human trafficking. A wide consensus has formed in most of the international community on the nature of the problem. However, there is considerable disagreement among scholars and activists over definitions and how best to address the problem. A content analysis of relevant articles in The New York Times and Washington Post between 1980 and 2006 reveals that media coverage has relied mostly on official sources and (...) is framed in a way that has mirrored the dominant view of trafficking. This has helped legitimize the consensus among policymakers while marginalizing alternative views that also might be critical of official policy. This analysis also shows that articles initiated by investigative journalists are more likely to break away from the official frame and report alternative views than articles generated from traditional news beats. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

An important feature of male fertility is the physiological priming of spermatozoa by a multifaceted process collectively referred to as capacitation. The end point of this evasive process is the hyperactivated spermatozoa capable of binding to terminal sugar residues on the egg's extracellular coat, the zona pellucida (ZP), and undergoing acrosomal exocytosis (i.e., induction of the acrosome reaction). The hydrolytic action of acrosomal enzymes released at the site of zona binding, along with the enhanced thrust generated by the hyperactivated (...) class='Hi'>beat pattern of the bound spermatozoa, are important factors that regulate the penetration of ZP and fertilization of the egg. Despite many advances in identifying sperm components that promote capacitation, the mechanism underlying the calcium‐triggered process remains elusive. The purpose of this review article is to focus on new advances that have enhanced our understanding of in vivo/in vitro capacitation, a prerequisite event resulting from a dramatic modification and reorganization of the sperm membrane molecules. Special emphasis has been laid on accumulating evidence suggesting potential similarities between the sperm capacitation and early phases of calcium‐triggered membrane fusion (i.e., tethering and docking) during secretory and endocytotic pathways among eukaryotes. BioEssays 26:281–290, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:177 SOCIAL JUSTICE: FROM RAWLS TO HUME It is said that "the implacable Professor," John Langshaw Austin, once set as a final examination question: "'Power polities': what other sorts of politics are there?" Had Hume been requested to discourse about social justice, he might well have responded in a parallel way: 'What non-social kinds is the insertion of that adjective intended to exclude from consideration?1 For, as Hayek has (...) urged, Hume chose an unfortunate label for the second of the two kinds of virtue distinguished at the beginning of Part II of Book III of the Treatise. Certainly "the circumstances and necessities of mankind," which give rise to the "artifice or contrivance" of what Hume calls artificial virtues, are "the circumstances and necessities" of social living; something which, he would always be the first to insist, is altogether natural to our species. So, if only he had thought to label this sort of virtues 'social' rather than 'artificial,1 he would not have had to end that Section I with an awkward final paragraph protesting that, "Tho' the rules of justice be artificial they are not arbitrary. Nor is the expression improper to call them Laws of Nature; if by natural we understand what is common to any species, or even if we confine it to mean what is inseparable from the species." In fact, it is just worth remarking, no contemporary ever would have asked Hume for his views about social justice; or, at any rate, not in those words. For, as my friend Roland Hall tells me, the first employment known to the revisers of the Oxford English Dictionary of what has since become one of the most popular of political cant phrases dates only from 1861. It occurs in Utilitarianism, at pp. 57-58 178 in the Everyman edition. There J. S. Mill first insists: not that society should treat all equally well, period; but "that society should treat all equally well who have deserved equally well of it." He continues: "This is the highest abstract standard of social and distributive justice; towards which all institutions, and the efforts of all virtuous citizens, should be made in the utmost possible degree to converge." Mill himself says nothing here, or perhaps anywhere, to explain what the adjective is supposed to be doing. It seems to have been a favourite, which he was the first to preface, with equally little particular reason given, to several other nouns. So if, as seems most likely, it is intended to be no more than a superfluous synonym for 'distributive,' then it becomes important for us to notice that to Mill, as to so many of his successors, the scope of "social and distributive justice" is universal: it is what determines who is the rightful possessor of any good whatever. Thus, in contemporary courts of distributive justice, everything is up for grabs. Yet it was not ever thus, and we ought to demand reason why it should have become so. Aristotle in the Nicomachean Ethics, was, so far as we know, the first philosopher to distinguish distributive from corrective justice. He ruled that the former "is exercized in distributions of honour or wealth or of anything else which is to be divided among those who have a share in the constitution; since in these it is possible for one to have an allocation either equal or unequal to that of another" (1130B30-4). A generation dazed by the drum-beat rhetoric of equality and social justice will no doubt be 179 inclined to construe these words as making the very modern assumption that there has been an active and collective distribution of all goods, and ought now to be an active and collective redistribution. Yet such anachronistic assumptions are ruled out as Aristotle proceeds: first, to entertain the oligarchic suggestion that the relevant criterion of entitlement might be the possession of wealth; and then to conclude that this "Justice in distributing common property... when a distribution is made from the common stock... will follow the same ratio as that between the amounts which the several persons have contributed to the common stock" (1131A 25-9 and 1131B 28-33). The common... (shrink)

