This commentary is an attempt to begin to identify and think through some of the ways in which sociocultural theory may contribute to understandings of the relationship between humans and digital data. I develop an argument that rests largely on the work of two scholars in the field of science and technology studies: Donna Haraway and Annemarie Mol. Both authors emphasised materiality and multiple ontologies in their writing. I argue that these concepts have much to offer critical data studies. (...) I employ the tropes of companion species, drawn from Haraway, and eating data, from Mol, and demonstrate how these may be employed to theorise digital data–human assemblages. (shrink)

The Commens Papers (http://www.commens.org/papers) publishes preprints, reports, and communications that deal with the philosophy, scientific contributions, and life of C. S. Peirce. The Commens Papers are primarily meant for scholarly products that lack other means of publication, but which the author wishes to bring to the attention of the research community. The papers must meet editorial approval, but they are not fully peer reviewed. -/- The Commens Papers accepts a broad variety of intellectual products in various formats, including: Conference papers, (...) Manuscripts made available for comments and criticism before submission for peer review, Reports of original research, such as archival research, Catalogues or other systematic summaries of (parts of) Peirce’s writings, Reports from scientific meetings Lectures, as text, video, or audio, Posters presented at academic conferences . (shrink)

The first generation of children to grow up with electronic toys and games saw computers as our “nearest neighbors.” They spoke of computers as rational machines and of people as emotional machines, a fragile formulation destined to be challenged. By the mid-1990s, computational creatures, including robots, were presenting themselves as “relational artifacts,” beings with feelings and needs. One consequence of this development is a crisis in authenticity in many quarters. In an increasing number of situations, people behave as though they (...) no longer place value on living things and authentic emotion. This paper examines watershed moments in the history of human–machine interaction, focusing on the pertinence of relational artifacts to our collective perception of aliveness, life’s purposes, and the implications of relational artifacts for relationships. For now, the exploration of human–robot encounters leads us to questions about the morality of creating believable digital companions that are evocative but not authentic. (shrink)

The first generation of children to grow up with electronic toys and games saw computers as our “nearest neighbors.” They spoke of computers as rational machines and of people as emotional machines, a fragile formulation destined to be challenged. By the mid-1990s, computational creatures, including robots, were presenting themselves as “relational artifacts,” beings with feelings and needs. One consequence of this development is a crisis in authenticity in many quarters. In an increasing number of situations, people behave as though they (...) no longer place value on living things and authentic emotion. This paper examines watershed moments in the history of human–machine interaction, focusing on the pertinence of relational artifacts to our collective perception of aliveness, life’s purposes, and the implications of relational artifacts for relationships. For now, the exploration of human–robot encounters leads us to questions about the morality of creating believable digital companions that are evocative but not authentic. (shrink)

Social isolation and loneliness are growing concerns around the globe that put people at increased risk of disease and early death. One much‐touted approach to addressing them is deploying artificially intelligent agents to serve as companions for socially isolated and lonely people. Focusing on digital humans, we consider evidence and ethical arguments for and against this approach. We set forth and defend public health policies that respond to concerns about replacing humans, establishing inferior relationships, algorithmic bias, distributive justice, (...) and data privacy. (shrink)

This paper aims to show a possible path to address the introduction of intimate digital technologies through a phenomenological and postphenomenological perspective in relation to Japanese and Chinese contexts. Digital technologies are becoming intimate, and, in Japan and China, there are already many advanced digital technologies that provide digital companions for love relationships. Phenomenology has extensive research on how love relationships and intimacy shape the subjects. At the same time, postphenomenology provides a sound framework on (...) how technologies shape the values and meanings we have. Thus, this paper introduces two digital technologies in Japan and China (_Love Plus_ and _XiaoIce_ chatbot), and it analyses according to the elements proposed by phenomenology and postphenomenology. In conclusion, this paper shows how digital companions like _Love Plus_ and _XiaoIce_ chatbot change who we are and the values and meanings we have according to the phenomenological and postphenomenological framework. These entities might not be human, but they shape who we are as human beings and the meanings and value we give to love. (shrink)

Digital Health Tools (DHTs), also known as patient self-surveilling strategies, have increasingly been promoted by health-care policy makers as technologies that have the capacity to transform patients’ lives. At the heart of the debate is the notion of empowerment. In this paper, we argue that what is required is not so much empowerment but rather a shift to enabling DHTs as digital companions. This will enable policy makers and health-care system designers to provide a more balanced view—one (...) that capitalises on the benefits of DHTs, while minimising the risks of potential harms. -/- . (shrink)

In Third Digital Documentary: A Theory and Practice of Transmedia Arts Activism, Critical Design and Ethics Anita Chang offers a theory and methodology of transmedia arts activism within the technocultural and sociopolitical landscape of expanded documentary production, distribution, reception and participation. Through a detailed analysis of her transmedia project on indigenous and minority language endangerment and revival that consists of the feature-length documentary Tongues of Heaven, and the companion web application Root Tongue: Sharing Stories of Language Identity and Revival, (...) she reveals the layers and depths that comprise a critical arts practice when confronted with complex sociopolitical issues while working with multiple communities across territorial/national boundaries. In the context of the growing field of transmedia documentaries, Chang discusses the potentials and benefits of a critical design practice and production ethics that can transform this field to pilot new collaborations in documentary and digital media platforms towards a third digital documentary. (shrink)

