Good interlocutors are a blessing, and needless to say, I’m feeling very blessed today. This is especially true for a project in which _vision_ figures so centrally, since we often see most clearly through the parallax of another’s eyes. Contributors to this conversation have cast distinct lines of sight onto _Anticolonial Eruptions _that have allowed me to see both otherwise and better, to recognize which elements of my original argument remain incomplete or unclear, to glimpse what was overlooked or taken (...) for granted, and to realize other moments where I might have been wrong entirely. They have revealed how my book, despite diagnosing colonial hubris, might reproduce blindspots that are more or less hubristic in their own right. This apparent irony is anything but. Any book, especially one this short, slices into and across history and theory ways that are inescapably partial, leaving a generative remainder to be dealt with. But more than this, I find nothing but encouragement in how my comrade-readers have taken up the lenses provided—the colonial blindspot, the second sight of the colonized, and the decolonial ambush—to excavate and cultivate a radical second sight from the depths of the colonial blindspot. Whether diagnosing the paradoxical unseeing of ocular-centrism, my own blindness toward the revolutionary nature of care as community resistance, or the ways that tropes of inevitability might refract my political judgment, each of the critiques printed above offers, in Kevin Bruyneel’s words, “more ammo for the canon/cannon” (88). (shrink)

Although it is common in liberal and progressive circles to scoff at the idea that the Unites States is “exceptional”—a derision driven by an admirable suspicion of the chauvinistic connotations of the exceptionalist view—doing so obscures a significant reality. The United States is different, or at least rather unusual, in its social, cultural, and geo-strategic circumstances, especially when compared to the nations of Europe from which it draws the core of its intellectual traditions. What's more, the critique of American exceptionalism (...) has acquired its own troublesome politics. “It is extremely dangerous to encourage people to see themselves as exceptional, whatever…. (shrink)

A highly interesting collection of lectures on the central themes of contemporary philosophy and theology in the European tradition. Out of twenty-seven fascinating titles a few especially interesting ones are: Heinrich Ott, "The Structure of the Act of Faith," Karl Kerényi, "The Myth of Faith," Antoine Vergote, "Myth, Belief, and Theological Faith," Henri Bouillard, "To Believe and to Understand," Geo Widengren, "Myth and Faith in the Light of Religious Phenomenology," Giulio Girardi, "Demythisation and Atheism," René Marlé, "Is the Christian Faith (...) a Religion?" Huguette Fugier, "Time and the Sacred in the Religious Vocabulary of the Romans," Renato Lazzarini, "Myth and Faith in Eschatological Perspective." All the lectures and the discussions centered around them are in French.—M. J. V. (shrink)

Caper in his section on the preposition ex cited Ennius, Ann. 309:nauibus explebant sese terrasque replebant,and declared that Virgil used the verb with this antique sense in Aen. 6, 545:discedam; explebo numerum reddarque tenebris,i.e. ‘minuam vestrum numerum.’This we are told in Servius' note, which begins: Ut diximus supra, explebo est minuam. Thilo gives no reference to any such previous words of Servius, and I have failed to find them. Can it be that Servius has carelessly transcribed a note of Donatus, (...) and that Donatus had discussed ex minuens at Geo. 2, 65, or 4, 145? Donatus' note on Terence, Hec. 755, is Explere exinanire Terentianum est; the passage of Terence is:eas ad mulieres huc intro atque istuc iusiurandum idempolliceare illis: exple animum îs teque hoc crimine expedi,i.e., relieve their mind of suspicion against Pamphilus and free yourself from this charge. The phrase recurs in the next Scene :illis modo explete animum.i atque exple animum îs, coge ut credant. (shrink)

This commentary analyses the quantitative parameters of Reichle et al.'s model, using estimates when explicit information is not provided. The analysis highlights certain features that appear to be necessary to make the model work and ends by noting a possible problem concerning the variability associated with oculomotor programming.

