A meta-analysis was conducted to compare perceptions of Duchenne smiles, smiles that include activation of the cheek raiser muscle that creates crow's feet around the eyes, with perceptions of non-Duchenne smiles, smiles without cheek raiser activation. In addition to testing the overall effect, moderator analyses were conducted to test how methodological, stimulus-specific and perceiver-specific differences between studies predicted the overall effect size. The meta-analysis found that, overall, Duchenne smiles and people producing Duchenne smiles are rated more positively (i.e., (...) authentic, genuine, real, attractive, trustworthy) than non-Duchenne smiles and people producing non-Duchenne smiles. The difference between Duchenne and non-Duchenne smiles was greater when the stimuli were videos rather than photographs, when smiles were elicited naturally rather than through posing paradigms and when Duchenne and non-Duchenne smiles were not matched for intensity of the lip corner puller in addition to other perceiver and methodological moderators. (shrink)

Smiles play an important role in social perception. However, it is unclear whether a similar role is played by static facial features associated with smiles. In dental science, maxillary dental protrusions increase the baring of the teeth and thus produce partial facial features of a smile even when the individual is not choosing to smile, whereas mandibular dental protrusions do not. We conducted three experiments to assess whether individuals ascribe positive evaluations to these facial features, which are not (...) genuine emotional expressions. In Experiment 1, participants viewed facial photographs of maxillary and mandibular protrusions and indicated the smiling and emotional status of the faces. The results showed that, while no difference was observed in participants’ perception of the presence of a smile across both types of dental protrusion, participants felt more positive to faces with maxillary than mandibular protrusions. In Experiment 2, participants completed an Implicit Association Test test measuring implicit attitudes toward faces with maxillary vs. mandibular protrusions. The results showed that participants had more positive attitude toward faces with maxillary than mandibular protrusions. In Experiment 3, individuals with either maxillary or mandibular protrusions completed the same IAT test to assess whether any preference would be affected by in-group/out-group preferences. The results showed both groups had more positive attitudes toward faces with maxillary protrusion, indicating that this preference is independent of the group effect. These findings suggest that facial features associated with smiles are viewed positively in social situations. We discuss this in terms of the social-function account. (shrink)

We address how the motor system can contribute to the component of smile perception. A smile perceiver can ground the meaning of non-prototypical smiles by interacting with the presenter to maintain the presenter's type of smile. In this case, the meaning of that smile is congruent with the motor behavior that elicits that smile (such as a funny gesture).

ABSTRACTWe investigate perception of, and responses to, facial expression authenticity for the first time in social anxiety, testing genuine and polite smiles. Experiment 1 found percepti...

The paper explores what it could mean to speak of love as involving a delight in ‘the simple actuality’ of another, or, as Buber does, of the ‘touchable’ human being as ‘unique and devoid of qualities’. Developing strands in Merleau-Ponty’s treatment of perception, it is argued that the relation between recognising this as a particular individual and recognising particular qualities in her may be close to the reverse of what might be supposed: a recognition of this distinctive smile being (...) dependent on a recognition of who this is. The fundamental place of particulars, as opposed to kinds, in our thought about those we know and care for is developed in part through a phenomenological treatment of our perception of faces. That treatment is set in a context of the justification of our judgements about who someone is, and is linked with a critique of treatments of proper names of individuals in the spirit of Frege. It is in our speaking to those we know that we find a relation to a particular that is direct—not mediated by a description of its properties—that Russell sought in ‘knowledge by acquaintance’. (shrink)

Pain, suffering and positive emotions in patients in vegetative state/unresponsive wakefulness syndrome (VS/uws) and minimally conscious states (MCS) pose clinical and ethical challenges. Clinically, we evaluate behavioural responses after painful stimulation and also emotionally-contingent behaviours (e.g., smiling). Using stimuli with emotional valence, neuroimaging and electrophysiology technologies can detect subclinical remnants of preserved capacities for pain which might influence decisions about treatment limitation. To date, no data exist as to how healthcare providers think about end-of-life options (e.g., withdrawal of artificial nutrition (...) and hydration) in the presence or absence of pain in non-communicative patients. Here, we aimed to better clarify this issue by re-analyzing previously published data on pain perception (Prog Brain Res 2009 177, 329–38) and end-of-life decisions (J Neurol 2010 258, 1058–65) in patients with disorders of consciousness. In a sample of 2259 European healthcare professionals we found that, for VS/uws more respondents agreed with treatment withdrawal when they considered that VS/uws patients did not feel pain (77%) as compared to those who thought VS/uws did feel pain (59%). This interaction was influenced by religiosity and professional background. For MCS, end-of-life attitudes were not influenced by opinions on pain perception. Within a contemporary ethical context we discuss (1) the evolving scientific understandings of pain perception and their relationship to existing clinical and ethical guidelines; (2) the discrepancies of attitudes within (and between) healthcare providers and their consequences for treatment approaches, and (3) the implicit but complex relationship between pain perception and attitudes toward life-sustaining treatments. (shrink)

Many species' non-threat facial expression involves an open mouth and retracted lip corners – the smile. This served to make an accompanying vocalization sound like it originated from a smaller vocalizer. That such signals are deceptive and benefit primarily the signaler undermines the notion that the perception of the smile employs embodied simulation of the smiler's state.

