The research question addressed in this paper is: How do the activities of writing mediate knowledge of writing, disciplinary knowledge, and professional knowledge as intertwined sites of learning? To conceptualise the role that writing can take in these complex processes, we apply an analytical framework comprising two core concepts; mediation and learning trajectories. We draw on an empirical study from the context of initial teacher education in Norway. From our analysis, we identify three qualities of writing as important. First, the (...) writing process should in- clude responding to and sharing drafts. Other important qualities include high teacher expectations and continuous reflection. From the perspective adopted here, learning is understood to be distributed and situated. In particular, in situated cultural contexts, collaborative writing can become a significant mediational tool for learning. Initial teacher education seeks to prepare the student teacher for a highly complex professional competency, developing both professionally and in individual subjects. To do so, students must transform social structures and the tools embedded in practices into psychological tools. We contend that writing is one significant tool in moving through complex trajectories of learning towards becoming professional teachers. (shrink)

This article explores the activity of writing in higher education as a mediational means for student meaning making. From a dialogic perspective, writing is not about learning and applying formulas and making fixed kinds of texts, but about ways of working and ways of acting that brings writers, readers, resources and contexts into trajectories. The argument is that processes of writing enhance student meaning making and that these processes are formed by complex interaction. Contextual interpretation and use of mediational means (...) is constituted in social systems of activities that depend on and promote particular kinds of texts. We need insights in contextual trajectories to understand the relationship between writing and student meaning making . Empirically, I draw on a study investigating portfolio writing as a pedagogical tool in a nursing program in Norway. The rationale of the study was an identified need for information about how processes of writing develop, how texts come into being and how institutional tasks of writing are being unpacked. The aim of the paper is to explore a dialogical approach to the activity of writing and to discuss possible methodological implications from the theoretical framework. The empirical study is used as an illustration. (shrink)

As we experience and manipulate time—be it as boredom or impatience—it becomes an object: something materialized and social, something that affects perception, or something that may motivate reconsideration and change. The editors and contributors to this important new book, _Ethnographies of Youth and Temporality, _have provided a diverse collection of ethnographic studies and theoretical explorations of youth experiencing time in a variety of contemporary socio-cultural settings. The essays in this volume focus on time as an external and often troubling factor (...) in young people’s lives, and shows how emotional unrest and violence but also creativity and hope are responses to troubling times. The chapters discuss notions of time and its and its “objectification” in diverse locales including the Georgian Republic, Brazil, Denmark and Uganda. Based on long-term ethnographic fieldwork, the essays in _Ethnographies of Youth and Temporality_ use youth as a prism to understand time and its subjective experience. In the series _Global Youth_, edited by Craig Jeffrey and Jane Dyson. (shrink)

The primary question addressed in this article is how to understand and produce praxis development in the complex and contentious field of street communities of young marginalized men, an area highlighted almost on a daily basis in the Danish media under headlines with terms such as ‘foreigner problems’, ‘ghetto problems’, ‘gang conflicts’ and ‘gang war’. Since 2009, activists and professionals related to this field have gathered at Grundtvigs Højskole where they initiated and inspired community building activities in relation to the (...) recent gang conflicts in the Copenhagen area of Denmark. The article explores these practices and changes, including some of the communal initiatives arising in response to the escalating gang conflicts. The conflict and community building activities are contextualized in terms of broader tendencies and changes in Danish society, from enduring struggles with ethnic othering of young minority men since the late 1990s, to other societal changes escalating ‘gang-conflicts’ to ‘gang-war’. The article examines how these changes produce new dynamics, tensions and dimensions of binary thinking, which in turn creates new dilemmas in the everyday lives of the people involved in social work practice, community building activities and praxis research. (shrink)

ABSTRACTCharles U. Zug, following Jeffrey Tulis’s The Rhetorical Presidency, argues that the original design of the Constitution constrained presidents from cultivating a relationship with the American public. In reality, though, presidents are opportunistic politicians who always look for new ways to reach the public in order to gain political advantage and nurture their relationship with the people. In this effort they have often made use of new communication technologies, such that what may look like radical twentieth-century departures from previous understandings (...) of the constitutional place of the president are actually continuous with attempts by presidents from Washington forward to engage in what was—in line with contemporaneous understandings of political issues—persuasive communication designed to influence public policy. (shrink)