The Anthropocene, as we encounter it now, is the age in which we can no longer avoid postnaturalism, that is, a view of the ‘environment’ as largely ‘built.’ This means that we exist in a highly technologically mediated relationship to the rest of the earth system. But because the Anthropocene has barely emerged this time is best thought of as a transition phase between two epochs, i.e., it is ‘the end-Holocene.’ The end-Holocene is essentially a period of ecological crisis, the (...) most salient manifestation of which is anthropogenic climate change. Given our political inertia, some have suggested that we should we respond to the climate crisis through technological manipulation of the global climate: geoengineering. The proposal raises many questions. The one I am interested in here is whether or not geoengineering represents an objectionable species-level narcissism. Will deployment of these technologies effectively cut us off from contact with anything non-human? This is what I’m calling ‘the question concerning geoengineering.’ I show how Heidegger’s philosophy of technology, especially his concept of ‘enframing,’ can help us think about the issue with the seriousness it demands. (shrink)

This study described the relationships between academic class and student moral sensitivity and reasoning and between curriculum design components for ethics education and student moral sensitivity and reasoning. The data were collected from freshman (n = 506) and senior students (n = 440) in eight baccalaureate nursing programs in South Korea by survey; the survey consisted of the Korean Moral Sensitivity Questionnaire and the Korean Defining Issues Test. The results showed that moral sensitivity scores in patient-oriented care and conflict were (...) higher in senior students than in freshman students. Furthermore, more hours of ethics content were associated with higher principled thinking scores of senior students. Nursing education in South Korea may have an impact on developing student moral sensitivity. Planned ethics content in nursing curricula is necessary to improve moral sensitivity and moral reasoning of students. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, she (...) remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy in itself such (...) as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

This paper highlights the dark side of power imbalance regarding its consequences in agri-food supplier–buyer relationships. We report on findings from two studies. The first study is based on a sample of 105 key informants, while study 2 is based on a sample of 444 key informants, all from the cocoa agri-food supply market of Ghana. While the first study focuses on the antecedents of power imbalance and its consequences, the second study explores the role of cooperatives/collective action in minimizing (...) supplier exploitation. Data from these studies were analysed using the partial least squares technique. Analysis of these findings shows switching costs’ impact on power imbalance to be curvilinear, while power imbalance has a curvilinear relationship with opportunism. The negative consequences of power imbalance are further exacerbated by dependency and the lack of joint action. Furthermore, we found the negative impact of power imbalance on financial performance to be stronger for non-cooperative members than for cooperative members, while, counterintuitively, we found the positive impact of economic satisfaction on financial performance to be stronger for non-cooperative members than for cooperative members. (shrink)

The E-Z Reader model (Reichle et al. 1998; 1999) provides a theoretical framework for understanding how word identification, visual processing, attention, and oculomotor control jointly determine when and where the eyes move during reading. In this article, we first review what is known about eye movements during reading. Then we provide an updated version of the model (E-Z Reader 7) and describe how it accounts for basic findings about eye movement control in reading. We then review several alternative models (...) of eye movement control in reading, discussing both their core assumptions and their theoretical scope. On the basis of this discussion, we conclude that E-Z Reader provides the most comprehensive account of eye movement control during reading. Finally, we provide a brief overview of what is known about the neural systems that support the various components of reading, and suggest how the cognitive constructs of our model might map onto this neural architecture. Key Words: attention; eye-movement control; E-Z Reader; fixations; lexical access; models; reading; regressions; saccades. (shrink)

An important question about eye-movement behavior is when the decision is made to terminate a fixation and program the following saccade. Different approaches have found converging evidence in favor of a mixed-control account, in which there is some overlap between processing information at fixation and planning the following saccade. We examined one interesting instance of mixed control in visual search: lag-2 revisits, during which observers fixate a stimulus, move to a different stimulus, and then revisit the first stimulus on the (...) next fixation. Results show that the probability of lag-2 revisits occurring increased with the number of target-similar stimuli, and revisits were preceded by a brief fixation on the intervening distractor stimulus. We developed the Efficient Visual Sampling computational model to simulate our findings and to provide insight into mixed control of fixations and the perceptual, cognitive, and motor processes that produce lag-2 revisits. (shrink)