The quality and quantity of training data are crucial to the performance of a deep-learning-based brain-computer interface system. However, it is not practical to record EEG data over several long calibration sessions. A promising time- and cost-efficient solution is artificial data generation or data augmentation. Here, we proposed a DA method for the motor imagery EEG signal called brain-area-recombination. For the BAR, each sample was first separated into two ones by left/right brain channels, and the artificial samples were generated (...) by recombining the half-samples. We then designed two schemas corresponding to the single- and multi-subject scenarios. Extensive experiments using the classifier of EEGnet were conducted on two public datasets under various training set sizes. In both schemas, the BAR method can make the EEGnet have a better performance of classification. To make a comparative investigation, we selected two common DA methods, and the BAR method beat them. Further, using the proposed BAR for augmentation, EEGnet achieved up to 8.3% improvement than a typical decoding algorithm CSP-SVM, note that both the models were trained on the augmented dataset. This study shows that BAR usage can significantly improve the classification ability of deep learning to MI-EEG signals. To a certain extent, it may promote the development of deep learning technology in the field of BCI. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a (...) foreclosed home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

To formalize the human judgment of rhythm complexity, we used five measures from information theory and algorithmic complexity to measure the complexity of 48 artificially generated rhythmic sequences. We compared these measurements to human prediction accuracy and easiness judgments obtained from a listening experiment, in which 32 participants guessed the last beat of each sequence. We also investigated the modulating effects of musical expertise and general pattern identification ability. Entropy rate and Kolmogorov complexity were correlated with prediction accuracy, and (...) highly correlated with easiness judgments. A logistic regression showed main effects of musical training, entropy rate, and Kolmogorov complexity, and an interaction between musical training and both entropy rate and Kolmogorov complexity. These results indicate that information-theoretic concepts capture some salient features of the human judgment of rhythm complexity, and they confirm the influence of musical expertise on complexity judgments. (shrink)

When Betty Friedan published The Feminine Mystique in 1963, the book exploded into women's consciousness. Before the decade was out, what had begun as a campaign for women's civil rights transformed into a diverse and revolutionary movement for freedom and social justice that challenged many aspects of everyday life long accepted as fixed: work, birth control and abortion, childcare and housework, gender, class, and race, art and literature, sexuality and identity, rape and domestic violence, sexual harassment, pornography, and more. This (...) was the women's liberation movement, and writing--powerful, personal, and prophetic--was its beating heart. Fifty years on, in the age of #MeToo and Black Lives Matter, this visionary and radical writing is as relevant and urgently needed as ever, ready to inspire a new generation of feminists. Activists and writers Alix Kates Shulman and Honor Moore have gathered an unprecedented collection of works--many long out-of-print and hard to find--that catalyzed and propelled the women's liberation movement. Ranging from Friedan's Feminine Mystique to Backlash, Susan Faludi's Reagan-era requiem, and framed by Shulman and Moore with an introduction and headnotes that provide historical and personal context, the anthology reveals the crucial role of Black feminists and other women of color in a decades long mass movement that not only brought about fundamental changes in American life--changes too often taken for granted today--but envisioned a thoroughgoing revolution in society and consciousness still to be achieved"--Back cover. (shrink)