A funny, touching look at the life of a social media influencer who starts to question the #goals life she has created for herself. Every day, Élie motivates her hundreds of thousands of followers to become the best versions of themselves by posting videos of exercise routines and high-protein breakfast recipes. Far from the shy teenager that she was, she is now in a very public relationship with singer Samuel Vanasse, and together they have become one of the most popular (...) influencer couples in the country. She has succeeded. She shines. And yet, Élie worries that her life is not as flawless as she makes it seem on YouTube and Instagram. Between her obsession with the "ideal weight," her growing attraction to another man, her family's disdain for her career as a content creator and a collaboration with another influencer who Élie can't stand, a thought haunts her. What if, by trying to become everything she wanted to be, she's lost herself along the way? Suck it In and Smile is an intimate exploration of our obsession with appearances and the hypocrisies that appear when you must craft the perfect online life. (shrink)

Smiles that vary in muscular configuration also vary in how they are perceived. Previous research suggests that “Duchenne smiles,” indicated by the combined actions of the orbicularis oculi and the zygomaticus major muscles, signal enjoyment. This research has compared perceptions of Duchenne smiles with non-Duchenne smiles among individuals voluntarily innervating or inhibiting the orbicularis oculi muscle. Here we used a novel set of highly controlled stimuli: photographs of patients taken before and after receiving botulinum toxin treatment for crow’s feet (...) lines that selectively paralyzed the lateral orbicularis oculi muscle and removed visible lateral eye wrinkles, to test perception of smiles. Smiles in which the orbicularis muscle was active were rated as more felt, spontaneous, intense, and happier. Post treatment patients looked younger, although not more attractive. We discuss the potential implications of these findings within the context of emotion science and clinical research on botulinum toxin. (shrink)

Current theories assume that perception and affect are separate realms of the mind. In contrast, we argue that affect is a genuine online-component of perception instantaneously mirroring the success of different perceptual stages. Consequently, we predicted that the success (failure) of even very early and cognitively encapsulated basic visual Processing steps would trigger immediate positive (negative) affective responses. To test this assumption, simple visual stimuli that either allowed or obstructed early visual processing stages without participants being aware of this were (...) presented briefly. Across 5 experiments, we found more positive affective responses to stimuli that allowed rather than obstructed Gestalt completion at certain early visual stages (Experiments 1–3; briefest presentation 100 ms with post-mask), and visual disambiguation in possible vs. impossible Necker cubes (Experiments 4 and 5; briefest presentation 100 ms with post-mask). This effect was observed both on verbal preference ratings (Experiments 1, 2, and 4) and as facial muscle responses occurring within 2–4 s after stimulus onset (zygomaticus activity; Experiments 3 and 7). For instance, in participants unaware of spatial possibility we found affective discrimination between possible and impossible Necker cubes (the famous Freemish Crate) for 100 ms presentation timings, although a conscious discrimination took more than 2000 ms (Experiment 4). (shrink)

Ah, emojis ☺. Some enthusiastically speak of them as a new universal language. In 2015, the Oxford English dictionary crowned one of them as its word of the year. Sixty million are exchanged daily on Facebook. Along with emoticons and various other smileys, emojis are now part of daily communications. Visual add-ons or superscript, they are meant to indicate intent or add emotions to written messages, which do not benefit from the tone or body language of the interlocutor. As such, (...) they present themselves as tools for clarification, but one can wonder if they do not, too, introduce uncertainty in language. Aimed at barristers as well as jurilinguists, this paper seeks to underline some design and perception biases that can hinder communication, with a focus on rules of evidence and legal methodology. Empirically rooted in Canadian case law, the findings resonate in other jurisdictions, as emojis, indeed, are a global phenomenon. (shrink)

The laugh- and/or smile-evoking potency of laughter was evaluated by observing responses of 128 subjects in three undergraduate psychology classes to laugh stimuli produced by a “laugh box.” Subjects recorded whether they laughed and/or smiled during each of 10 trials, each of which consisted of an 18-sec sample of laughter, followed by 42 sec of silence. Most subjects laughed and smiled in response to the first presentation of laughter. However, the polarity of the response changed quickly. By the 10th (...) trial, few subjects laughed and/or smiled, and most found the stimulus “obnoxious.” Although other research has described canned-laughter effects, it did not consider the hypothesis confirmed here, that laughter itself evokes laughter, perhaps by activating a laughter-specific auditory-feature detector. This result is relevant to the neurological basis of social communication, human ethology, and theories of speech production and perception. (shrink)

The reclamation of the body in cognitive psychology and philosophy of mind has been united with that of intersubjectivity in the so-called second-person perspective. The ontogenetic precedence of this view does not, however, entail disaffirmation of the competing theories, which is why it is necessary to clarify how the three can coexist in explaining different cases of mental attribution. Along with this, it has become a matter of debate whether the understanding of the facial expression of the other is in (...) origine by direct perception or corresponds to a semiotic process. The text addresses both questions and makes a case for a primitive, non-semiotic perception of emotion in the face and body of other people. The text addresses both questions and makes a case for a primitive, non-semiotic perception of emotion in the face and body of other people, which would later be the object of a semiotization when the -originally inseparable- expression-emotion complex splits into parts as a result of the interruption of direct affective-bodily contact in adult-baby interactions. (shrink)