Excerpt from A Companion to Plato's Republic: For English Readers; Being a Commentary Adapted to Davies and Vaughan's Translation The idea of writing a 'Companion to Plato's Republic for English Readers' was suggested to me by the appearance of Mr. Walter Lea's Companion to the Iliad, combined with my own experience of the intense desire for a closer knowledge of Plato, felt by many students who could read him in a translation only. Philosophy loses sorely by translation, but less than (...) poetry; and perhaps a commentator can do more to restore its real meaning. And, indeed, as not all scholars have been trained in philosophy, "I may perhaps hope," to quote Mr. Leaf, 'that even those who have a knowledge of the language may find something to help them' in my work. Whether I have succeeded well or ill, I have at least spared no pains to ascertain and express the real import of Plato's ideas; and this I take to be the true duty of a commentator, especially in dealing with a philosophical genius of the first rank. I ought to say that I have made no attempt at textual criticism. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Your digital camera is the perfect travel companion. You don't need to pack extra film, worry about airport scanners, budget for processing costs, or wait until you get home to learn whether you got that once-in-a-lifetime shot. Tuck this book in beside your Frommer's travel guide and you'll have everything you need for fantastic photos-how to watch for the right opportunity, compose the picture, work with lighting-even how to edit and upload from the road. * Learn what you must (...) take along and which accessories are nice to have * Capture the soul of a city, its people, and its sights * Include fellow travelers without shooting stereotypes * Take great shots even where flash is prohibited or your light sources are limited * Explore scenarios and expert tips for photographing scenery, wildlife, events, exhibits, and much more * Post your photos on the Web before you get home. (shrink)

The Routledge Companion to Christian Ethics brings together two different but related disciplines; the first is contemplative or theoretical, asking what are the beliefs or doctrines that characterize Christianity, whilst the second is practical, asking what are the ethical practices that attend its teachings. The movement between the theoretical and practical aspects is not, however, one way, as doctrine and life are mutually informing. In this comprehensive volume, leading scholars address key topics, problems and debates in this hotly debated topic (...) within a truly global context. Comprising over thirty-five chapters by a team of international contributors, the Handbook is divided into three parts based on the three persons of the Trinity: God the Father, God the Son, and God the Holy Spirit. Within these sections, cutting-edge issues are examined, including: God and genetics; War, peace and violence; White supremacy; Creation and sexuality; Digital ethics; Transgender studies; Climate change; Immigration and refugees. Adopting a practical approach that must consider new concerns that have arisen with recent social, political, and cultural shifts, The Routledge Companion to Christian Ethics is essential reading for students and researchers in Christian ethics, religious ethics and Christianity Studies. The Handbook will also be very useful for those in related fields, such as ethics and philosophy. (shrink)

The Routledge Companion to Intersectionalities is an outstanding reference source to the key contemporary analytic in feminist thought comprising over fifty chapters by a diverse, international and interdisciplinary team of contributors. The Companion is divided into nine clear parts: Retracing Intersectional Genealogies Intersectional Methods and (Inter)Disciplinarity Intersectionality's Travels Intersectional Borderwork Trans* Intersectionalities Disability and Intersectional Embodiment Intersectional Science and Data Studies Popular Culture at the Intersections Rethinking Intersectional Justice. Within these sections the key topics, debates, and applications are examined, including: (...) intersectional methods, trans intersectionality, transnational intersectionalities, intersectional pedagogies, digital intersectionalities, and intersectional science. This collection is essential reading for students and researchers working in Women's and Gender Studies, Feminism, Sociology, Politics and other related subjects from across the Humanities and Social Sciences. (shrink)

The ideal companion guide for capturing awe-inspiring photos of Yosemite! Whether using a compact camera or a high-end dSLR, this companion guide provides you with detailed information for taking spectacular shots of some of the most recognizable landmarks in the world. Whether you aim to capture memorable photos of Half Dome, El Capitan, Vernal Fall, Mariposa Grove, or one of Yosemite's other many remarkable attractions, this portable resource goes where you go and walks you through valuable tips and techniques for (...) taking the best shot possible. You'll discover suggested locations for taking photos, recommended equipment, what camera settings to use, best times of day to photograph specific attractions, how to handle weather challenges, and more. In addition, beautiful images of Yosemite's most breathtaking attractions and recognizable landmarks serve to both inspire and assist you as you embark on an amazing photographic adventure! Elevates your photography skills to a new level with photography secrets from professional photographer Lewis Kemper Presents clear, understandable tips and techniques that span all skill levels, using all types of digital cameras, from compact cameras to high end DSLRs Features Yosemite's main attractions in alphabetical order as well as thumb tabs on the pages so you can quickly and easily access the information you are looking for Shares detailed information and insight on critical topics, such as ideal locations to photograph from, the best time of day to shoot, camera equipment to have handy, weather conditions, and optimal camera settings to consider Whether you're a local familiar with the territory or a visitor seeing this beautiful U.S. National Park for the first time, this handy guide will help capture fantastic photos! (shrink)