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

Taking Parenting Public makes a compelling case that parenting has become dangerously undervalued in America today. It calls for a new investment—both personal and public—into the work of raising children and argues that we are all 'stockholders' in the next generation. With a foreword by Sylvia Ann Hewlett and Cornel West, Taking Parenting Public crosses boundaries to bring together thinkers from diverse fields spanning the political spectrum. It features contributions from distinguished experts in economics, political science, public policy, child (...) development, public health, history, and the media. While recent books have focused on working mothers or absent fathers, Taking Parenting Public is the first volume to take a comprehensive look at the common struggles of parents. These essays go beyond the usual chest-beating about busy parents torn between work and family demands to suggest bold solutions. Instead of the typical call for 'parent replacement'—more child care, more after school programs and more mentors—the contributors offer fresh strategies for 'parent replenishment,' ways to put mothers and fathers back into the lives of their children not only as economic providers, but also as emotional and moral providers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:177 SOCIAL JUSTICE: FROM RAWLS TO HUME It is said that "the implacable Professor," John Langshaw Austin, once set as a final examination question: "'Power polities': what other sorts of politics are there?" Had Hume been requested to discourse about social justice, he might well have responded in a parallel way: 'What non-social kinds is the insertion of that adjective intended to exclude from consideration?1 For, as Hayek has (...) urged, Hume chose an unfortunate label for the second of the two kinds of virtue distinguished at the beginning of Part II of Book III of the Treatise. Certainly "the circumstances and necessities of mankind," which give rise to the "artifice or contrivance" of what Hume calls artificial virtues, are "the circumstances and necessities" of social living; something which, he would always be the first to insist, is altogether natural to our species. So, if only he had thought to label this sort of virtues 'social' rather than 'artificial,1 he would not have had to end that Section I with an awkward final paragraph protesting that, "Tho' the rules of justice be artificial they are not arbitrary. Nor is the expression improper to call them Laws of Nature; if by natural we understand what is common to any species, or even if we confine it to mean what is inseparable from the species." In fact, it is just worth remarking, no contemporary ever would have asked Hume for his views about social justice; or, at any rate, not in those words. For, as my friend Roland Hall tells me, the first employment known to the revisers of the Oxford English Dictionary of what has since become one of the most popular of political cant phrases dates only from 1861. It occurs in Utilitarianism, at pp. 57-58 178 in the Everyman edition. There J. S. Mill first insists: not that society should treat all equally well, period; but "that society should treat all equally well who have deserved equally well of it." He continues: "This is the highest abstract standard of social and distributive justice; towards which all institutions, and the efforts of all virtuous citizens, should be made in the utmost possible degree to converge." Mill himself says nothing here, or perhaps anywhere, to explain what the adjective is supposed to be doing. It seems to have been a favourite, which he was the first to preface, with equally little particular reason given, to several other nouns. So if, as seems most likely, it is intended to be no more than a superfluous synonym for 'distributive,' then it becomes important for us to notice that to Mill, as to so many of his successors, the scope of "social and distributive justice" is universal: it is what determines who is the rightful possessor of any good whatever. Thus, in contemporary courts of distributive justice, everything is up for grabs. Yet it was not ever thus, and we ought to demand reason why it should have become so. Aristotle in the Nicomachean Ethics, was, so far as we know, the first philosopher to distinguish distributive from corrective justice. He ruled that the former "is exercized in distributions of honour or wealth or of anything else which is to be divided among those who have a share in the constitution; since in these it is possible for one to have an allocation either equal or unequal to that of another" (1130B30-4). A generation dazed by the drum-beat rhetoric of equality and social justice will no doubt be 179 inclined to construe these words as making the very modern assumption that there has been an active and collective distribution of all goods, and ought now to be an active and collective redistribution. Yet such anachronistic assumptions are ruled out as Aristotle proceeds: first, to entertain the oligarchic suggestion that the relevant criterion of entitlement might be the possession of wealth; and then to conclude that this "Justice in distributing common property... when a distribution is made from the common stock... will follow the same ratio as that between the amounts which the several persons have contributed to the common stock" (1131A 25-9 and 1131B 28-33). The common... (shrink)