Pain, suffering and positive emotions in patients in vegetative state/unresponsive wakefulness syndrome (VS/UWS) and minimally conscious states (MCS) pose clinical and ethical challenges. Clinically, we evaluate behavioural responses after painful stimulation and also emotionally-contingent behaviours (e.g., smiling). Using stimuli with emotional valence, neuroimaging and electrophysiology technologies can detect subclinical remnants of preserved capacities for pain which might influence decisions about treatment limitation. To date, no data exist as to how healthcare providers think about end-of-life options (e.g., withdrawal of artificial nutrition (...) and hydration) in the presence or absence of pain in non-communicative patients. Here, we aimed to better clarify this issue by re-analyzing previously published data on pain perception (Prog Brain Res 2009 177, 329–38) and end-of-life decisions (J Neurol 2010 258, 1058–65) in patients with disorders of consciousness. In a sample of 2259 European healthcare professionals we found that, for VS/UWS more respondents agreed with treatment withdrawal when they considered that VS/UWS patients did not feel pain (77%) as compared to those who thought VS/UWS did feel pain (59%). This interaction was influenced by religiosity and professional background. For MCS, end-of-life attitudes were not influenced by opinions on pain perception. Within a contemporary ethical context we discuss (1) the evolving scientific understandings of pain perception and their relationship to existing clinical and ethical guidelines; (2) the discrepancies of attitudes within (and between) healthcare providers and their consequences for treatment approaches, and (3) the implicit but complex relationship between pain perception and attitudes toward life-sustaining treatments. (shrink)

Two of the most basic commitments of virtue ethics, both ancient and contemporary, are that virtue is knowledge and that this knowledge is a kind of moral sensitivity that is best understood on the model of perception. On this account, the virtuous agent perceives moral goodness and badness in something like the way we perceive that a smiling person is happy or that a raging bull is dangerous. This is opposed to the more widely held view of moral experience, according (...) to which perception informs us only of nonmoral states of affairs; the specifically moral content of the experience, on this view, comes either from distinct pro or con attitudes toward those states of affairs or from general principles that we apply... (shrink)

This article addresses gender differences in laughter and smiling from an evolutionary perspective. Laughter and smiling can be responses to successful display behavior or signals of affiliation amongst conversational partners—differing social and evolutionary agendas mean there are different motivations when interpreting these signals. Two experiments assess perceptions of genuine and simulated male and female laughter and amusement social signals. Results show male simulation can always be distinguished. Female simulation is more complicated as males seem to distinguish cues of simulation (...) yet judge simulated signals to be genuine. Females judge other female’s genuine signals to have higher levels of simulation. Results highlight the importance of laughter and smiling in human interactions, use of dynamic stimuli, and using multiple methodologies to assess perception. (shrink)

This article examines whether cosmetic interventions by dentists and plastic surgeons are medically indicated and, hence, qualify as medical interventions proper. Cosmetic interventions (and the business strategies used to market them) are often frowned upon by dentists and physicians. However, if those interventions do not qualify as medical interventions proper, they should not be evaluated using medical-ethical norms. On the other hand, if they are to be considered medical practice proper, the medical-ethical principles of nonmaleficence, beneficence, justice and others hold (...) true for cosmetic interventions as much as they do for other medical and dental interventions. It is concluded that most cosmetic interventions do not qualify as medical interventions proper because they do not restore or maintain the patient's health (defined as the patient's integrity) by any objective standards. Rather, cosmetic interventions are intended to enhance a person's physical appearance; more specifically, they intend to fulfill the client's subjective perception of an enhanced appearance. (shrink)

Three studies were conducted to assess prevalent stereotypes regarding men's and women's emotional expressivity as well as self-perceptions of their emotional behaviour. Emotion profiles were employed to assess both modal emotional reactions and secondary emotional reactions to hypothetical events and personal experiences. In Study 1 we asked how men and women in general would react to a series of hypothetical emotional events. In Study 2 we asked how participants themselves expected to react to these same situations and in Study (...) 3 we asked participants to report a personal emotional event in narrative form. Two gender differences emerged across all three studies. Specifically, women were expected to be more likely to react with sadness to negative emotion-eliciting events in general. They also expected themselves to be more likely to react with sadness as well as to cry and to withdraw more when experiencing negative emotional events. Finally, women report more sadness when describing personal events. In contrast, men were expected to react with more happiness/serenity during negative emotional situations. Also, they expect themselves to react more frequently this way as well as to laugh and smile more and to be more relaxed in negative situations. Finally, men tend to report more happiness when describing negative personal events. In sum, the present study gives a more detailed portrayal of how men and women are expected and expect themselves to react to specific emotional situations and presents some evidence that these expectations may influence the way they reconstruct emotional events from their past. (shrink)

Jaakko Hintikka proposed treating objectual perception sentences, such as “Alice sees Bob,” as de re propositional perception sentences. Esa Saarinen extended Hintikka’s idea to eventive perception sentences, such as “Alice sees Bob smile.” These approaches, elegant as they may be, are not philosophically neutral, for they presuppose, controversially, that the content of all perceptual experiences is propositional in nature. The aim of this paper is to propose a formal treatment of objectual and eventive perception sentences that builds on Hintikka’s (...) modal approach to propositional attitude ascriptions while avoiding controversial assumptions on the nature of perceptual experiences. Despite being simple and theoretically frugal, our approach is powerful enough to express a variety of interesting philosophical views about propositional, objectual, and eventive perception sentences, thus enabling the study of their inferential relationships. (shrink)

The SIMS model claims that it is by means of an embodied simulation that we determine the meaning of an observed smile. This suggests that crucial interpretative work is done in the mapping that takes us from a perceived smile to the activation of one's own facial musculature. How is this mapping achieved? Might it depend upon a prior interpretation arrived at on the basis of perceptual and contextual information?