Schizophrenia is associated with a series of visual perception impairments, which might impact on the patients’ every day life and be related to clinical symptoms. However, the heterogeneity of the visual disorders make it a challenge to understand both the mechanisms and the consequences of these impairments, i.e., the way patients experience the outer world. Based on earlier psychiatry literature, we argue that issues regarding time might shed a new light on the disorders observed in patients with schizophrenia.We will briefly (...) review the mechanisms involved in the sense of time continuity and clinical evidence that they are impaired in patients with schizophrenia.We will then summarize a recent experimental approach regarding the coding of time-event structure in time, namely the ability to discriminate between simultaneous and asynchronous events. The use of an original method of analysis allowed us to distinguish between explicit and implicit judgments of synchrony.We showed that for SOAs below 20ms neither patients nor controls fuse events in time. On the contrary subjects distinguish events at an implicit level even when judging them as synchronous. In addition, the implicit responses of patients and controls differ qualitatively. It is as if controls always put more weight on the last occurred event, whereas patients have a difficulty to follow events in time at an implicit level. In patients, there is a clear dissociation between results at short and large asynchronies, that suggest selective mechanisms for the implicit coding of time-event structure. These results might explain the disruption of the sense of time continuity in patients.We argue that this line of research might also help us to better understand the mechanisms of the visual impairments in patients and how they see their environment. (shrink)

I outline a discourse-based account of presuppositions that relies on insights from the writings of Peter Strawson, as well as on insights from more recent work by Robert Stalnaker and Barbara Abbott. One of the key elements of my account is the idea that presuppositions are “assertorically inert”, in the sense that they are background propositions, rather than being part of the “at issue” or asserted content. Strawson is often assumed to have defended the view that the falsity of a (...) presupposition leads to catastrophe, in the sense that a false presupposition “wrecks the assertive enterprise”. I argue that the discourse-based account in terms of assertoric inertia can explain how cases of presupposition failure can sometimes be non-catastrophic; there are cases in which the assertive enterprise operates smoothly, despite presupposition failure. The chief problem facing this line of argument is to account for cases in which presupposition failure is catastrophic. If presuppositions are assertorically inert, then how can their falsity ever wreck the assertive enterprise? I offer a principled account that delineates the circumstances in which false presuppositions are, and those in which they are not, catastrophic. (shrink)

This paper proposes an approach to the question of meaning and understanding based on the idea of constitutive rules and their relationship to the social objects they are used to create. This approach implicates mutual attention as an essential aspect of the social processes constitutive of social objects and mutual intelligibility. Social objects as such include the meaning, perception and coherence of things, identities and talk, etc. There is a relatively unexplored but important line of argument in sociology that (...) has, from the beginning, explained the coherence and mutual intelligibility of social objects and associations in terms of constitutive practices and social facts. This line of argument begins with Emile Durkheim (1893) and carries through the work of Harold Garfinkel to current studies of work and interaction, human computer interaction and talk. The argument is that we use constitutive practices (Constitutive rules or constitutive background expectancies) to create social objects and make coherent and shared meanings. To act is in this sense for Garfinkel ([1948]2006) to “mean”. Explaining the consistency of social objects and orders in terms of constitutive orders, rules, or practices is an approach that meets the challenges posed to social science and philosophy by Ludwig Wittgenstein (1953), Peter Winch (1958) and Paul Grice (1989). (shrink)

The quintessence of Byzantine faith is the twofold identification of the God-Man. Yet, the image of God Jesus Christ and the transcendent Trinity is a one-God concept. Inevitability, I argue Byzantine aesthetics had to recognize God as both anthropomorphous and divine. Since, omission of God’s divinity would verify God as divisible. In line with apophatic theology, Byzantine aesthetics used non-categorizations and non-identifications, what I denominate meta-images, to teach about God’s divinity and that God is. Since 'holy' equals right manner (...) and right teaching about God , anything else would have been heresy. The desired effect of salvation would come to naught if the image did not concur with 'right opinion' . Contemplation and imitation as well as communion with God depend on aesthetics 'of right belief' . God is Beauty and God is Truth, and vice versa. In context of aesthetics, the idea of beauty refers to potential impetus to restore the natural image in the believer. Beauty identifies in deification , spiritual knowledge of the supreme beauty of God. Beauty does not refer to the perishable, but to the imperishable, not to physical strength and vigor, but to spiritual strength, yearning, and purity. Aesthetic approaches that help believers go beyond physical law to divine law, beyond the corporeal mundane to spiritual knowledge are good and beautiful. Interaction of narration, flattened corporeality, inverted perspectives, and meta-images such as light, brilliance, and patterned borders identifies the twofold reality of God and the historical event within and beyond time and space. This interaction of Incarnation and Grace refers to the Beauty of God, the prerequisite for salvation of humankind. (shrink)

