This essay explores the historiographic and ethnographic valence of video in Indonesia since 1998, against the backdrop of transition from an authoritarian to a neoliberal regime, and the concurrent renewal of the country’s public sphere. The first section takes Joshua Oppenheimer’s controversial film The Act of Killing (2012) as exemplary of the moving image’s purchase on national trauma, emphasizing its role in the production (and perversion) of official history. The second section concerns the state of video discourse in (...) Indonesia as reflected in a conference held in Yogyakarta in 2011, addressing the diversity of contemporary video practices and situating them in local art and media histories. In a third and final section, we return to the epistemological quandaries raised by Oppenheimer’s film, mooting video’s capacity as a means of reconciliation with the past – a reconciliation that would seem to require both the documentary and a ‘revelatory’ function of the image. (shrink)

Riordan, Marcia This article gives the reader an overview of a DVD 'God So Loved the World: A Pastoral Series on Life Issues.' This DVD was produced by the Australian Catholic Life Council, a group established by the Australian Catholic Bishops Conference under the ACBC Commission for Pastoral Life. This article discusses the life issues covered in the DVD, which are abortion, euthanasia, and the reproductive technologies. Above all, it explains why it is necessary to de-velop a more positive pastoral (...) response to these issues. (shrink)

Using video recordings of one-on-one writing conferences as data, this conversation analytic study provides a sequential analysis of student-initiated question–answer sequences and demonstrates that the building of social interaction is contingent upon the composition of a turn as well as its position in the larger sequence. In particular, the article focuses on the distinct sequential environments in which students use yes/no interrogatives and yes/no declaratives. In the context of writing conference, the epistemic asymmetry between the participants is made (...) relevant throughout the session; in general, the teacher is in a more knowledgeable position, whereas the student is in a less knowledgeable position concerning writing practices. Nonetheless, students invoke a different degree of knowledge gap between the participants by using different forms of polar questions. This article illustrates how students convey their epistemic positions with different syntactic structures and how such distinct positions are ratified in the unfolding sequence. The analysis of this study contributes to finding new aspects of question–answer sequences and pedagogical practices. (shrink)

Drawn from the contributions to the 9th international “Consciousness Reframed” research conference held at University of Applied Arts Vienna in 2008, this publication aims for a timely re-definition of contemporary syncretic inquiries into the fields of art, science, technology and society through theory and practice alike, reframing the concept of innovation in its relationship to progress and change within the context of perception and its transformation. It comprises a wide range of outstanding expertise and insights of artists, architects, performers, musicians, (...) writers, scientists, and scholars. Among the authors from at least 20 countries are most prominently Roy Ascott, Gerald Bast, Jim Gimzewski, Pierre Lévy, Ryohei Nakatsu, Michael Punt, Ruth Schnell, Barbara Maria Stafford, Alfred Vendl, Victoria Vesna and Peter Weibel. The publication includes full papers and a DVD, edited by Ruth Schnell, with short video extracts of the event and accompanying visual reference. (shrink)

Parent-teacher conferences (PTCs) are important institutional encounters to promote a constructive dialogue and alliance between the school and the family system. However, cooperation between parents and institutional actors is not always straightforward, especially in the case of foreign parents. Because of the unequal familiarity of the latter with the institutional frameworks and language resources needed to participate effectively in PTCs, foreign parents risk having less communicative resources to rely on in the joint construction of the interaction. In this paper (...) we focus on eight PTCs with foreign parents, paying attention to occurrences where children's learning difficulties are linked by teachers to their language skills. Using a conversation analysis framework, we will observe how language issues are intertwined with cultural, identity, and moral aspects that need special attention in order to enhance and support the effective construction of educational alliances between schools and families. (shrink)

In this paper, we report on an experiment with The Walking Dead (TWD), which is a narrative-driven adventure game with morally charged decisions set in a post-apocalyptic world filled with zombies. This study aimed to identify physiological markers of moral decisions and non-moral decisions using infrared thermal imaging (ITI). ITI is a non-invasive tool used to capture thermal variations due to blood flow in specific body regions that might be caused by sympathetic activity. Results show that moral decisions seem to (...) elicit a significant decrease in temperature in the chin region 20 seconds after participants are presented with a moral decision. However, given the small sample involved, and the lack of significance in other regions, future studies might be needed to confirm the results obtained in this work. (shrink)