According to the Perceptual Analysis of Emotional Expression, behaviors express emotions by making them perceptually manifest. A smile is an expression of joy because an observer who sees a smile can see joy. A pout is an expression of grief because an observer who sees a pout can see grief. And a growl is an expression of anger because an observer who hears a growl can hear anger. The idea is not simply that expressions can enable the perception (...) of emotion, but that expressions essentially do so. In the course of defending this analysis against challenges, I develop a novel account of the relationship between language and expression. (shrink)

The embodied simulation of smiles involves motor activity that often changes the perceivers' own emotional experience (e.g., smiling can make us feel happy). Although Niedenthal et al. mention this possibility, the psychological processes by which embodiment changes emotions and their consequences for processing other emotions are not discussed in the target article's review. We argue that understanding the processes initiated by embodiment is important for a complete understanding of the effects of embodiment on emotion perception.

Have you ever noticed that in watch advertisements the time is usually set at 10:10? The reasons and psychological effects of this default time setting are elusive. In Experiment 1, we hypothesized that watches showing a time setting resembling a smiling face (10:10) would enhance emotional valence and intention to buy compared to a neutral time setting (11:30), whereas a time setting resembling a sad face (8:20) would have the opposite effect. Moreover, we investigated a possible interaction effect with the (...) gender of the participants. In Experiment 2, we directly tested the hypotheses that watches set at 10:10 resemble a smiling face, whereas watches set at 8:20 resemble a sad face. The data of the first experiment reveal that watches set at 10:10 showed a significant positive effect on the emotion of the observer and the intention to buy. However, watches set at 8:20 did not show any effect on the emotion or the intention to buy. Moreover, watches set at 10:10 induced in women significantly stronger ratings of pleasure than in men. The data of the second experiment show that participants consistently perceive high resemblance between watches set at 10:10 and a smiling face as well as high resemblance between watches set at 8:20 and a sad face. This study provides for the first time empirical evidence for the notion that using watches with a time setting resembling a smiling face (like 10:10) can positively affect the emotional response of the observers and their evaluation of a seen watch, even though they are not aware of the fact that the shown time setting is inducing this effect. Practical implications of the observed findings and alternative explanations are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:94. THE HUME LITERATURE FOR 1976 A fairly complete coverage of the recent Hume literature up to 1970 is available in my booklet, A Hume Bibliography from 1930 (York, 1971; obtainable direct from the author, post free, on payment of jé 1.25 within the U.K., c^3.00 or $8.00 elsewhere). Coverage up to 1975 is obtained when this is combined with the addenda and supplement published in the Philosophical Quarterly (...) in January 1976. What follows here will bring the record up to the end of 1976. Readers are invited to inform me of any omissions. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography covering the previous year. In a forthcoming book (Edinburgh University Press; probable title, Fifty Years of Hume Scholarship) I have tried to provide all that the student of Hume needs as a guide to the secondary literature: an introductory essay on the development of Hume scholarship up to the present time, thorough coverage of the Hume literature from 1925 to 19 76, with indexing by author, language, and subject, and also a list of the main writings on Hume earlier this century. The following abbreviations of journal titles have been used: APQ American Philosophical Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Aristotelian Society PB Philosophical Books PBA Proceedings of the British Academy PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie 95. RM Review of Metaphysics TLS Times Literary Supplement Other abbreviations should be obvious. ALEJANDRO, de, J. M. 'El atomismo gnoseologico de David Hume (1711-1776)', Pensamiento 32, 383-403. ANDERSON, R. F. 'The Location, Extension, Shape, and Size of Hume's Perceptions', in Livingston & King (see below), 153-71. ARDAL, P. S. 'Some Implications of the Virtue of Reasonableness in Hume's Treatise', in Livingston & King, 91-106. ARDLEY, G. 'Hume's Common Sense Critics', RIP 30, 104-2 5. ATKINSON, R. F. 'Hume on the Standard of Morals', in Merrill & Shahan (see below), 25-44. BAGOLINI, L. David Hume e Adam Smith: Elementi per una ricerca di filosofia giuridica e politica. Bologna. BAYLES, M. D. 'Hume on Blame and Excuse', Hume Studies 2, 17-35. BEANBLOSSOM, R. E. 1A New Foundation for Humean Scepticism1, Phil. Studies 29, 207-10. BEAUCHAMP, T. L. 'An Analysis of Hume's Essay "On Suicide"', RM 30, 73-95. BERfIAN, D. "David Hume on the 1641 Rebellion in Ireland', Studies: a Quarterly Review 65, 101-102. BIRO, J. I. 'Hume on Self-Identity and Memory", RM 30, 19-38. BJELKE, J. F. 'Wirklichkeitserkenntnis und Wirklichkeitsimagination bei Hume', Archiv für Geschichte der Phil. 58, 23-39. BOATRIGHT, J. R. 'Hume's Account of Moral Sentiment", RIP 30, 79-90. BOSSERT, P. J. "Hume and Husserl on Time and Time-Consciousness ", J. Br. Soc. Phenomenol. 7, 44-52. 96. BURNS, S. "The Humean Female", Dialogue 15, 415-2 4. [425-40.] BUTLER, R. J. ' Distinctiones Rationis, or the Cheshire Cat which left its smile behind it", PAS 76, 165-76. BUTLER, R. J. 'Hume's Impressions', in Royal Inst, of Phil. Lectures, Vol. 9, 122-36. CAPALDI, N. 'Hume's Theory of the Passions', in Livingston & King, 172-90. CHERRY, C. 'Nature, artifice and moral approbation", PAS 76, 265-82. COHEN, R. 'The Rationale of Hume's Literary Inquiries', in Merrill & Shahan, 97-115. COLVER, A. W. David Hume, The Natural History of Religion and PRICE, J. V. David Hume, Dialogues concerning Natural Religion. Oxford. [PB_ 18 (1977), 49-54. ] COURTENAY, W. J. et al. Ockham, Descartes, and Hume: Self-Knowledge, Substance, and Causality. Madison, Wis. CONNON, R. W. 'Some Hume MS Alterations on a Copy of the Abstract', JHP 14, 353-6. DAVIDSON, D. 'Hume's cognitive theory of pride', JP- 73, 744-57. DAVIE, W. 'Hume's Catalog of Virtue and Vice', in Merrill & Shahan, 45-57. DERATHÉ, R. 'L'obligation politique selon Hume', RIP 30, 91-103. ESPOSITO, J. L. 'Hume and the Transcendental Idealists', Southern J. Phil. 14, 431-42. FALK, W. D. 'Hume on Is and Ought', Canadian J... (shrink)