_A mood for Philosophy_ __ _ _ _In this dialogue with Francois Laruelle Anne-Françoise Schmidt suggests that Laruelle's non-philosophy, which begins with an indecision, could be conceived as something that in the history of painting has been called figura serpentinata, "serpentine line". This line, which produces a kind of music by the use of concepts, is visible according her trough his whole work: from his first book on Ravaisson, _Phenomenon and Difference,_ through to his last one, _The (...) Last Humanity: A New Ecological Science_, published in French in 2015 and expected to appear in English in 2018._. (shrink)

In Western countries a considerable number of older people move to a residential home when their health declines. Institutionalization often results in increased dependence, inactivity and loss of identity or self-worth (dignity). This raises the moral question as to how older, institutionalized people can remain autonomous as far as continuing to live in line with their own values is concerned. Following Walker's meta-ethical framework on the assignment of responsibilities, we suggest that instead of directing all older people towards more (...) autonomy in terms of independence, professional caregivers should listen to the life narrative of older people and attempt to find out how their personal identity, relations and values in life can be continued in the new setting. If mutual normative expectations between caregivers and older people are not carefully negotiated, it creates tension. This tension is illustrated by the narrative of Mr Powell, a retired successful public servant now living in a residential home. The narrative describes his current life, his need for help, his independent frame of mind, and his encounters with institutional and professional policies. Mr Powell sees himself as a man who has always cared for himself and others, and who still feels that he has to fulfil certain duties in life. Mr Powell's story shows that he is not always understood well by caregivers who respond from a one-sided view of autonomy as independence. This leads to misunderstanding and an underestimation of his need to be noticed and involved in the residential community. (shrink)

This collection of essays, featuring a line-up of leading international scholars, argues that most work on cosmopolitanism uses a normative model, rather than fully interrogating the issue empirically, comparatively and globally.

Pindar’s songs were composed for men at play, but his poetry was political in its impulse and in its function. The men in question were rich and powerful, and their games were a display of exclusive class attributes, vicariously shared by lesser mortals who responded with gratitude and loyalty . Victories were counted as princely benefactions and laid up as city treasure like the wealth deposited in the treasuries at Delphi . Athletic victory was thus both a manifestation and an (...) enhancement of aristocratic domination, which meant that the poet who praised those who boxed and raced in pan-Hellenic games necessarily praised the social structure that depended on them.Pindar understood his political function and was proud of it—“I would consort with victors” .1 He believed in athletic contest as a model for all human life. He believed in the aristocratic system: “Inherited governance of cities lies properly with the nobility” . He believed also that praise poetry could regulate as well as laud that system, and he believed finally that such poetry was itself incorruptible. Games, song, and princely rulers were all parts of a single brilliant order, and this truth had a linguistic reflection, for the bit that tames a horse, the meter of a poetic line, and the moderation of a ruler were all called by the same name—metron. “Measure inheres in everything” . 1. All translations are my own. Anne Burnett is professor of classical languages and literature at the University of Chicago. Her most recent publications are Three Archaic Poets: Archilochus, Alcaeus, Sappho and The Art of Bacchylides . A monograph on choral poetry, with focus on the Sicilian poet Stesichorus, is forthcoming. (shrink)

Sur la couverture des albums parus aux éditions Delcourt, on peut lire « Marcel Proust, À la recherchedu temps perdu, adaptation et illustrations de Stéphane Heuet ». En affichant ainsi son rôle avec modestie,l’adaptateur-illustrateur réussit à faire endosser à Proust la paternité littéraire d’une BD , ce qui n’est pas rien. Comble d’ironie ou de provocation, la Recherche illustrée par Heuet,c’est Tintin au pays des Guermantes. Dans les cases rectangulaires d’un strip standard au graphisme résolument« ligne claire », ceux qui (...) aiment la phrase proustienne en ses méandres, avec sa lecture au lentcours, découvrent une ligne TGV : Un amour de Swann en deux albums de 517 dessins, au lieu des200 pages en Pléiade. Cette alliance contre-nature est dénoncée par certains défenseurs de la littératurequi y voient une dénaturation de l’oeuvre et par des amoureux de la BD d’auteur qui déplorent une BDsans audace graphique. L’objet de cet article est de répondre à ces deux objections.On the cover of an album series published by Delcourt is written “Marcel Proust, À la recherche du tempsperdu, adaptation and illustrations by Stéphane Heuet”. With such an unassuming announcement of his role,the adaptor-illustrator manages to ascribe the literary paternity of a comic strip to Proust himself, which is no mean feat. And as a final irony or provocation, the “Recherche du temps perdu” illustrated by Heuet becomes “Tintin in the Land of the Guermantes”. As they peruse the rectangularframes of a classic comic strip with their “clear line” graphic style, those who enjoy a leisurely ramblethrough Proust’s meandering paragraphs may well find themselves aboard a high-speed train at full throttle:“Un amour de Swann” in two albums and 517 drawings, instead of 200 pages from the publisher Pléiade. Thisunnatural alliance has been denounced by advocates of literature as a travesty of Proust’s work, and bydevotees of authored comic strips as a work devoid of graphic boldness. This article sets out to answer both ofthese objections. (shrink)