In this paper, we propose a framework for searching information through both the WWW and a human group. Though information retrieval using a searc engine in the WWW is very useful, we can not acquire local information owned by persons and not explicitly described in text. A user knows neither where target information is in the WWW nor who knows in a human group. Thus we integrate the information retrieval in the WWW with that in a human group, develop a (...) heterogeneous information search system HERIS as a multi-agent system. We develop this framework as multi-agent system consisting of user agents and search engine agents, and use contract net protocol to communication among the agents. A user agent and a search engine agent are assigned to a user and a search engine. Each of the agents maintains a user profile and a search engine profile. When a user gives a query to a system, it selectively searches information resources consisting the WWW and user group. Finally a user acquires integrated results of a hit list from the WWW and a audio/video connection to a user who can answer the query. It was found through experimental evaluation that information retrieval using a human group as an information resource is valid and a search with HERIS has a different character from conventional search engines. (shrink)

This article introduces the papers from two video conferences recently held between philosophers at Moscow State University and the University at Albany, State University of New York. The overarching theme is philosophical progress in the past fifty years, but the conferences were designed also to illustrate the range of work now being done by American analytic philosophers and by Russian thinkers. The Albany essays focus on philosophy of science, philosophical logic, Kantian studies, applied ethics, and ethical and (...) political theory. The Russian essays concern philosophy of culture, philosophy of mind, phenomenology, social philosophy, feminism, and postmodernism. This introductory essay notes similarities and differences that exist among American and Russian approaches to philosophy and the prospects for the convergence of these approaches. It also indicates ways in which contemporary Russian thinkers are striking out in new directions while seeking to recover those parts of their past that were silenced during much of the twentieth century. (shrink)

This article introduces the papers from two video conferences recently held between philosophers at Moscow State University and the University at Albany, State University of New York. The overarching theme is philosophical progress in the past fifty years, but the conferences were designed also to illustrate the range of work now being done by American analytic philosophers and by Russian thinkers. The Albany essays focus on philosophy of science, philosophical logic, Kantian studies, applied ethics, and ethical and (...) political theory. The Russian essays concern philosophy of culture, philosophy of mind, phenomenology, social philosophy, feminism, and postmodernism. This introductory essay notes similarities and differences that exist among American and Russian approaches to philosophy and the prospects for the convergence of these approaches. It also indicates ways in which contemporary Russian thinkers are striking out in new directions while seeking to recover those parts of their past that were silenced during much of the twentieth century. (shrink)

The ethical recruitment of participants with neurological disorders in clinical research requires obtaining initial and ongoing informed consent. The purpose of this study is to characterize barriers faced by research personnel in obtaining informed consent from research participants with neurological disorders and to identify strategies applied by researchers to overcome those barriers. This study was designed as a web-based survey of US researchers with an optional follow-up interview. A subset of participants who completed the survey were selected using a stratified (...) purposeful sampling strategy and invited to participate in an in-depth qualitative interview by phone or video conference. Data were analyzed using a mixed methods approach, including content analysis of survey responses and thematic analysis of interview responses. Over 1 year, 113 survey responses were received from US research personnel directly involved in obtaining informed consent from participants in neurological research. Frequently identified barriers to informed consent included: cognitive and communication impairments (e.g. aphasia), unrealistic expectations of research participants, mistrust of medical research, time constraints, literacy barriers, lack of available social support, and practical or resource-related constraints. Strategies to enhance informed consent included: involving close others to support participant understanding of study-related information, collaborating with more experienced research personnel to facilitate training in obtaining informed consent, encouraging participants to review consent forms in advance of consent discussions, and using printed materials and visual references. Beyond conveying study-related information, researchers included in this study endorsed ethical responsibilities to support deliberation necessary to informed consent in the context of misconceptions about research, unrealistic expectations, limited understanding, mistrust, and/or pressure from close others. Findings highlight the importance of training researchers involved in obtaining informed consent in neurological research to address disease-specific challenges and to support the decision-making processes of potential research participants and their close others. (shrink)