The aims of this study were to examine the effectiveness of a range of smartphone apps for managing symptoms of anxiety and depression and to assess the utility of a single-case research design for enhancing the evidence base for this mode of treatment delivery. The study was serendipitously impacted by the COVID-19 pandemic, which allowed for effectiveness to be additionally observed in the context of significant community distress. A pilot study was initially conducted using theSuperBetter app to evaluate the proposed (...) methodology, which proved successful with the four finishing participants. In the main study, 39 participants commenced, with 29 finishing the intervention phase and completing post-intervention measures. At 6-month follow-up, a further three participants could not be contacted. This study used a digitally enhanced, multiple baseline across-individuals single-case research design. Participants were randomly assigned to the following apps:SuperBetter,Smiling Mind,MoodMission,MindShift, andDestressify. Symptomatology and life functioning were measured at five different time points: pre-baseline/screening, baseline, intervention, 3-week post-intervention, and 6-month follow-up. Detailed individual perceptions and subjective ratings of the apps were also obtained from participants following the study’s completion. Data were analyzed using visual inspection, time-series analysis, and methods of statistical and clinical significance. Positive results were observed for all apps. Overall, more favorable outcomes were achieved by younger participants, those concurrently undertaking psychotherapy and/or psychotropic medication, those with anxiety and mixed anxiety and depression rather than stand-alone depression, and those with a shorter history of mental illness. Outcomes were generally maintained at 6-month follow-up. It was concluded that a diverse range of evidence-based therapies offered via apps can be effective in managing mental health and improving life functioning even during times of significant global unrest and, like all psychotherapies, are influenced by client features. Additionally, this single-case research design is a low-cost/high value means of assessing the effectiveness of mental health apps.Clinical Trial Registration: The study is registered with the Australian and New Zealand Clinical Trials Registry, which is a primary registry in the World Health Organization Registry Network, registration number ACTRN12619001302145p. (shrink)

This essay explores the earth-based woman-centered paganism found in Alice Walker's womanist writings. It argues that Walker's visionary landscape is influenced by indigenous spirituality and woman-centered Goddess beliefs which place humans in a sacred web of life that includes plants, animals, elemental forces, the earth, the cosmos, and the living and the dead. In this landscape, humans are not stewards of creation, but members of the whole. A review of several of her visionary novels— including The Temple of My Familiar, (...) By the Light of My Father's Smile and The Color Purple—suggest that Walker links women's erotic freedom, social and cultural liberation, and sexual and spiritual redemption. She rejects dualistic notions which oppose spirituality and sexuality, and through characters who embody transgressive sexuality, she suggests that a fully enjoyed and empowered female sexuality is a gateway to the perception of the divine as well as a path to healing, self-love and authenticity. A self-declared pagan, her holistic framework integrates the personal, sexual, spiritual, and cosmic with the needs of the earth and all sentient life. (shrink)