Because of the transfer of responsibility from hospitals to community-based settings, providers in home-based care have more responsibilities and a wider range of tasks and responsibilities than before, often with limited resources. The increased responsibilities and the complexity of tasks and patient groups may lead to several ethical challenges. A systematic search in the databases MEDLINE, CINAHL, and SveMed+ was carried out in February 2019 and August 2020. The research question was translated into a modified PICO worksheet. A total of (...) 40 articles were included. The review is conducted according to the Vancouver Protocol. The main findings from the systematic literature review show that ethical challenges experienced by healthcare and social care providers in home-based care are related to autonomy and balancing ethical principles, decisions regarding intensity of care, challenges related to priority settings, truth-telling, and balancing the professional role. Findings regarding ethical challenges within home-based care are in line with findings from institutional healthcare and social care settings. However, some significant differences from the institutional context are also highlighted. (shrink)

This article examines how participants coordinate concurrent activities in hair salon interactions and during driving lessons. In both settings, participants devote considerable time to chatting about mundane topics. This sort of conversation has traditionally been studied as an instance of small talk. The first part of the article retraces the epistemological origins of this notion. The analytical section shows how an analysis based on talk alone may lead researchers to distinguish small talk from task-directed talk, in line with previous (...) studies. The subsequent analysis of the participants’ multimodal conduct reveals that what we call mundane talk is a social activity that participants coordinate with multiple other co-occurring courses of action. The article subsequently zeroes in on task-directed first pair parts and shows how, on occasion, participants prioritize certain activities over others. The analyses draw on video data of interactions that have taken place in French and Italian and are carried out with conversation analytic methods. (shrink)

Terrorist violence is often condemned for targeting innocents or non-combatants. There are two objections to this line of argument. First, one may doubt that terrorism is necessarily directed against innocents or non-combatants. However, I will focus on the second objection, according to which there may be exceptions from the prohibition against killing the innocent. In my article I will elaborate whether lethal terrorism against innocents can be justified in a supreme emergency. Starting from a critique of Michael Walzer’s account (...) of supreme emergency, I will argue that the supreme emergency exemption justifies the resort to terrorism against innocents to avert moral disasters such as genocide and ethnic cleansing, provided that the criteria of last resort, proportionality and public declaration are satisfied. (shrink)

Brussen, Kerri Anne Ethically compromised vaccines are vaccines where the virus used in the manufacture of the vaccine has been cultured in a cell line developed from tissue grown from an aborted foetus. In Australia, an ethically compromised vaccine is the only vaccine available for Chicken pox (varicella), shingles (zoster), Hepatitis A, and Rubella (which is part of the MMR - measles, mumps, rubella - vaccine). The poliovirus vaccine component of Quadracel, available in Western Australia, is ethically compromised. (...) However, the poliovirus component of Infanrix-IPV is not ethically compromised and is used in all other Australian States and Territories. The rabies vaccine, Rabipur, is not ethically compromised and is the preferred option to Merieux Inactivated Rabies Vaccine (MIRV) which is an ethically compromised vaccine. This article lists the ethically compromised vaccines available in the various Australian States and Territories, and explains why they are ethically compromised. It also explains when and why vaccination should still be accepted even when the only available vaccine is ethically compromised. (shrink)

The original version of this article unfortunately contained a mistake. On page 14 of the published PDF version of the article, first word of the first line, should read “Plagiarism incident reporting” not “Plagiarism”.