Take memorable photos of the most popular attractions in the Big Apple! Whether using a point-and-shoot or a high-end dSLR, this companion guide provides you with detailed information for taking amazing shots of one of one of the world's most photographed cities. Whether you aim to capture the regal Empire State Building, vibrant Times Square, historic Grand Central Station, massive Central Park, or one of New York City's many other landmarks, this portable resource goes where you go and walks you (...) through valuable tips and techniques for taking the best shot possible. You'll discover suggested locations for taking photos, recommended equipment, what camera settings to use, best times of day to photograph specific attractions, how to handle weather challenges, and more. In addition, beautiful images of New York City's most breathtaking attractions and recognizable landmarks serve to both inspire and assist you as you embark on an amazing photographic adventure! Elevates your photography skills to a new level with photography secrets from professional photographer and SmugMug COO, Andy Williams Presents clear, understandable tips and techniques that span all skill levels, using all types of digital cameras, from full-featured compact cameras to high end DSLRs Features New York City's main attractions in alphabetical order as well as thumb tabs on the pages so you can quickly and easily access the information you are looking for Shares detailed information and insight on critical topics, such as ideal locations to photograph from, the best time of day to shoot, camera equipment to have handy, weather conditions, and optimal camera settings to consider Whether you're a local familiar with the territory or a visitor seeing the Big Apple for the first time, this handy guide will help you capture fantastic photos! (shrink)

A compact, full-color companion guide to photographing San Francisco! Whether using a full-featured compact camera or a high-end dSLR, this companion guide provides you with detailed information for taking stunning shots of beautiful San Francisco. Whether you aim to capture breathtaking photos of the majestic Golden Gate Bridge, crooked Lombard Street, infamous Alcatraz, or unique Victorian homes, this portable resource goes where you go and walks you through valuable tips and techniques for taking the best shot possible. You'll discover suggested (...) locations for taking photos, recommended equipment, what camera settings to use, best times of day to photograph specific attractions, how to handle weather challenges, and more. In addition, lovely images of San Francisco's most breathtaking attractions and recognizable landmarks serve to both inspire and assist you as you embark on an amazing photographic adventure! Elevates your photography skills to a new level with photography secrets from professional photographer Bruce Sawle Presents clear, understandable tips and techniques that span all skill levels, using all types of digital cameras, from compacts to high end DSLRs Features San Fransisco's main attractions in alphabetical order as well as thumb tabs on the pages so you can quickly and easily access the information you are looking for Shares detailed information and insight on critical topics, such as ideal locations to photograph from, the best time of day to shoot, camera equipment to have handy, weather conditions, and optimal camera settings to consider Whether you're a local familiar with the territory or a visitor seeing San Francisco for the first time, this handy guide will help you capture fantastic photos! (shrink)

Children’s digital playgrounds have evolved from commercialized digital spaces such as websites and games to include an array of convergent digital media consisting of social media platforms, mobile apps, and the internet of toys. In these digital spaces, children’s data is shared with companies for analytics, personalization, and advertising. This article describes children’s digital playgrounds as a data assemblage involving commercial surveillance of children, ages 3–12. The privacy sweep is used as a method to follow (...) the personal information traces that can be expected to be disclosed through typical use of two children’s digital playgrounds: the YouTube Kids app and Fisher-Price Smart Toy plush animal and companion app. To trace the data flows, privacy policies and other publicly available documents were analyzed using political economy and privacy informed indicators. This article concludes by reflecting upon the dataveillance and commercialization practices that trouble the privacy rights of the child and parent when data assemblages in children’s digital playgrounds are surveillant. (shrink)

Offers step-by-step techniques for a wide range of creative digital photography projects, from greeting cards, recipe pages, invitations, and illustrated books to panoramas, collages, bound photo albums, DVD slide shows, and Web galleries Perfect for the exploding digital photography market, which has grown from 6.7 million cameras sold in 2000 to a projected 42 million in 2005 Released to hit stores right after the 2004 gift-giving season, it's the perfect companion to the author's previous bestsellers, which include 50 (...) Fast Digital Camera Techniques. (shrink)

The theory and practice of civil disobedience has once again taken on import, given recent events. Considering widespread dissatisfaction with normal political mechanisms, even in well-established liberal democracies, civil disobedience remains hugely important, as a growing number of individuals and groups pursue political action. 'Digital disobedients', Black Lives Matter protestors, Extinction Rebellion climate change activists, Hong Kong activists resisting the PRC's authoritarian clampdown…all have practiced civil disobedience. In this Companion, an interdisciplinary group of scholars reconsiders civil disobedience from many (...) perspectives. Whether or not civil disobedience works, and what is at stake when protestors describe their acts as civil disobedience, is systematically examined, as are the legacies and impact of Henry Thoreau, Mahatma Gandhi, and Martin Luther King. (shrink)