Based on sensory integration theory, six fabric samples containing tactile and visual stimuli were selected using the sensory perceptions of designers and combined with balls. Experiments involving these toys were implemented with 15 families with preschool-aged high-functioning autistic children. The results showed that loose sequin, which possessed equal tactile and visual intensities, was strongly correlated with frequent smiling/laughing and high enjoyment levels. The fabric provided a loose tactile sensation regarding surface interweave uniformity and a bright visual sensation regarding visually (...) perceived luster; suede exhibited a greater tactile intensity than visual intensity and was correlated with eye contact and activity response. This fabric possessed a smooth visual sensation regarding visually perceived smoothness; and loose sequin, which possessed equal tactile and visual intensities, was highly correlated with finger pointing and initiation. This fabric offered a thin tactile sensation regarding surface interweave thickness and a bright visual sensation regarding visually perceived luster. We suggest applying fabrics to composite toys. Specifically, loose sequin can be used initially to encourage autistic children to interact; subsequently, suede can enable sustained parent-child interaction. The experimental results provide a reference for establishing an innovative toy-design method for autistic children. Keywords: autism; sensory integration theory; parent-child interaction; toys. (shrink)

Most of us have grown up with faces on television that look back at us, talk to us, even whenwe ignore them. They smile at us, and seem to address us personally. But they cannot seeor hear us, and we may or may not know who they are. Increasingly, in societies wherescreens are prevalent , our encounters with fellow humanbeings are mediated in ways such as this. Has the ubiquitous intervention of screens in ourlives thus made it harder to (...) understand and communicate directly with one another? Or,have screens extended our capacity to empathise and ‘socialise’, bringing us face-to-facewith people and points of view that we otherwise would never have encountered? In thisessay, I examine the idea that cinematic perception enables us to see the social world froma radically different perspective, and that an experience of this perspective may in itself beethical. I focus on the use of ‘direct address’, and discuss two documentaries by Errol Morriswhere the technique of direct address is used in ways that complicate ideas of mediationand empathy: Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. and The Fog of War:Eleven Lessons from the Life of Robert S. McNamara . I also draw on the philosophyof Emmanuel Levinas, particularly his work on ethics and the face, to analyse the effects ofMorris’s techniques. The essay highlights the importance of responsibility in human communication, and maintains that by reflecting on the viewing situation we are betterpositioned to empathise with Morris’s controversial subjects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE GREAT GATSBY: ROMANCE OR HOLOCAUST? Thomas J. Cousineau Washington College In an otherwise appreciative response to The Great Gatsby, H. L. Mencken expressed a reservation about the plot ofthe novel, which he characterized as "no more than a glorified anecdote" (Claridge 156). Writing to Edmund Wilson, Fitzgerald suggested, in turn, that what Mencken did not find in Gatsby was "any emotional backbone at the very height of it" (...) (Turnbull 342). Critics ofthe novel, however, have tended to overlook the self-evident fact that the novel's ostensible emotional center—the reunion between Gatsby and Daisy—does not possess sufficient significance to justify the classic status that has been largely accorded to Fitzgerald's novel. We need only remember Daisy's effusive appreciation ofGatsby's "beautiful shirts," or the even more telling detail that the truly "romantic" moments in Daisy and Gatsby's relationship all occurred several years earlier in Louisville and that the period of the reunion is scarcely mentioned in the novel to convince ourselves that the putative grandeur of Gatsby's dream does not adequately account for the novel's power or its lasting significance. Reading Gatsby as a novel about its hero's dream makes of it, in fact, a precarious literary achievement, one whose numerous absurdities were perceptively delineated by the English novelist L.P. Hartley, who admired Fitzgerald's literary gifts but thought that he had squandered them in Gatsby. In a 1926 review of the novel, Hartley offered the following summary of its plot: An adventurer of shady antecedents builds a palace at a New York seaside resort, entertains on a scale which Lucullus would have marveled at but could not have approved, and spends untold sums ofmoney, all to 22Thomas J. Cousineau catch the eye ofhis one time sweetheart, who lives on an island opposite, unhappily but very successfully married. At last, after superhuman feats ofostentation and display, the fly walks into the web. A train ofdisasters follows, comparable in quantity and quality with the scale ofthe Great Gatsby's prodigies of hospitality. Coincidence leaps to the helm and throws a mistress under a motor-car. The car does not stop, which, all things considered, is the most natural thing that happens in the book. An injured husband finds the Great Gatsby in suicidal mood sitting on a raft in his artificial lake and (apparently) forestalls him; anyhowthey are both discovered dead. The elder Gatsby is unearthed and gives a pathetic account ofhis son's early years. All the characters behave as though they were entitled to grieve over a great sorrow, and the book closes with the airs oftragedy. (Claridge 178) Minor inaccuracies aside, this must be among the most cogent, disabused responses that the plot of The Great Gatsby has ever received. It is such a welcome antidote to the reams of interpretation ofthe novel produced by critics who, dutifully aping Nick Carraway in this respect, have allowed their conviction as to Gatsby's "greatness" to be matched only by their equally adamant certainty as to the moral tawdriness of Tom and Daisy Buchanan. As Hartley's exasperated summary reminds us, The Great Gatsby, read as the account ofthe eponymous hero's dream, simply cannot support the weight of morally serious interpretation that it would like to invite or that so many ofits critics, in their turn, would like to bestow upon it.1 Nor do we move any closer to appreciating the greatness of Gatsby by shiftingourattention tothe growth in moral awareness thatcountless critics have attributed toNick Carraway, whose self-evaluation as "one ofthe few honest people that I have ever known" (64) should in itself arouse our suspicions.2 As we shall see, the fruits ofNick's presumed moral education The seemingly indestructible resistance to Hartley's lucidity that has been displayed by the great majority ofthe novel's critics may be observed in the chapter that Jeffrey Hart devotes to Gatsby in his recently published Smiling Through the Cultural Catastrophe. Arguing that "magical transformation" is the novel's true subject (230), Hart credits Nick with achieving an "epiphany" whereby he recognizes Gatsby's superiority to "the whole damn bunch put together" (238) and concludes that the larger... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMESIS AND EMPATHY IN HUMAN BIOLOGY William B. Hurlbut, M.D. Stanford University Thou shalt not avenge, nor bear any grudge against the children of thy people, but thou shalt love thy neighbor as thyself: I am the Lord. (Leviticus. 19:18) The light of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light. But if thine eye be evil, thy (...) whole body shall be full of darkness. If therefore the light that is in thee be darkness, how great is that darkness! (Matthew. 6:22-23) On the levels both ofcommon discourse and scientific description, the concept of empathy has found renewed popularity. Like a bridge that spans disparate realms, the idea of empathy can reconnect neurophysiology with psychology and social theory, and reestablish the grounds for a natural concept of ethics. Specifically, it can connect mimetic theory with a possible basis in biology, since empathy seems to represent an extension ofmimetic processes across the animal kingdom. For this reason, empathy/mimesis might be the grounds for a concept of ethics based on natural observation. Drawn from a German term Einfühlung, which means "feeling into," empathy carries the concept of "getting into the feelings of someone else" (deWaal 79). As a medium for the formation of meaningful bonds and William Hurlbut15 sensitive associations, the concept of empathy has taken on, in popular discourse, the somewhat sentimental notion ofsympathy. In the scientific description, however, empathy is seen as the highest human expression of a broader biological capacity for mimesis that seems inextricable from the very progress ofthe phylogenetic process. Among the earliest life forms, organisms drew information from one another to pattern and coordinate such basic biological functions as reproduction and nurture. But with the increased complexity of multicellular creatures, new means of communication arose, making possible more flexible adaptation and sociability. Gradually the direct chemical coordination suitable for collectives or swarms gave way to richer and more individual communication between organisms of higher forms of differentiation. The externally evident demarcation ofthe head region, with its organs ofsensory perception and communication, evolved in parallel with internal cerebral structures capable ofprocessing more complex impressions of the surrounding environment and coordinating greater freedom of motion. These vital powers of action and awareness in turn came to be governed, guided and integrated by an inner felt sense of need, goal or purpose. As Leon Kass says, "desire, not DNA, is the deepest principle of life" (Kass 1994, 48). This quality of "inwardness" is paralleled by an equally complex differentiation and integration of the external "look" ofthe animal. This "look," which is the literal translation of the Latin root of our word species, is the result of a genetically determined plan as important as any internal vital organ. It provides the unity of form that reveals or selectively conceals the inner life of the organism. It communicates and coordinates vital information regarding sexual and other social interactions. This upward process ofcomplex integrated organization of the "inner life" and the external action and presentation of selfreaches its fullest expression in the human form. Along with upright posture and its freeing ofthe hands as tools of "gnostic touching," comes a reordering of the senses and a highly flexible, furless canvas of selfpresentation we call the face (Kass 1985, 287). Upwards through mammalian evolution there is a progressive refinement of the structures of the face that facilitate active and increasingly subtle communication and penetration into the life of the other. With more than 30 finely tuned muscles of facial expression and vocal control, human beings are capable of a wide array of communicative 16 Mimesis andEmpathy expressions of emotions and intentions. Paul Ekman claims to have discerned more than 1 8 forms of smiling, each with a distinct meaning (66). With upright posture came a retraction ofthe snout and bilateral stereoscopic vision. Sight replaced smell as the prominent sense. Whereas smell required direct chemical contact, and sound gave formless information, sight gave a knowing and accurate encounter with the form and unity ofwholes. Sight allowed rapid perception ofobjects and actions at distant horizons. The detached beholding of sight allowed a deeper and more accurate apprehension of... (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In The Christian Idea of Man Josef Pieper brings off an extraordinary feat. He acknowledges that whoever introduces the theme of "virtue" and "the virtues" can expect to be met with a smile - of various shades of condescension. He then proceeds to single out "prudence" as the fundamental virtue on which the other cardinal virtues are based. In defining it, he does away with the shallow connotations which have debased it in modern times. Similarly, he manages to divest (...) it of all traces of "moralism," which, to a large extent has become identified with the Christian idea of virtue and has made it fall into general disrepute. For Pieper, prudence is fundamentally based on a clear perception of reality - of things as they are - and the prudent person is the one who acts in accordance with this perception. It has nothing to do with knowing how to avoid decisions which might be to one's disadvantage. Similarly, justice, which is based on prudence, involves acting toward other persons according to one's perception of the truth of the circumstances - again, a perception of things "as they are." This is not a reference to any "status quo," but to the reality as constituted by the Creator. In referring to courage [fortitude], Pieper discusses the overcoming of fear. This does not imply having no fear but, precisely, overcoming it. With regard to the fundamental fear of death, Pieper rejects the approaches which contend that there is nothing to fear in death. On the contrary, there is everything to fear in death: it concerns the question of possible absolute annihilation! Here Pieper introduces the consideration of the "theological" virtues of faith, hope, and love [charity]. When confronted with the question of possible annihilation, the Christian's faith is paramount. Belief in God lets him confront danger and overcome even the most radical fear - through hope in God. His love of God does not wipe out fear but gives him courage. Moderation is seen as the last in the hierarchy of the cardinal virtues. Through its manifestation, in recent Christian thinking, with chastity and abstinence, it became in the Christian mind the most prominent characteristic of the Christian idea of man and one that dominated everything else. It has been reduced to the status of the most private of the virtues and is combined with a moralistic conception of the good. Pieper's analysis of moderation shows how this virtue needs to be rethought, although, even then, it will remain the last in the hierarchy of virtues. (shrink)