Instead of considering the question of the role of Christian women in ministry by providing a new exegesis of contested passages it is helpful to provide a new approach to the matter. This new approach is to explore the nature of New Testament prophecy. The line drawn between prophecy and teaching is not as clear as some conservatives contend, since both make use of Scripture. Women are named as prophets in the Bible and some female prophets have had their (...) words recorded as Scripture. Paul ranks prophets more highly than teachers in 1 Cor. 12.28. Therefore, if women can prophesy they can also teach. This approach provides a way of biblically affirming the full ministry of women within the Christian Church. (shrink)

Surgery is the most invasive intervention taken on behalf of health, but significant discrepancies exist between patient expectations and standard operating room practices, especially in teaching institutions. These discrepancies arise from the dual obligations of surgical faculty to present and future patients. On the one hand, in line with a patient’s autonomous election of a procedure and choice of a doctor, faculty are charged with treating patients to the utmost capacity of their knowledge and skill; on the other, in (...) support of a critical community good, they must prepare novice physicians to treat those who will require at least this level of knowledge and skill in the future. Within a broad, contrasting framework of approaches to knowledge, judgment, experience, and nature as described by Hume and Kant, this article explores the complicated concepts of trust, loyalty, assessment, and communications that presently exist between surgical patients, faculty surgeons, and surgical trainees within academic medical centers. (shrink)

From the very beginning the author tells us that he intends "to provide an introduction to the philosophical thought" of Averroes but that he has "taken the rather self-indulgent line of dealing with those aspects of his thought which interest" him "most." He then concludes that "this book is in no way an exhaustive account of" Averroes' "philosophy". After presenting briefly Averroes' cultural context, Leaman focuses on his metaphysics, including some reflections on the soul. The second part of the (...) book examines practical philosophy and the third gives a brief sketch of Averroism and of Averroes' philosophical methodology. (shrink)

Lafrance thinks that the contemporary interpretations of the simile of the Sun, of the Divided Line, and of the allegory of the Cave have led to hopeless contradictions. Still worse, these contradictions bear on a crucial and essential passage of Plato's mature thought and illustrate the failure of contemporary methods of Platonic exegesis. To present another interpretation of the same type cannot resolve these contradictions. One needs to begin anew after having carefully examined the existing interpretations to determine what (...) flaw they contain. (shrink)

Au cours des années 1970 (qui furent, dans plusieurs pays, celles de la libéralisation de Vavortement), la question du statut de Vembryon humain fut surtout débattue en termes de libertés individuelles : droit des femmes à disposer d'elles-mêmes, vs. ‘droit à la vie' du fœtus caché dans le corps de sa mère. Dans les années 1980, avec l'application des techniques de procréation ‘artificielle' au traitement de la stérilité humaine, l'accent est mis sur une responsabilité collective à l'égard de l'embryon séparé, (...) conçu en éprouvette, mis au congélateur, convoité par la recherche lorsqu'il n'est pas rendu à un utérus maternel. « Il est urgent de déterminer le degré de sa protection juridique », dit l'Assemblée parlementaire du Conseil de l'Europe (Recommandation 1046, 1986). Mais il n'existe pas de consensus sur les fondements philosophiques d'une telle protection. Le but du présent article n'est pas d'ajouter une thèse de plus à une littérature internationale déjà considérable, mais de situer les positions et arguments en présence, pour éclairer un débat qui touche, entre autres, aux sources du respect dû à la personne humaine. The European Parliament has recently expressed the view that human embryos and fetuses are endowed with human dignity, and that a definition of the degree to which they should be protected by law is urgently needed (Recommendation 1046, 1986). There is however no consensus on the philosophical grounds for such a protection, or on the degree to which embryos and fetuses should be treated as persons. This paper contrasts the biological (natural) and ethical (cultural) criteria of person hood and their underlying ontologies, examines the arguments in favor of taking a pragmatic line rather trying to decide when human beings become persons, and suggests that the pragmatic attitude in fact implies a developmental ontology. (shrink)