Synchronized movements with external periodic rhythms, such as dancing to a beat, are commonly observed in daily life. Although it has been well established that some vocal learning species (including parrots and humans) spontaneously develop this ability, it has only recently been shown that monkeys are also capable of predictive and tempo-flexible synchronization to periodic stimuli. In our previous study, monkeys were trained to make predictive saccades for alternately presented visual stimuli at fixed stimulus onset asynchronies (SOAs) to obtain (...) a liquid reward. The monkeys generalized predictive synchronization to novel SOAs in the middle of trained range, suggesting a capacity for tempo-flexible synchronization. However, it is possible that when encountering a novel tempo, the monkeys might sample learned saccade sequences from those for the short and long SOAs so that the mean saccade interval matched the untrained SOA. To eliminate this possibility, in the current study we tested monkeys on novel SOAs outside the trained range. Animals were trained to generate synchronized eye movements for 600 and 900-ms SOAs for a few weeks, and then were tested for longer SOAs. The accuracy and precision of predictive saccades for one untrained SOA (1200 ms) were comparable to those for the trained conditions. On the other hand, the variance of predictive saccade latency and the proportion of reactive saccades increased significantly in the longer SOA conditions (1800 and 2400 ms), indicating that temporal prediction of periodic stimuli was difficult in this range, similar to previous results on synchronized tapping in humans. Our results suggest that monkeys might share similar synchronization mechanisms with humans, which can be subject to physiological examination in future studies. (shrink)

Reflections call for dialogue. The various generations of Poles: the Bridge Generation (the author’s), the Fathers’ Generation and the Generation of Columbuses all differ on the logic of the outbreak of the Warsaw Uprising 1944. This issue is taboo in Polish history while the participants of the Uprising remain alive because they defend the rightness of their actions, regardless of rationality. The War’s facts on the ground were such that the Allies and Resistance had no chance to (...) beat the Axis. Many view the 1944 Uprising as the most tragic event in Poland’s history. The author bases his opinion on his childhood experience in 1944 Warsaw and discussions on behalf of all victims with the advocates of this Uprising. At the end of this dialogue, examples are provided of past political and military mistakes throughout Polish history that must serve as warnings to future generations of Poles. The study has a universal character, as the Polish experience is not so unique that it cannot be applied to other geopolitical realities where subjectivism dominates objectivism, ignorance prevails over wisdom, and tragedy overcomes happiness. (shrink)

"Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to "build on the structure through demolition" (Benjamin) testify to the dependence of all articulation on (...) the forms of (re)presentation ["Darstellung"]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene - whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice. With contributions by Maria Fusco, Eva Geulen, Thomas Glaser, Birgit M. Kaiser, Sami Khatib, Sebastian Kirsch, Chris Kraus, Holger Kuhn, Oona Lochner, Isabel Mehl, Bettine Menke, Beate Söntgen, Heiko Stubenrauch, Kathrin Thiele, Lynne Tillman, Masha Tupitsyn, Mimmi Woisnitza."-Publisher's website. (shrink)