Resumo: O ingresso de estudantes surdos no ensino superior tem ampliado nos últimos anos, e com isso, a inclusão desses estudantes, passa a ser um desafio. Nesse sentido, objetivamos neste estudo analisar a sua inclusão no ensino superior em Portugal. O estudo compreende a trajetória de três estudantes surdos vinculados a duas instituições de ensino superior, e cuja comunicação se estabelece pela Língua Portuguesa. Como forma de levantamento de dados, foram realizadas entrevistas semiestruradas, nas modalidades presencial e por videoconferência. Salientamos (...) que a escolha pela língua oral utilizada durante a entrevista foi dos estudantes, uma vez que estes alunos utilizam na maior parte do seu tempo a Língua Portuguesa, na sua vertente oral e escrita. Os resultados apontam para a importância de repensar a oferta de ensino permeado pela presença da Língua Gestual Portuguesa (LGP) nas atividades acadêmicas tendo em conta as principais necessidades apontadas pelos estudantes que participaram neste estudo: a) presença do intérprete de LGP nas salas de aula; b) colaboração dos professores da educação superior; c) interações sociais na universidade, e d) inclusão de estudantes surdos, o que demonstra a importância de repensar as práticas inclusivas para estudantes universitários surdos nas Instituições que frequentam. Palavras-chave: Ensino Superior; Estudantes surdos; Inclusão. Deaf students in Higher Education in Portugal - a reflection on inclusion Abstract: The enrollment of deaf students in higher education has increased in recent years, and with that, the inclusion of these students, becomes a challenge. In this sense, we aim in this study to analyze its inclusion in higher education in Portugal. The study comprises the trajectory of three deaf students linked to two higher education institutions, and whose communication is established by the Portuguese Language. For data collection, semi-structured interviews were conducted, in person and by video conference. We emphasize that the choice of the oral language used during the interview was of the students, since these students use most of their time the Portuguese language, in its oral and written components. The results point to the importance of rethinking the teaching offer permeated by the presence of the Portuguese Sign Language (PSL) in academic activities taking into account the main needs pointed out by the students who participated in this study: a) presence of the PSL interpreter in the classroom; b) collaboration of higher education teachers; c) social interactions at the university, and d) inclusion of deaf students, which demonstrates the importance of rethinking inclusive practices for deaf students in the Institutions they attend. Keywords: Higher Education; Deaf students; Inclusion. Estudiantes sordos en Educación Superior en Portugal - una reflexión sobre su inclusión Resumen: La matrícula de estudiantes sordos en la educación superior se ha incrementado en los últimos años, y con ello, la inclusión de estos estudiantes, se convierte en un desafío. En este sentido, nuestro objetivo en este estudio es analizar su inclusión en la educación superior en Portugal. El estudio comprende la trayectoria de tres estudiantes sordos vinculados a dos instituciones de educación superior, cuya comunicación está establecida por la lengua portuguesa. Como medio de recopilación de datos, se realizaron entrevistas semiestructuradas, en persona y por videoconferencia. Destacamos que la elección del idioma portugués utilizado durante la entrevista fue de los estudiantes, ya que estos estudiantes utilizan la mayor parte de su tiempo el idioma portugués, en sus aspectos oral y escrito. Los resultados apuntan a la importancia de repensar la oferta docente permeada por la presencia de la Lengua de Signos Portuguesa (LSP) en las actividades académicas teniendo en cuenta las principales necesidades señaladas por los estudiantes que participaron en este estudio: a) presencia del intérprete LSP en las aulas; b) colaboración de profesores de educación superior; c) interacciones sociales en la universidad, y d) inclusión de estudiantes sordos, lo que demuestra la importancia de repensar las prácticas inclusivas para los estudiantes universitarios sordos en las Instituciones a las que asisten. Palabras clave: Educación superior; Estudiantes sordos; Inclusión. Data de registro: 15/04/2021 Data de aceite: 01/12/2021. (shrink)