Au cours des années 1970 , la question du statut de Vembryon humain fut surtout débattue en termes de libertés individuelles : droit des femmes à disposer d'elles-mêmes, vs. ‘droit à la vie' du fœtus caché dans le corps de sa mère. Dans les années 1980, avec l'application des techniques de procréation ‘artificielle' au traitement de la stérilité humaine, l'accent est mis sur une responsabilité collective à l'égard de l'embryon séparé, conçu en éprouvette, mis au congélateur, convoité par la recherche (...) lorsqu'il n'est pas rendu à un utérus maternel. « Il est urgent de déterminer le degré de sa protection juridique », dit l'Assemblée parlementaire du Conseil de l'Europe . Mais il n'existe pas de consensus sur les fondements philosophiques d'une telle protection. Le but du présent article n'est pas d'ajouter une thèse de plus à une littérature internationale déjà considérable, mais de situer les positions et arguments en présence, pour éclairer un débat qui touche, entre autres, aux sources du respect dû à la personne humaine. The European Parliament has recently expressed the view that human embryos and fetuses are endowed with human dignity, and that a definition of the degree to which they should be protected by law is urgently needed . There is however no consensus on the philosophical grounds for such a protection, or on the degree to which embryos and fetuses should be treated as persons. This paper contrasts the biological and ethical criteria of person hood and their underlying ontologies, examines the arguments in favor of taking a pragmatic line rather trying to decide when human beings become persons, and suggests that the pragmatic attitude in fact implies a developmental ontology. (shrink)

Moral injury emerged in the healthcare discussion quite recently because of the difficulties and challenges healthcare workers and healthcare systems face in the context of the COVID-19 pandemic. Moral injury involves a deep emotional wound and is unique to those who bear witness to intense human suffering and cruelty. This article aims to synthesise the very limited evidence from empirical studies on moral injury and to discuss a better understanding of the concept of moral injury, its importance in the healthcare (...) context and its relation to the well-known concept of moral distress. A scoping literature review design was used to support the discussion. Systematic literature searches conducted in April 2020 in two electronic databases, PubMed/Medline and PsychInfo, produced 2044 hits but only a handful of empirical papers, from which seven well-focused articles were identified. The concept of moral injury was considered under other concepts as well such as stress of conscience, regrets for ethical situation, moral distress and ethical suffering, guilt without fault, and existential suffering with inflicting pain. Nurses had witnessed these difficult ethical situations when faced with unnecessary patient suffering and a feeling of not doing enough. Some cases of moral distress may turn into moral residue and end in moral injury with time, and in certain circumstances and contexts. The association between these concepts needs further investigation and confirmation through empirical studies; in particular, where to draw the line as to when moral distress turns into moral injury, leading to severe consequences. Given the very limited research on moral injury, discussion of moral injury in the context of the duty to care, for example, in this pandemic settings and similar situations warrants some consideration. (shrink)

An accessible and thorough introduction to implicatures, a key topic in all frameworks of pragmatics. Starting with a definition of the various types of implicatures in Gricean, neo-Gricean and post-Gricean pragmatics, the book covers many important questions for current pragmatic theories, namely: the distinction between explicit and implicit forms of pragmatic enrichment, the criteria for drawing a line between semantic and pragmatic meaning, the relations between the structure of language and its use, the social and cognitive factors underlying the (...) use of implicatures by native speakers, and the factors influencing their acquisition for children and second language learners. Written in non-technical language, Implicatures will appeal to students and teachers in linguistics, applied linguistics, psychology and sociology, who are interested in how language is used for communication, and how children and learners develop pragmatic skills. (shrink)

In this controversial and provocative book, Mary Anne Franks examines the thin line between constitutional fidelity and constitutional fundamentalism. The Cult of the Constitution reveals how deep fundamentalist strains in both conservative and liberal American thought keep the Constitution in the service of white male supremacy. Constitutional fundamentalists read the Constitution selectively and self-servingly. Fundamentalist interpretations of the Constitution elevate certain constitutional rights above all others, benefit the most powerful members of society, and undermine the integrity of the (...) document as a whole. The conservative fetish for the Second Amendment (enforced by groups such as the NRA) provides an obvious example of constitutional fundamentalism; the liberal fetish for the First Amendment (enforced by groups such as the ACLU) is less obvious but no less influential. Economic and civil libertarianism have increasingly merged to produce a deregulatory, "free-market" approach to constitutional rights that achieves fullest expression in the idealization of the Internet. The worship of guns, speech, and the Internet in the name of the Constitution has blurred the boundaries between conduct and speech and between veneration and violence. But the Constitution itself contains the antidote to fundamentalism. The Cult of the Constitution lays bare the dark, antidemocratic consequences of constitutional fundamentalism and urges readers to take the Constitution seriously, not selectively. (shrink)