Publication date: 15 October 2018 Source: Author: Smiles I. Ume, C.I. Ezeano, R.O. Anozie Role of off-farm income in agricultural production and its environmental effect in Southeast, Nigeria was studied. Two hundred and forty respondents were selected through multi stage random sampling techniques. The objectives of the study were captured using percentage responses, multiple regression and factor analyses. Structured questionnaire was used to collect data from the respondents. The result of socio-economic characteristics of commercial motor cycle riders showed that most (...) riders were youthful, single and experienced. Also, most of the riders used their money generated in the business in hiring labour, procurements of farm inputs, family welfare, expansion of business and procurement of equipment. As well, the menaces caused by motor cycle to the riders and the general society were accidents, traffic jam, crimes, health challenges and gang beating. More so, the determinant factors to the motor cycle riders’ income generated were number of years of experience and marital status. In addition, the effects of motor cycle operations to the environment were dusty and noisy situations, soil erosion, vegetation loss and oil spillage. The avenues in alleviating the affects of motor cycle operations on the environment were use of gadgets, educational programme, ban on the use of big motor cycle, use of traffic control and cleanliness of vehicular emission. The major problems encountered by the riders were extortions by the police, emblem, high cost of fuel and high cost of spare parts. Based on the findings the following recommendations were proffered. There is need to enhance riders’ access to hearing and head protective devices and goggle gadget at affordable prices. Also, experienced and novice riders should be encouraged to remain in business through among others provision of motor cycle parts at affordable prices and rehabilitation of rural roads by the government. Finally, all forms of extortions of the riders should be checkmated and the culprits brought to book. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The New Liberalism of L. T. Hobhouse and the Reenvisioning of Nineteenth-Century UtilitarianismDavid WeinsteinIn the eyes of some, modern liberal theorizing has fallen victim to tyrannizing conceptual dualisms that have rendered it a tedious dialogue of predictable positioning and strident partisanship. On the one hand those who dream the dream of unencumbered selfhood are said to be locked in a bitter struggle with those who long for the rebirth (...) of encumbering community. On the other hand and in a not wholly unrelated way, Kantians are supposedly and forever beating back the phoenix of consequentialism. In short, the tyrannizing dualisms of individualism vs. communitarianism and Kantianism vs. consequentialism allegedly and detrimentally channel much modern liberal theorizing.But such rivalries, however real or fanciful, need not be philosophical liberalism’s singular fate. Nor do these rivalries exclusively characterize its variegated past. My aim is to challenge the cogency and expose the historical limitations of one of these tyrannizing dualisms, namely that between Kantianism and consequentialism, by way of examining L. T. Hobhouses’s new liberalism. In my view this seeming rivalry within liberalism is a convenient straw man readily weakened by more scrupulous attention to liberalism’s new liberal past. 1 [End Page 487]Principally, I hope to show that Hobhouse’s rendering of liberalism privileged good but not at the price of stultifying welfare pooling, individuality but not at the cost of pitiless individualism. Hobhouse’s version of new liberalism may not have been quite utilitarian, but it nevertheless took maximizing good seriously while retaining a firm commitment to strong moral rights and the flourishing of individuals as ends. Hobhouse’s new liberalism, then, was as robustly juridical and as authentically liberal as it was fundamentally consequentialist.The Rational Good and Moral PersonalitySelf-realization was the normative hinge of Hobhouse’s new liberalism. Self-realization, in turn, can not be understood without examining Hobhouse’s notion of the rational good. Hence, The Rational Good, published later in his life in 1921, occupies a vital position in his thought though recent scholarship has all but ignored this work. 2In this work Hobhouse begins by asking “whether there is a Rational, and therefore demonstrable, standard of values to which the actions of man and the institutions of society may be referred for judgment.” 3 For Hobhouse, such a standard exits and the remainder of the book endeavors to persuade us accordingly.In a chapter entitled “The Good,” Hobhouse claims that the proposition that something is good expresses a “disposition” and asserts a “fact.” The disposition consists of a favorable “practical attitude” towards pleasurable feelings, which certain (self-realizing) experiences invariably entail. In Hobhouse’s words “the judgment ‘This is good’ is not only the expression of an attitude but also the assertion of a fact, and the fact which it asserts is a harmony between an experience and a feeling.” 4 Hence, we deem good only those self-realizing experiences that are harmonious in the sense that they generate feelings of pleasure. A pleasure-producing experience is a harmonious experience and, assuming that it is also self-realizing, we are disposed to pronounce it “good.”Now separate harmonious experiences, unless rationally coordinated, will likely clash, thereby generating overall disharmony or pain. Experiences which we separately judge as good may turn out to be bad on the whole. A good life, therefore, is a satisfying coherent life. Only a rationally coherent life is fully self-realizing and constitutes the rational good. In short “that what we reasonably call good or what is really good must be a harmony of the [End Page 488] totality of feeling with the totality of experience so far as it affects feeling. Thus, Practical Reason is the effort of the mind towards harmony within itself, and with nature.” 5But if, for Hobhouse, practical reason is an ongoing “effort” in coordination, then the fully rational good is a formal ideal which actual lives succeed more or less skillfully in realizing. Hence, Hobhouse also introduces the “realized good” as the practically possible good, and the distance one goes in realizing his or her own good is, as Hobhouse says, “what we call character.” 6 To... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Asthma:Strangling the Caged Bird (Something Like a Prayer)Imani Perry (bio)Yet do a marvel at this curious thing; To make a poet black and bid him sing!– Countee CullenI know why the caged bird sings, ah me,When his wing is bruised and his bosom sore,—When he beats his bars and he would be free;It is not a carol of joy or glee,But a prayer that he sends from his heart's (...) deep core,But a plea, that upward to Heaven he flings—I know why the caged bird sings!– Paul Laurence DunbarAsthma is an inflammation of the airways. But that word in a Black American life is an associative one. It is emergency room visits, "treatments," and jackleg care. It is death's door. It is the vague feeling that something in the bedroom walls, school corridors, cells, coming up from the pavement, is eking away at your life. We speak of it knowingly and frequently."How is your asthma?" When Dr. Bird asked me that question, I was alarmed. I'd forgotten I had ever received the diagnosis. But there it was in my chart. There are so many words about me housed in that digital file. I expect there's more than I could guess. The chart itself is a testament to access. Not everybody has the protective surveillance of a chart or an ID, much less medical insurance. Mine is far more crowded than I'd prefer.The conditions of my life and body have made it such that I could forget my own asthma. But I think about asthma all the time, because it has snaked through my family and friends and communities. I have written, more than once, that the most powerful statement that hip hop leaves us with is this: An art form made by generations ravaged by environmental racism is defiantly profound because it depends upon the mastery of breath. Breath control is as much its hallmark as rhyming. Snatching oneself from the gates of a breath-thieving hell, with a heavy bass line, is its testimony. [End Page 213]Have you ever gasped for air? You grab at it and get almost nothing. Flail. You are rendered indeliberate. Panic is the only option in that moment. Invisible hands crush your windpipe but never touching a bone. (After this, how could you not believe in ghosts?) When you get out of it, relief spreads over you. It is euphoric at first. Then trauma settles and you ritually hold your breath and neck muscles, hypervigilant for the next time though praying against it.Black people have the highest rates of asthma in the United States. Black women are most likely to die of the disease. I am not a scientist so I can speculate about this terrible fact freely. I think it is because Black women's roles require a tamping down of suffering in the service of labor for others. Private keening and public fortitude. There is poison in our post-coloniality of being.That said, the post-coloniality of being doesn't belong alone to those with colonized and Jim Crowed histories. It is a shared though wildly unequal condition. The post-coloniality of being characterizes this epoch, post- ages of revolution and decolonization and social transformation, in which we (the big we, not the freedom-fighter we) against all better dreams, remain committed to being suffocated. And as the climate crisis shows its face, we have to admit that everybody's breath is shallowing. Everyone's body is being invaded by the ethic of accumulation, to a greater or lesser extent. And that "lesser" promise is the worst kind of seduction. Air purifiers and green detergents are nothing but stop-gap measures in a world bent on its own destruction.I could say, we, Black women, are like canaries in the coal mine. But the metaphor hits too close to home. It is too true a thing to attach it to the glibness of literary figurative language. Our airways are literally closing in. In the Black South, to be "strangled" doesn't require someone's hands around your throat. It is used the... (shrink)