Background Medical aid in dying (MAID) is legal in a number of countries, including some states in the U.S. While MAID is only permitted for terminal illnesses in the U.S., some other countries allow it for persons with psychiatric illness. Psychiatric MAID, however, raises unique ethical concerns, especially related to its effects on mental illness stigma and on how persons with psychiatric illnesses would come to feel about treatment and suicide. To explore those concerns, we conducted several focus groups with (...) persons with lived experience of mental illness.Methods We conducted three video-conference-based focus groups involving adults residing in the U.S. who reported a prior diagnosis of any psychiatric illness. Only participants who reported thinking that MAID for terminal illness was morally acceptable were included. Focus group participants were asked to respond to a series of four questions. Groups were facilitated by a coordinator who was independent of the research team.Results A total of 22 persons participated in the focus groups. The majority of participants had depression and anxiety disorders; no participants had psychotic disorders such as schizophrenia. Many participants strongly favored permitting psychiatric MAID, generally on the basis of respect for autonomy, its effects on stigma, and the severe suffering caused by mental illness. Others expressed concerns, typically related to difficulties in ensuring decision-making capacity and to the risk that MAID would be used in lieu of suicide.Conclusions Persons with a history of psychiatric illness, as a group, have a diverse array of views about the permissibility of psychiatric MAID, reflecting nuanced consideration of how it relates to the public perception of mental illness, stigma, autonomy, and suicide risk. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Balancing Depth and Breadth in Our Conversations:Denver 2022 SBCS Annual MeetingSandra Costen KunzIn 2020 and 2021, due to the corona virus pandemic, the Society for Buddhist-Christian Studies (SBCS) held its annual board meeting, members meeting, and paper sessions online. This year, in 2022, we were delighted to meet face-to-face again on November 18–19 in conjunction with the annual meeting of the American Academy of Religion (AAR). Because we are (...) an AAR "related scholarly organization," all of our events were scheduled through, and publicized by, AAR's staff. President Mark Unno not only presided at the board's table but also graciously ran a video conference, primarily to accommodate board and committee members who were outside the United States or dealing with travel-prohibiting health issues.The 2020 and 2021 fully online governance meetings, led by then-president Leo Lefebure, had been well organized, well run, highly effective, and a lot of fun. But as I watched the attentive eyes around the table this year and listened to the laughter, empathetic sighs, and plans for follow-up conversations, it seemed to me that meeting in person, in some ways, more powerfully supports the society's aim to foster in-depth Buddhist-Christian dialogue and comparative studies. Mark, then vice president, had organized the 2020 and 2021 online paper sessions carefully for online audiences. We were thrilled that these beautifully crafted and moderated presentations drew audiences that were amazingly broad in terms of both size and diversity. Planned as emergency extensions of the society's efforts to create, through our blog and Facebook page, safe online spaces for Buddhist-Christian dialogue and comparative studies, these sessions drew an international audience whose breadth astounded us! Conversations that had begun in these sessions could not, however, be quickly continued over a meal or coffee. In some ways, they did not appear to me to spark the same depth of ongoing conversation that the SBCS has prompted in our four decades of face-to-face meetings.As the board continues to discuss how to balance our desires for both depth and breadth of conversation among our board, our members, and nonmembers who attend our events, we sincerely welcome the wisdom of members and other readers. You can submit suggestions to: https://www.society-buddhist-christian-studies.org/contact. [End Page 263]board of governors meetingPresident's Opening RemarksCalling this year's board meeting to order a little past 9 a.m., Mark Unno said that he sensed that his father, Taitetsu Unno, "is with us, encouraging and congratulating the society on how far we've come in the past forty years." He recalled his father's participation in the Cobb–Abe dialogues and the network that evolved into the SBCS, and that these initial conversations were often highly theological—and testy—and often involved a translator. Mark is convinced, however, that this early debate was a necessary foundation for developing a more robust mutual learning community. Describing two significant ways the society is modeling collaborative learning, he said:1. We're providing a model of interreligious engagement for other people in our various traditions.2. Although we do have impacts on scholars and general audiences through our AAR sessions, journal, and online resources, our greatest impacts as board members have been on each other! Furthermore, any impact of lasting value will come through our embodiment of deep dialogue and mutual learning.Mark explained that we'd begin with the online European Network report, move to the Japan Society's report, and then to the treasurer's and secretary's reports, both of which would be presented online.International Advisor Report from EuropeElizabeth Harris, representing the European Network of Buddhist Christian Studies, explained that since its formation in the 1990s, its main work has been to hold a conference every other year and publish the papers. EOS Verlag has now published the papers that she and Perry Schmidt-Leukel edited from the 2020 conference titled "A Visionary Approach: Lynn A. de Silva and the Prospects for Buddhist-Christian Encounter." The 2022 conference titled "Euro-Buddhism and the Role of Christianity," whose papers are now being edited... (shrink)