The Ethical Journalist Praise for the Third Edition of The Ethical Journalist “A riveting examination of journalism ethics, updated for the seismic change that is now an industry constant. The Ethical Journalist is written to fortify journalism students, but real-life examples of everything from faked photographs to reporting on presidential lies make it valuable to all of us who care about the news.” ANN MARIE LIPINSKI, CURATOR OF THE NIEMAN FOUNDATION AT HARVARD UNIVERSITY AND FORMER EDITOR OF THE CHICAGO TRIBUNE (...) Praise for the Earlier Editions “The book is superb — the definitive work on journalism ethics and practices. It should be a basic text in every school of journalism.” GENE ROBERTS, FORMER EXECUTIVE EDITOR OF THE PHILADELPHIA INQUIRER AND FORMER MANAGING EDITOR OF THE NEW YORK TIMES “At a time when the internet has turned journalism inside out and blown up long-held traditions, the need for media ethics is even more critical. This is the book to help guide students and the rest of us through the revolution.” ALICIA C. SHEPARD, FORMER NPR OMBUDSMAN The third edition of The Ethical Journalist is a comprehensive examination of current issues in the field of journalism ethics, researched and written by four journalists with experience in both the newsroom and the classroom. It gives students and professionals the tools they need to navigate the challenges of journalism today, first explaining the importance of ethics in journalism and then putting a decision-making strategy to work. The text is supplemented by case studies and essays, and two companion websites provide additional materials for educators and a forum for all users to discuss new topics in journalism ethics as they arise. (shrink)

This paper considers the ethical implications of applying three major ethical theories to the memory structure of an artificial companion that might have different embodiments such as a physical robot or a graphical character on a hand-held device. We start by proposing an ethical memory model and then make use of an action-centric framework to evaluate its ethical implications. The case that we discuss is that of digital artefacts that autonomously record and store user data, where this data are (...) used as a resource for future interaction with users. (shrink)

This article highlights the limitations of the tendency to frame health- and wellbeing-related digital tools (mHealth technologies) as empowering devices, especially as they play an increasingly important role in the National Health Service (NHS) in the UK. It argues that mHealth technologies should instead be framed as digital companions. This shift from empowerment to companionship is advocated by showing the conceptual, ethical, and methodological issues challenging the narrative of empowerment, and by arguing that such challenges, as well (...) as the risk of medical paternalism, can be overcome by focusing on the potential for mHealth tools to mediate the relationship between recipients of clinical advice and givers of clinical advice, in ways that allow for contextual flexibility in the balance between patiency and agency. The article concludes by stressing that reframing the narrative cannot be the only means for avoiding harm caused to the NHS as a healthcare system by the introduction of mHealth tools. Future discussion will be needed on the overarching role of responsible design. (shrink)

The second edition of Doing Ethics in Media continues its mission of providing an accessible but comprehensive introduction to media ethics, with a theoretical grounding in moral philosophy, to help students think clearly and systematically about dilemmas in the rapidly changing media environment. Each chapter highlights specific considerations, cases, and practical applications for the fields of journalism, advertising, digital media, entertainment, public relations, and social media. Six fundamental decision-making questions - the "5Ws and H" around which the book is (...) organized - provide a path for students to articulate the issues; understand applicable law and ethics codes; consider the needs of stakeholders; work through conflicting values; integrate philosophic principles; and pose a "test of publicity." Students are challenged to be active ethical thinkers through the authors' reader-friendly style and use of critical early-career examples. While most people will change careers several times during their lives, all of us are life-long media consumers, and Doing Ethics in Media prepares readers for that task. Doing Ethics in Media is aimed at undergraduate and graduate students studying media ethics in mass media, journalism, and media studies. It also serves students in rhetoric, popular culture, communication studies, and interdisciplinary social sciences. The book's companion website-doingethicsin.media, or www.doingmediaethics.com-provides continuously updated real-world media ethics examples and collections of essays from experts and students. The site also hosts ancillary materials for students and for instructors, including a test bank and instructor's manual. (shrink)

A growing number of consumer technology companies are aiming to convince older people that humanoid robots make helpful tools to support aging-in-place. As hybrid devices, socially assistive robots (SARs) are situated between health monitoring tools, familiar digital assistants, security aids, and more advanced AI-powered devices. Consequently, they implicate older people’s privacy in complex ways. Such devices are marketed to perform functions common to smart speakers (e.g., Amazon Echo) and smart home platforms (e.g., Google Home), while other functions are more (...) specific to older people, including health and safety monitoring and serving as companions to mitigate loneliness. Privacy is a key value central to debates about the ethics of using SARs in aged care, yet there has been very little interchange between these debates and the robust theoretical discussion in the legal literature about the future of privacy and AI governance. Drawing on two qualitative studies of older people’s views on consumer SARs, the paper contributes novel findings about older people’s thinking on privacy and data governance at the intersection of their experiences with present day digital technologies and projections for future AI systems, and places their views in dialogue with debates about the future of privacy protection and AI governance. (shrink)

The use of digital tracking technologies is a widespread phenomenon. Millions of people around the world now track, document, and analyse their physical activities, vital functions, and daily habits through wearable devices, apps, and platforms. The aim is to assess and improve health, productivity, and wellbeing. The current Covid-19 pandemic has accelerated the uptake of tracking technologies. At the heart of this trend lies the quantification of the body, deemed as a key element in medical practice and personal self-care. (...) While often couched in positive promotional terms that highlight its value to users' mental, emotional, and physical health, it is also raising a host of issues and concerns that are at once ontological, ethical, political, social, legal, economic, and aesthetic. The Quantification of Bodies in Health aims to deepen understanding of this growing phenomenon and of the role of self-tracking practices in everyday life. It brings together established and emerging authors working at the intersection of philosophy, sociology, history, psychology, and digital culture, while bridging between philosophical and empirical approaches. A timely topic of extreme relevance and significance, The Quantification of Bodies in Health constitutes a useful and unique companion for anyone interested in the study of body quantification and self-tracking practices. (shrink)