Based on sensory integration theory, six fabric samples containing tactile and visual stimuli were selected using the sensory perceptions of designers and combined with balls. Experiments involving these toys were implemented with 15 families with preschool-aged high-functioning autistic children. The results showed that loose sequin , which possessed equal tactile and visual intensities, was strongly correlated with frequent smiling/laughing and high enjoyment levels. The fabric provided a loose tactile sensation regarding surface interweave uniformity and a bright visual sensation regarding (...) visually perceived luster; suede exhibited a greater tactile intensity than visual intensity and was correlated with eye contact and activity response. This fabric possessed a smooth visual sensation regarding visually perceived smoothness; and loose sequin , which possessed equal tactile and visual intensities, was highly correlated with finger pointing and initiation. This fabric offered a thin tactile sensation regarding surface interweave thickness and a bright visual sensation regarding visually perceived luster. We suggest applying fabrics to composite toys. Specifically, loose sequin can be used initially to encourage autistic children to interact; subsequently, suede can enable sustained parent-child interaction. The experimental results provide a reference for establishing an innovative toy-design method for autistic children. Keywords: autism; sensory integration theory; parent-child interaction; toys. (shrink)

First paragraph: In the 1980s I went through a phase of writing limericks during idle moments when I lacked something to read. The result was a set of 27 limericks about cybernetics (Umpleby 1992). I occasionally use the limericks in class to restate a theoretical point. Limericks bring a smile and demonstrate that cybernetics can be approached in a variety of ways. Below are three limericks from this collection. The last was written by Ernst von Glasersfeld. It seems Ernst (...) believed that I was overly concerned with "reality" as opposed to perception, or at least that I had not captured the point that he was trying to make. (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)

Author Samuel Smiles coined the phrase self-help with this bestseller, originally published in 1859. Smiles envisions a world in which the lowliest members of a community can reach the heights of society through merit and hard work. A firm believer in the value of sustained effort, he emphasizes the pleasure of engaging in self-improvement for its own sake rather than strictly as a means to worldly advancement. The capacity of work well done to ennoble the life of any man, however (...) humble, is Smiles' main thesis, illustrated with examples of wisdom gleaned from the biographies of notable self-starters. Written at the close of the Industrial Revolution, this book was influenced by the technological advances of the previous century, in which new manufacturing processes and scientific advances enabled greater accomplishments by determined, hard-working individuals. Citing incidents from the lives of prominent inventors and entrepreneurs, Smiles exhorts readers to draw upon their internal resources to get ahead in the world. The book celebrates the traits of perseverance and ingenuity, advocating in self-belief despite hardships and failures, with many illustrations of the value of patience and optimism. The founding work of the self-help movement, this volume retains the capacity to inspire."-- Provided by publisher. (shrink)

This book has been written in the hopes of equipping teachers-in-training—that is, teacher candidates—with the skills needed for action research: a process that leads to focused, effective, and responsive strategies that help students succeed.

Using the classroom as the unit of analyses, the current article discusses the methodological issues surrounding the literature with regard to the study of academic misconduct. Arguing for a shift in research, the present empirical investigation assesses the relationship between students' perceptions of classroom environment and academic misconduct by utilizing valid and reliable multidimensional measures with established constructs. By utilizing the classroom as the unit of analysis, a better understanding of the unique variance in academic dishonesty across classes may (...) be established in relation to variation in students' perceptions of teaching practices. One hundred twenty-eight classes participated in the current study, with 3,151 students completing the Students' Perceptions of Teacher Effectiveness survey and Academic Misconduct Survey. Although students' overall perceptions of teacher effectiveness were not related to the rate of academic misconduct across classes, results do suggest that the lower the difficulty and workload of the course is perceived as being, the more likely students report cheating on exams, taking credit for others' work, using false personal excuses, and creatively padding their work. Reasons for these relationships are explicated, and suggestions for future research are discussed. (shrink)

Consensual sexual relationships between faculty and students at universities are a growing issue for administrators. Often times, administrators view these relationships as potential sexual harassment cases given the power disparities that often exist between the parties involved. Therefore, many universities have written policies essentially equating CSRs to sexual harassment. Despite the recent growth of these policies, how faculty compare CSRs and sexual harassment is often overlooked, particularly as it relates to perceived power differentials. The current study examined responses from 166 (...) faculty members to explore these perceptions. Results indicate faculty had varying opinions, depending on previous experience with CSRs and beliefs around power differentials. These findings contribute to previous literature which indicates there is rampant ambiguity and subjectivity when defining and handling CSRs on campus. (shrink)