The seven articles that constitute this special issue illustrate scholarly interactions between philosophy and game studies. The wide range of game types/genres and the multiple philosophical issues concerning them are rich and productive. They indicate well the significant contribution that philosophical approaches can make to further development of scholarly understandings of computer games and gaming. Each article breaks new conceptual ground in ways likely to resonate within the new discipline of computer game studies but also, beyond this, in other disciplinary (...) fields wherein video games and digital entertainment cannot be ignored. All are either original works submitted in response to an open call for contributions, or reworked versions of papers presented at earlier Philosophy of Computer Games conferences, and not previously published elsewhere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hispanic Utopian Studies and Activism as a PromptJulia Ramírez-Blanco (bio)In the last few years I have come to the Utopian Studies Societýs yearly conference as part of a smaller group, one that has its own parallel history in the left corner of the South of Europe and is networked mostly with Latin America. I am referring to the interdisciplinary research group Histopia, which has its base in Madrid́s Autónoma (...) University, is comprised of twenty-seven researchers from different institutions, and is coordinated by historian Juan Pro. As the name Histopia suggests, it was founded by historians. From the beginning there have been people from other fields, such as political science, architecture, cultural studies, and art history. The aim was always understanding utopianism beyond the study of texts, and centering research in everything that utopianism produces, such as social movements, political programs, and urban programs. In this sense, a premise was to understand utopias not as a footnote in history or a series of eccentric events, but as a guiding force that drives a [End Page 510] history. This placing of utopianism in history was clearly announced in the grouṕs website:Histopia seeks to go beyond the philological approach that predominates in Utopian Studies and to historicize the study of contemporary utopias and dystopias, showing how they respond to the contexts in which they arise, since they reflect the problems and frustrations of a society as well as the aspirations for change it contains, and the conditions of possibility that a particular cultural and emotional framework offers for developing them.1Together with this focus on history, which departs from the more text-centered traditions of an important part of utopian studies, the other main particularity of Histopia is its decentralizing of utopian studies towards the Spanish-speaking world. And to this end, the group also founded the Transatlantic Network for the Study of Utopias, which was created in 2015 to put in communication over 250 researchers, most of them from Latin America, but also from other places such as Australia or Japan.2The Spanish statés research funding programs have provided the bureaucratic framework and the material resources for the research group since 2015. Together with seminars, conferences, or workshops, the resulting publications have been linked with utopian literature, with dystopia, and with a focus on viewing history through the lens of utopia. One of the most recent endeavors has been a radically collective one, articulating a Dictionary of Utopian Places written by a multitude of authors.3 Histopia has also initiated several projects with schools, for the most part ongoing, and there have been many attempts to disseminate its work through radio and video projects. And since its founding, Histopia has tried reaching out beyond the Academy—an effort that is finally gaining success. In 2021 the international conference Intentional Communities: Concrete Utopias in History was extremely fruitful: we saw involved participation both in various interventions, and through activities such as streaming. Participants included people and organizations from social movements and from intentional communities.I want to argue here that the very formation of Histopia was a logical development from certain political triggers—and in particular, the so-called 15M Movement, a series of anti-austerity protests and direct-democracy initiatives that ignited antigovernment activism throughout Spain from 2011 on, culminating in the occupation of urban spaces (“encampments”) and in very large political assemblies. It is not just that the forces of activism were [End Page 511] reignited after 2011, and that its inheritors came together with the Histopia research group; the very existence of Histopia, I am arguing, can be read as a consequence of the 15M encampment and its aftermath.Prefigurative PracticesIn May 2011, following the example of the Arab world, Madrid’s Puerta del Sol was populated by a crowd armed with posters, slogans, and self-made banners. On the inhospitable ground of the square, anonymous persons erected an encampment so complex that it functioned as a miniature city, with spaces for preparing food, for nursery care, for rest, for legal consultation, for anti-racist and/or feminist activity. All work was voluntary, and materials were... (shrink)