Digital practices in design, together with computer-assisted manufacturing (CAM), have inspired the reflection of philosophers, theorists, and historians over the last decades. Gilles Deleuze’s The Fold: Leibniz and the Baroque (1988) presents one of the first and most successful concepts created to think about these new design and manufacturing practices.1 Deleuze proposed a new concept of the technological object, which was inspired by Bernard Cache’s digital design practices and computer-assisted manufacturing. Deleuze compared Cache’s practices to Leibniz’s differential calculus-based (...) notion of the parametric curve. From this perspective, the object is no longer an essential form: rather, it is functional, defined by a family of parametric curves. In Deleuze’s terms, it is an objectile. This definition grasps a particular aspect of modernity in the technological object, rendering possible the industrial production of “the unique object” (la pièce unique), while making obsolete the homogeneity that comes with industrial standardization. What follows introduces developmental biology into this design matrix, interrogating the relationship between parametric design and computer-assisted manufactory on the one hand and biological morphogenetic processes on the other. Is one necessary for the other? Does an architect need computation in order to render morphogenetic shapes? In answering these questions, this chapter displaces the centrality of digital technology in the design of shape-shifting forms within architecture and calls for a rethinking of design by way of analog prototypes. I argue that “thinking through analogs” offers another means of generating parametrically based morphogenetic forms. (shrink)

Global Literary Theory: An Anthology comprises a selection of classic, must-read essays alongside contemporary and global extracts, providing an engaging and timely overview of literary theory. The volume is thoroughly introduced in the General Introduction and Section Introductions and each piece is contextualised within the wider sphere of global theory. Each section also includes annotated suggestions for further reading to help the reader navigate the extensive literature on each topic. The volume engages with the 'internationalising' of the curriculum as well (...) as the globalization of literature and theory. Alongside these key themes, the volume also extends its coverage to include: The core topics and theorists from formalism and structuralism to post-modernism and deconstruction Digital humanities and humanities computing and their relevance to globalization and literary theory The religious turn in literary theory and philosophy New textualities such as auto/biography, travel writing and ecocritcism Oppositional texts which 'write back' against the canon In addition, the book's Companion Website features an interactive world map incorporating biographies of every theorist in the book, as well as biographies of additional influential theorists. Crucially, this anthology shows that ethnic, postcolonial studies and globalization are not simply niche areas of literary study but are of concern across the contemporary humanities and that new voices are always emerging, and being discovered, from around the globe. As such, this volume offers a refocusing of essential literary theory, extending the canon in line with ongoing debates concerning contemporary cultural and geographic borders. (shrink)

The article brings to light the use of recommender systems as technologies of the self, complementing the observations in current literature regarding their employment as technologies of ‘soft’ power. User practices on the music recommendation website last.fm reveal that many users do not only utilize the website to receive guidance about music products but also to examine and transform an aspect of their self, i.e. their ‘music taste’. The capacity of assisting users in self-cultivation practices, however, is not unique to (...) last.fm but stem from certain properties shared by all recommendation systems. Furthermore, unlike other oft-studied digital/web technologies of the self which facilitate ‘self-publishing’ vis-à-vis virtual companions in social media, recommender algorithms themselves can act as ‘intimate experts’, accompanying users in their self-care practices. Thus, recommendation systems can facilitate both algorithmic control and creative self-transformation, which calls for a theorization of this new cultural medium as a space of tension. (shrink)

The cyborg that Donna Haraway appropriated in ‘Manifesto for Cyborgs’ as a metaphor for political action and theoretical inquiry has ceased to have the potency it did 20 years ago. While Haraway has turned from a central focus on technoculture to companion species, much important cultural work remains to be done, especially in networked and programmable media. Problems with the cyborg as a metaphor include the implication that the liberal humanist subject, however problematized by its hybridization with cybernetic mechanism, continues (...) as a singular entity operating with localized agency. In a word, the cyborg is not networked enough to encompass the emergent possibilities associated with the Internet and the world-wide web and other phenomena of the contemporary digital era. Instead I propose the idea of the cognisphere. As operational concept and suggestive metaphor, the cognisphere recognizes that networked and programmable media are not only more pervasive than ever before in human history but also more cognitively powerful. It is closely associated with what many researchers regard as a major insight: the idea that the physical world is fundamentally computational. While these scientists regard computation as a physical process, the cultural critic is apt to see it as an over-determined metaphor. The binary choice between seeing the computational universe as a literal description of the physical world and reading it as an over-determined metaphor misses a crucial aspect of contemporary cultural dynamics: the interaction between means and metaphor, technology and cultural presupposition. Taking this dynamic into account leads to a more complete understanding summed up in the aphorism, ‘What we make and what we are co-evolve together.’. (shrink)