The image of Africa in the world at the moment does not fit into that of a dignifying and adequately humanised and humanising unit of mankind. The situation beats and challenges the philosophical and anthropological aphorisms that seem to commune all men in general. This philosophical reflection investigates the deep roots of the extant situation. It focuses more on inherent factors to the exclusion of all exterior sources and causes of the problems, which it considers as secondary even if important. (...) It has employed philosophical anthropological categories maximally and has also engaged metaphysical concepts to an extent to explore the general human modus operandi. Against this backdrop, it has beamed its searchlight on the Africans, specifically as a species of the human to identify to what extent it fits into the generally accepted pattern. This has led to an identification of the mind as the seat of the albatross. The philosophical anthropological analysis of the specific African mind and how it has been functioning has been carried out amidst a larger spectrum of the experiential operations of the mental state of mind. This has led to an examination of key concepts like fascination, imitation, success and failure, the heart and hope. A specific sample of an African concept has been adopted from the Igbo cultural background of Nigeria. How these concepts in practice have affected the organisation of African society and development has been examined and has led to an identification of various types of intelligence operative among the majority of African leaders, thinkers and the masses and the vicious cycle that is provoked by this. The external factors that feed and nourish this status quo have not been examined herein. But the shamelessness of the generality of mankind in tolerating this de facto state, for whatever can be labelled a third world within the one world, is implicitly indicated. The essay is a tribute to Professor Richard Onwuanibe who spent decades teaching philosophical anthropology to several generations of Nigerian seminarians who have become great philosophers as well today. It is also a wake-up call to philosophers, Africans and all people of good will. By concentrating on the internal conditions that in turn, obfuscate the mind and keep Africa and by implication the world behind its fullest possibilities of growth, peace and a better home for all, it looks forward to the exposition and possible neutralization of the latent external factors which belie the entire matrix of the African mindset at the moment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