This paper describes the experience of an academic institution, the Queensland University of Technology, developing training courses about research integrity practices in authorship, publication, and Journal Peer Review. The importance of providing research integrity training in these areas is now widely accepted; however, it remains an open question how best to conduct this training. For this reason, it is vital for institutions, journals, and peak bodies to share learnings.We describe how we have collaborated across our institution to develop training that (...) supports QUT’s principles and which is in line with insights from contemporary research on best practices in learning design, universal design, and faculty involvement. We also discuss how we have refined these courses iteratively over time, and consider potential mechanisms for evaluating the effectiveness of the courses more formally. (shrink)

The focus on translational research in clinical trials has the potential to generate clinically relevant genetic data that could have importance to patients. This raises challenging questions about communicating relevant genetic research results to individual patients. An exploratory pharmacogenetic analysis was conducted in the international ovarian cancer phase III trial, AGO-OVAR 16, which found that patients with clinically important germ-line BRCA1/2 mutations had improved progression-free survival prognosis. Mechanisms to communicate BRCA results were evaluated, because these findings may be beneficial (...) to patients and their families. Communicating individual BRCA results was not anticipated during clinical trial design. Consequently, options were not available for patients to indicate their preference for receiving their individual results when they signed pharmacogenetic informed consent. Differences in local requirements, clinical practice, and opinion regarding the ethical aspects of how to convey genetic results to patients are all potential barriers to returning individual BRCA results to patients. Communicating the aggregate BRCA result from this study provided clinical investigators with a mechanism to disseminate the overall study finding to patients while taking individual circumstances, local guidelines and clinical practice into account. This study illustrates the importance of increasing the clarity and scope of informed consent and the need for patient engagement to ensure clinical trial participants can indicate their preference regarding receipt of potentially important individual pharmacogenetic results. This study was registered in the NCT Clinical Trial Registry under NCT00866697 on March 19, 2009, following approval from participating ethics committees. (shrink)

Cette étude propose une analyse des différences et similitudes linguistiques dans la presse écrite traditionnelle et les médias participatifs en ligne afin d’évaluer dans quelle mesure la production et la diffusion en ligne peuvent modifier nos usages linguistiques. Les analyses effectuées se basent sur un large corpus (8 millions de mots) qui représente des modes d’expression et des degrés de subjectivité a priori différents.

If each of the subtypes of autism is defined simply as constituted by a set of symptoms, then the criteria for its observation are straightforward, although, of course, some of those symptoms themselves might be hard to observe definitively. Compare with telling whether or not someone is bleeding: while it might be hard to tell if someone is bleeding internally, we know what it takes to find out, and when we have the right access and instruments we can settle the (...) issue. But matters are not so simple for the autism subtypes. For one thing, how do we settle which symptoms to group together under one heading? One key difference between “autism disorder” and “Asperger’s disorder” is that the former exhibit language delays (sometimes extreme), whereas the latter do not. But is that a sign of genuinely distinct conditions or is that an artifact of the distinct groups of subjects that Leo Kanner and Hans Asperger worked with? And in general, although there are certainly types of behavior that are taken to be indicative of autism, none by itself is taken by diagnosticians to be either necessary or sufficient for a definitive diagnosis for any of the autism subtypes. What is the diagnostician to do? This is not merely an academic issue, as many parents can attest. Are we in a situation, then, that each practitioner has his or her own “pet” signs that are the “real keys” to the diagnosis? That would suggest that the term “autistic” might meet the fate of the outdated term “neurotic,” which turned out to be a pseudo-scientific term for an inexact clumping together of unrelated phenomena. The assumption amongst specialists seems to be that we will reach the point with "autism" that we have with "water": there will be a root essence to autism whose presence or absence settles a diagnosis. If that is to be the case, however, we have to settle the level of application of the concept. Does the term apply to people who exhibit particular behaviors? Or is it possible to exhibit “autistic” behaviors without actually being autistic, because autism is instead a particular feature of the mind (as, for example, in Baron-Cohen’s “impaired theory of mind module” theory, discussed below) which usually but not necessarily has behavioral effects? Or is autism located instead in the brain, perhaps in damage to key areas, which in turn would typically have an effect on modules of the mind? Or perhaps autism is located in genetics or biology, so that some people with damage to the brain caused by accidents so that they exhibit autistic symptoms would not actually be autistic. Conversely, supposing one had an “autistic brain” but showed none of (or not a sufficient number of) the symptoms, would one not be autistic? The assumption is that the genotypes and phenotypes will line up neatly, but if they do not, what happens to the concept “autistic?” (There is an analogy in the philosophy of sex and gender: androgen insensitive individuals tend to self-identify as female and have outward female traits, but have XY chromosomes—should we go with chromosomes or self-identity in assigning sex category?) Finally, the implications for these complications for diagnosis and categorization, with the attendant social and medical implications is discussed. The typical assumption of the medical profession is that autism cannot be “cured.” That assumes that autism is not simply the symptoms. However, at the same time, the tests used to diagnose ASDs work simply from the symptoms (for example, Baron-Cohen’s Sally/Anne test, which ASD children of a certain age almost all fail, but which practically no ASD adult fails). This implies an inherent confusion over the status of the concept. I conclude that attempts to make sense of some true or accurate summary of what it is to be autistic (such as one would find in the DSM) are almost certainly misguided and will vanish into history along with “neurotic.” But as with racial terms, which are similarly shifting and perverse, the term has already passed into the public sphere and will have a lasting and dangerous influence beyond its short scientific shelf-life. (shrink)