Global Corruption and Ethics Management: Transforming Theory into Action is focused on integrating research from a diverse array of scholars and translating it into proactive skills; the empirical content is presented clusters of short chapters, each cluster or section is followed by a synopsis of skills for implementation based upon this new knowledge. The scope of the content encompasses the work of top scholars and experienced professionals from across the globe to strategically outline the mercurial nature of corruption, its causes, (...) the systems and practices that facilitate it, its short- and long-term consequences, new measures for assessing and diagnosing remedies, and steps that can be taken to prevent it. Scholars and students can use it as a jumping-off point for further research, and practitioners can immediately expand their repertoire of tools in preventing and fighting corruption through implementation of the skills synopses. Further, incorporating digital media resources such as a companion website offering links to measurements and assessments, and accessible instructors' tools will dramatically shift the benchmark for studying and implementing Global Corruption and Ethics Management; there is no other book on corruption AND ethics management with the empirical gravitas, variety of application tools, and with this level of accessibility. (shrink)

The metaverse is equivocal. It is a science-fictional concept from the past; it is the present’s rough implementations; and it is the Promised Cyberland, expected to manifest some time in the future. The metaverse first emerged as a techno-capitalist network in a 1992 science fiction novel by Neal Stephenson. Our article thus marks the metaverse’s thirtieth anniversary. We revisit Stephenson’s original concept plus three sophisticated antecedents from 1972 to 1984: Jean Baudrillard’s simulation, Sherry Turkle’s networked identities, and Jacques Lacan’s schema (...) of suggestible consumers hooked up to a Matrix-like capitalist network. We gauge the relevance of these three antecedents following Meta’s recent promise to deliver a metaverse for the mainstream and the emergence of blockchain-oriented metaverse projects. We examine empirical data from 2021 and 2022, sourced from journalistic and social media (BuzzSumo, Google Trends, Reddit, and Twitter) as well as the United States Patent and Trademark Office. This latest chapter of the metaverse’s convoluted history reveals a focus not on virtual reality goggles but rather on techno-capitalist notions like digital wallets, crypto-assets, and targeted advertisements. The metaverse’s wallet-holders collect status symbols like limited-edition profile pictures, fashion items for avatars, tradable pets and companions, and real estate. Motivated by the metaverse’s sophisticated antecedents and our empirical findings, we propose a subtle conceptual re-orientation that respects the metaverse’s equivocal nature and rejects sanitised solutionism. Do not let the phantasmagorical goggles distract you too much: Big Meta is watching you, and it expects you to become a wallet-holder. Blockchain proponents want this as well. (shrink)

This article explores interpersonal and human–computer interaction in the era of big data through the lens of Martin Buber’s relational ethics. Doing theory otherwise, it analyses the importance of other voices and speech through the case of digital assistants, questioning the implications of naming them ‘companions’. Following recent proposals to ascribe legal subjectivity to synthetic agents, the article explores the effects on agency, interaction with flesh-and-blood others and democracy in an attention economy enmeshed with technologies of behavioural manipulation (...) powered by users’ utterances that enable novel forms of social control by owners of the means of communication. (shrink)

Excerpt from A Dangerous Ideal It seems almost incredible that at the middle of this Nineteenth Century there was no law in America which made the cruel treatment of animals, in itself, a punish able offence. Those of us old enough to remember village life, say forty years ago, will recall many an act of inhumanity which then passed for sport, but which to - day is a crime. I remember certain companions of my own boyhood for example, all (...) of them regular attendants at the same village Sunday School, telling me of experiments they had made in torturing kittens and rabbits, simply to watch their convulsions in the agony of death. If a man saw fit to pour alcohol over his dog and set him afire, there was, indeed, protest against his brutality, but otherwise he was safe. The law of the land set no limits to his treatment of his own property. If he chose to burn it alive when its services were no longer of value, - who had the right to object? Have we changed all this Certainly, to some extent. Cruelty, the needless infliction of pain, the torture for amusement, is at last recognized, not only as an offense against good manners, but as an injury to the commonwealth. Humane Societies and Bands of Mercy now inculcate lessons of kindness at the earliest age. Children are to-day taught that cruelty is wicked; that there is something of sacredness in every life, and that mercy is due even to the worm that crawls at our feet. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The second edition of Play in the Early Years provides a comprehensive introduction to pedagogy and play in early years education settings. Drawing on classical and contemporary theories, this text examines social, cultural and institutional approaches to play, and explores a range of strategies for successfully integrating play into classrooms. Thoroughly revised to include the latest methods and research, this edition features new material on intentional teaching, play as learning, digital play, and discipline-specific content. Two new chapters discuss post-structuralist (...) and cultural-historical conceptions of play, and extended practical examples link pedagogical practice to the Early Years Learning Framework and the Australian Curriculum. The text is pedagogically rich, and each chapter is supported by a comprehensive companion website which provides links to videos, readings and supplementary activities. Freshly presented in a new full colour layout and written in an engaging style, Play in the Early Years remains an essential resource for pre-service students and practitioners. (shrink)