Whether art has come to an “end” in the modern age has been a question of interest for generations of philosophers and art critics since Hegel’s Lectures on Aesthetics. Beat Wyss takes up this question in the context of a wide-ranging account of post-Hegelian art history and art historians that has now been translated into English. Wyss’s project, whose larger aims can perhaps be better glimpsed from the book’s German title, divides into two major sets of reflections—the first devoted (...) specifically to Hegel’s treatment of art and the second to four critics who share with Hegel some sense of art’s having reached its fulfillment. (shrink)

This new book by Beate Rossler is a work of real quality and originality on an extremely topical issue: the issue of privacy and the relations between the private and the public. Rossler investigates the reasons why we value privacy and why we ought to value it. In the context of modern, liberal societies, Rossler develops a theory of the private which links privacy and autonomy in a constitutive way: privacy is a necessary condition to lead an autonomous life. The (...) book develops a theory of freedom and autonomy which sees the ability to pose the "practical question" of how one wants to live, of what a person strives to be, at the centre of the modern idea of autonomy. The question of privacy is emerging as an increasingly important topic in social and political theory and is central to many current debates in law, the media and politics. The Value of Privacy will be widely recognised to be a classic contribution to the subject. (shrink)

Chronology of the Manuscripts 1885–89. Appendix to KGW IX. After the completion of the topological manuscript edition in section IX of the Kritische Gesamtausgabe der Werke (KGW IX), the additional chronological indexing of the late Nachlass remained a desideratum. The current manuscript closes this editorial gap. As an appendix to KGW IX, the chronology of the manuscripts 1885–89 provides the date for each distinguishable layer of inscription for every manuscript and note edited in KGW IX. In the first part of (...) the following chronology, the dated inscription layers for all late manuscripts from notebook N VII 1 to the scattered notes are recorded topologically. In the second part, the inscription layers are indexed chronologically from spring 1885 to the beginning of January 1889. (shrink)

Recent findings in different areas of psychology and cognitive science have brought the unconscious mind back to center stage. However, the unconscious mind worry remains: What renders unconscious phenomena mental? I suggest a new strategy for answering this question, which rests on the idea that categorizing unconscious phenomena as “mental” should be scientifically useful relative to the explanatory research goals. I argue that this is the case if by categorizing an unconscious phenomenon as “mental” one picks out explanatorily relevant similarities (...) to a corresponding paradigmatically mental conscious phenomenon. Explanatory relevance is spelled out in terms of mechanistic norms. (shrink)

Constitutive mechanistic explanations are said to refer to mechanisms that constitute the phenomenon-to-be-explained. The most prominent approach of how to understand this constitution relation is Carl Craver’s mutual manipulability approach to constitutive relevance. Recently, the mutual manipulability approach has come under attack (Leuridan 2012; Baumgartner and Gebharter 2015; Romero 2015; Harinen 2014; Casini and Baumgartner 2016). Roughly, it is argued that this approach is inconsistent because it is spelled out in terms of interventionism (which is an approach to causation), whereas (...) constitutive relevance is said to be a non-causal relation. In this paper, I will discuss a strategy of how to resolve this inconsistency, so-called fat-handedness approaches (Baumgartner and Gebharter 2015; Casini and Baumgartner 2016; Romero 2015). I will argue that these approaches are problematic. I will present a novel suggestion of how to consistently define constitutive relevance in terms of interventionism. My approach is based on a causal interpretation of mutual manipulability, where manipulability is interpreted as a causal relation between the mechanism’s components and temporal parts of the phenomenon. (shrink)