Wallace, Meg London's National Theatre recently hosted a debate about freedom of speech, multiculturalism and Islam called Can we talk about this? The opening line was a question to the audience, 'Are you morally superior to the Taliban?' Anne Marie Waters, who was present, wrote in her blog that 'very few people in the audience raised their hand to say they were.' This response demonstrates a misconceived attempt to be seen as tolerant and 'multiculturalist'. People could not bring (...) themselves to say their views are morally superior to a group that, Waters points out, 'denies women medical treatment, imprisons them in their homes, allows domestic violence, and executes people by stoning for having a private life or the audacity to not believe in God.' They fear being labelled, racist, 'Islamophobic', or discriminating against religion. Rather, they adopt a stance that treats all moral views generated by culture or religion as equally valid . They confuse the distinction between the right to think as you want, and the right to act as you want. (shrink)

In a recent article, Christopher Ormell argues against the traditional mathematical view that the real numbers form an uncountably infinite set. He rejects the conclusion of Cantor’s diagonal argument for the higher, non-denumerable infinity of the real numbers. He does so on the basis that the classical conception of a real number is mys- terious, ineffable, and epistemically suspect. Instead, he urges that mathematics should admit only ‘well-defined’ real numbers as proper objects of study. In practice, this means excluding as (...) inadmissible all those real numbers whose decimal expansions cannot be calculated in as much detail as one would like by some rule. We argue against Ormell that the classical realist account of the continuum has explanatory power in mathematics and should be accepted, much in the same way that "dark matter" is posited by physicists to explain observations in cosmology. In effect, the indefinable real numbers are like the "dark matter" of real analysis. (shrink)

Simone de Beauvoir is a representative of one of the leading philosophical schools in the middle of the 20th century. The article presents Beauvoir’s artistic method, applied in her novel The Mandarins, and examines the theoretical and biographical sources of the novel. The author demonstrates the place that the novel has in the Beauvoir’s literary and philosophical heritage and reveals the genre features of the work, introducing some special terms such as engaged, modern or philosophical novel and testimonial autobiographical project. (...) The article also analyzes the novel’s literary form and the binary structure of the narrative. The study of the main characters, who are Henri Perron, Anne Dubreuilh and her husband Robert, allows to give a couple of narrative lines. First of them is the inner line that opens the reflective, contemplative and intimate life of one of the main characters – Anne. The second one is the outer line that means that the reader receives the information about characters from the Henry’s actions. Basing on this structure, we draw a conclusion about the modifications in the genre of existential novel in the postwar years. The new themes can be found in the literature. Authors introduce to readers the certain social reality through the inner life of some characters – intellectuals, novelists or philosophers. The thesis about the inner transformation of the genre is proved on Beauvoir’ and Jean-Paul Sartre’s works and on the prewar works of Sartre and Albert Camus. Beauvoir’s new literary methods and plots, which are the logical development of her work, made her novel one of the pioneers in the postwar literature. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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As for Avicenna the human soul is a complete substance which does not inhere in the body nor is imprinted in it, asserting its survival after the death of the body seems easy. Yet, he needs the body to explain its individuation. The paper analyzes Avicenna's arguments in the De anima sections, V, 3 & 4, of the Shifā ' in order to explore the exact causal relation there is between the human soul and its body and confronts these arguments (...) with relevant passages in the Metaphysics. It argues that the causal relation between body and soul remains obscure and that, though Avicenna claims that there is a personal immortality and that the disembodied soul remains individuated, he does not provide a satisfactory ontological account for it. (shrink)