Excerpt from Martin Buber: The Life of Dialogue This book is the product of a dialogue, a dialogue first with the works of Martin Buber and later with Martin Buber himself. The influence of Buber's thought has steadily spread throughout the last fifty years until today Buber is recognized throughout the world as occupying a position in the foremost ranks of contemporary philosophers, theologians, and scholars. What has made such men as Hermann Hesse and Reinhold Niebuhr speak of Martin Buber (...) as one of the few wise men living on the earth today, however, is not only his eminence as a thinker but also his concern with the 'lived concrete, ' the everyday reality which he takes up into his imagining and bears as his responsibility. Buber's eightieth birthday, on February 8, 1958, was celebrated all over the world, for Martin Buber is one of the truly universal men of our time. 'More than any other person in the modern world, ' said the Protestant theologian H. Richard Niebuhr at one such celebration, 'more even than Kierkegaard, Martin Buber has been for me, and for many of my companions, the prophet of the soul and the witness to that truth which is required of the soul not as solitary, but as companionable being.' In a time in which we are in danger of losing our birthright as human beings, Martin Buber has shown us what it means to live as men. When in 1944 Dr. Simon Greenberg gave me the first book of Buber's that I ever read - The Legend of the Baal-Shem - Buber himself was practically unknown in America and only two of his books were in English, both published in England. Even when I wrote my doctoral dissertation on Buber in 1950, few had heard of him and few of his books were published here. Today more than twenty of Buber's books have been published in English, most of them in both England and America, several more translations are underway, five of his books have been reissued in paperback editions, four anthologies of his writings have appeared, and several books in English have been written on his thought, including the forthcoming Philosophy of Martin Buber volume of The Library of Living Philosophers, which I have had the honor of editing. In 1951-1952 Buber spent almost a year in America under the auspices of the Jewish Theological Seminary; in 1957 he was brought here by the Washington School of Psychiatry to deliver the fourth William Alanson White Memorial Lectures; and in 1958 he was brought to this country by Princeton University. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The first biography of Kierkegaard's literary muse and one-time fiancée, from the author of the definitive biography of the philosopher Kierkegaard's Muse, the first biography of Regine Olsen, the literary inspiration and one-time fiancée of Danish philosopher Søren Kierkegaard, is a moving portrait of a long romantic fever that had momentous literary consequences. Drawing on more than one hundred previously unknown letters by Regine that acclaimed Kierkegaard biographer Joakim Garff discovered by chance, the book tells the story of Kierkegaard and (...) Regine's mysterious relationship more fully and vividly than ever before, shedding new light on her influence on his life and writings. Like Dante's Beatrice, Regine is one of the great muses of literary history. Kierkegaard proposed to her in 1840, but broke off the engagement a year later. After their break, they saw each other strikingly often, inside dimly lit churches, on the streets of Copenhagen, and on the paths along the old city ramparts, passing by without uttering a word. Despite or because of their separation in life, Kierkegaard made Regine his literary life companion, "that single individual" to whom he dedicated all his works. Garff shows how Regine became a poetic presence in the frequent erotic conflicts found throughout Kierkegaard's writings, from the famous "Seducer's Diary" account of their relationship to diary entries made shortly before his death in 1855. In turn, Regine remained preoccupied with Kierkegaard until her own death almost fifty years later, and her newly discovered letters, written to her sister Cornelia, reveal for the first time a woman of flesh and blood. A psychologically acute narrative that is as gripping as a novel, Kierkegaard's Muse is an unforgettable account of a wild, strange, and poignant romance that made an indelible mark on literary history. Some images inside the book are unavailable due to digital copyright restrictions. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

This chapter treats the reception and assessment of the two English translations of Simone de Beauvoir's Le deuxième sexe, the first by Howard M. Parshley in 1953 and the second by Constance Borde and Sheila Malovany‐Chevallier in 2009. We examine both the criticisms and the appreciations, concluding that the second is superior in many ways to the first. On that basis, we propose a digital edition of the original book and its earlier drafts en face the 2009 English translation, (...) which would also allow as hypertext the addition of curated scholarly notes and textual exegesis, alongside crowd‐sourced discussion. This would both make the book more accessible worldwide, and add the scholarly dimension for which many Beauvoir scholars have long been waiting. (shrink)

Construction of self and group often incorporates the use of objects associated with "expression," including videos, films, and photographs. In this article, I describe four different sites for construction of groups (group portraiture, courtrooms, video-assisted group therapy, and videoconferencing). I discuss potential aspects of shifts in the way we use and talk about media on what it is like to participate in a group. The eras of video, film, and photography as "silent witnesses" to group interaction are gradually passing. For (...) example, technology that enables the digital retouching of photographs has afforded means for enhancing or dramatically altering photographic images. Those who employ these media as epistemological companions, supplementing their vision and memories of various events and interactions, are increasingly doing so from a critical (and somewhat cautious) perspective.. (shrink)

The impact of large digital corporations on our freedom is often lamented but rarely investigated systematically. This paper aims to fill this desideratum by focusing on the power of social media corporations and the freedom of their users. In order to analyze this relationship, I distinguish two forms of freedom and two corresponding forms of power. Social media corporations extend their users’ freedom of choice by providing many new options. This provision, however, comes with the domination by these corporations (...) because it is based on their power of uncontrolled interference. Users could escape this domination through exit. One reason why they do not choose this option is that they would lose the benefits associated with the network effects provided by social media services. A second reason is that the power of social media corporations runs so deep that they are able to manipulate the autonomous decision-making processes of their users. Users are provided with many new avenues for authentic self-presentation on social media. By using them, however, users need to conform to a web interface that is designed by corporations to undermine self-control. Through these two mechanisms, corporations are able to promote an interest in users to present themselves on their platforms. Insofar as this works, they secure the users’ compliance to their domination through subjectivation. This double conjunction of choice and domination, on the one hand, and autonomy and subjectivation, on the other, makes the case that the very power of corporate social media stems from their intrinsic connection to genuine practices of freedom. (shrink)

The technological revolution and appropriation of internet tools began to reshape the material basis of society and the urban space in collaborative, grassroots, leaderless, and participatory actions. The protest squares’ representation on Television screens and mainstream media has been broad. Various health, governmental, societal, and urban challenges have marked the advent of the Covid-19 virus. Inequalities have become more salient as poor people and minorities are more affected by the virus. Social distancing makes the typical forms of protest impossible to (...) carry out. Under social distancing, some state-led policies took advantage of social media to focus on the Covid-19 pandemic to silence social and political activities, censor criticism, and control the press. However, during the pandemic era, the movements for social justice have been particularly active, focusing on defending workers’ rights, mutual aid and solidarity, monitoring policymakers, and popular education. These progressive movements combined concrete practices and experiences to confront the reactionary, capitalist, and governmental actors that sought to shape and envision the world. Through different case studies of protest movements during the pandemic in Europe, the UK, and Asia, this paper argues that at the time of rising racial, social, and economic inequalities, the social activities adapted to the circumstances determined by the social distancing and the impossibility of people gathering in physical spaces. Subsequently, the people in different countries had various individual and collective responses to the support of health workers, systemic inequalities, loss of jobs, and other societal and financial challenges imposed by the governments. It means that, rather than disappearing, the social movements have adapted to the unexpected situations during the pandemic outbreak. The pandemic broke the new digital global wave of protests in this sense. (shrink)

Digital inequality and digital justice are pressing issues in today's world. This work examines the socio-philosophical aspects of these problems and proposes measures to achieve digital justice. The authors draw attention to the fact that digital inequality can manifest itself in various forms, such as access to information, technology and resources, as well as opportunities to participate in the digital economy. This can lead to increased social inequalities and limited opportunities for the development of individuals (...) and society as a whole. To achieve digital justice, the authors propose a number of measures, such as improving access to digital technologies and resources, ensuring equal opportunities to participate in the digital economy, and protecting consumer rights and data privacy. They also draw attention to the need to promote digital literacy and education so that people can make effective use of digital technologies and resources. The authors also examine digital inequality and digital justice in the context of monopoly and free speech. They point out that some companies that declare their social responsibility may use their monopolistic position in the market to limit freedom of speech and access to information. In this context, the authors suggest strengthening the role of the state in regulating the digital economy and protecting consumer rights. In conclusion, the research is a valuable contribution to the field of research on digital inequality and digital justice. It emphasizes the need to take into account the socio-philosophical dimensions of these issues and suggests measures to achieve digital justice. It also draws attention to the importance of cultural and historical sensitivity in the development of digital policies and resources. (shrink)

Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation and (...) brokenhearted androids -- Popular music in the digital era. (shrink)

Throughout Iran and various countries, the recent calls of the “Zan, Zendegi, Azadi” (in Persian), “Jin, Jiyan, Azadi” (in Kurdish), or “Woman, Life, Freedom” (in English) movement call for change to acknowledge the importance of women. While these feminist protests and demonstrations have been met with brutality, systematic oppression, and internet blackouts within Iran, they have captured significant social media attention and coverage outside the country, especially among the Iranian diaspora and various international organizations. This article, grounded in feminist urban (...) theories of the Global South, analyzes the digital feminist placemaking movement in Iran. As the first counter‐revolution led by women, the movement utilizes digital art, graffiti, and protest movements to embody women’s solidarity groups and sympathy rallies. Our analysis employs various digital research methods, including social media scrutiny and the study of protest illustrations. Analyzing the digital feminist placemaking in Iran will enable us to compare the commonalities, differences, challenges, and opportunities between the minorities and majorities in the world’s countries. The outcomes of this research can help international organizations such as Amnesty International and the United Nations Agency for Gender Equality and Women’s Empowerment (UN Women), as well as policymakers, institutions, academics, and NGOs, to highlight the various ways in which broader public participation could be encouraged in the process of digital feminist insurgent placemaking. (shrink)

The first aim is to provide well-articulated concepts by thinking through elementary phenomena of today s world, focusing on privacy and the digital, to clarify who we are in the cyberworld hence a phenomenology of digital whoness. The second aim is to engage critically, hermeneutically with older and current literature on privacy, including in today s emerging cyberworld. Phenomenological results include concepts of i) self-identity through interplay with the world, ii) personal privacy in contradistinction to the privacy of (...) private property, iii) the cyberworld as an artificial, digital dimension in order to discuss iv) what freedom in the cyberworld can mean, whilst not neglecting v) intercultural aspects and vi) the EU context.". (shrink)

Avatar draws us into the beautiful and exciting world of Pandora, with its fantastic locations and its exotic and dangerous creatures. The experience of watching Avatar in 3D is like looking into a cabinet of curiosities, a pastime that was particularly popular during the Victorian era. Avatar's incredible special effects make Pandora seem as believable and real as our everyday world. Most of the creatures and plants of Pandora, including the Na'vi, are designed using computers. These digital special effects (...) deliver a level of detail far beyond what was possible before computers started creating alien worlds and their inhabitants. Avatar offers an ecological warning, telling us that something is going terribly wrong on planet Earth and encouraging us to be kind to our planet. A phenomenological view of Avatar allows us to see how its special effects can have a positive influence on how we view our own world. (shrink)