Teachers are urged to integrate grammar instruction with lessons on writer's craft, but what does that look like in real classrooms with real kids? In The Craft of Grammar, Jeff Anderson shows how he brings grammar and craft together meaningfully for student writers. Jeff and his sixth-grade students move easily from analyzing sentences to freewrites in writer's notebooks to "express-lane edits" of their writing in daily workshops. The lessons, individual conferences, and small-group activities on the video demonstrate how (...) to use high-quality children's and young adult literature as mentor texts and as an alternative to "Daily Oral Language." This sixty-minute DVD includes examples of: developing whole-class lessons focused on short mentor text; linking the writer's notebook to grammar instruction; assisting students in individual conferences as they test new writing strategies and analyze text; scaffolding learning through guided practice and small-group work; creating mnemonic devices to help students retain key rules; celebrating student success and tactfully correcting errors. Jeff presents simple and imaginative tools and memory devices—from the whoop of the AAAWWUBIS to the clever and catchy FANBOYS—that help students see the value of grammar and mechanics in crafting powerful writing and retain that knowledge. Filmed in his diverse, Title I classroom in San Antonio, Texas, and featuring Jeff's unique brand of energy, passion, and self-deprecating humor, The Craft of Grammar helps teachers of intermediate and adolescent writers find new and engaging ways to connect the writing process with grammar and mechanics. (shrink)

[Abstract and PDF at the Pittsburgh PhilSci Archive] A slightly shorter version of this paper is to appear in a volume edited by Jonathan Barrett, Adrian Kent, David Wallace and Simon Saunders, containing papers presented at the Everett@50 conference in Oxford in July 2007, and the Many Worlds@50 meeting at the Perimeter Institute in September 2007. The paper is based on my talk at the latter meeting (audio, video and slides of which are accessible here).

"A blab droid is a robot with a body shaped like a pizza box, a pair of treads, and a smiley face. Guided by an onboard video camera, it roams hotel lobbies and conference centers, asking questions in the voice of a seven-year-old. "Can you help me?" "What is the worst thing you've ever done?" "Who in the world do you love most?" People pour their hearts out in response. This droid prompts the question of what we can hope (...) from social robots. Might they provide humanlike friendship? Philosopher John Campbell doesn't think so. He argues that, while a social robot can remember the details of a person's history better than some spouses can, it cannot empathize with the human mind, because it lacks the faculty for thinking in terms of singular causation. Causation in Psychology makes the case that singular causation is essential and unique to the human species. From the point of view of practical action, knowledge of what generally causes what is often all one needs. But humans are capable of more. We have a capacity to imagine singular causation. Unlike robots and nonhuman animals, we don't have to rely on axioms about pain to know how ongoing suffering is affecting someone's ability to make decisions, for example, and this knowledge is not a derivative of general rules. The capacity to imagine singular causation, Campbell contends, is a core element of human freedom and of the ability to empathize with human thoughts and feelings"--. (shrink)

This study explored drug users’ attitudes toward and understanding of randomized controlled trials testing addiction therapies. A video portraying a fictional consent conference for a randomized controlled trial with placebo arm was shown to poor male and female drug users of diverse ethnic status and sexual orientation. The video stimulated focus group discussion in which participants’ comments often reflected “experimental realism”—a realistic view of the trial—and adequate understanding of the uncertain efficacy of the treatment being tested, as well (...) as the concepts of randomization and placebo control. However, participants’ comprehension of the nature of placebos was compromised by the widespread view that placebos are a way of testing a subject’s willpower and personal control over his or her addiction. Comments also showed a mistrust of the video investigator’s integrity and competence and signs of therapeutic misconception and misestimation. The study’s findings underscore the importance of tailoring informed consent encounters to the personal and sociohistorical context of participants’ lived experiences. (shrink)

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a conversation (...) between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body. The full, unedited panel conversation, including questions from the audience, and an accompanying video of edited interviews with panellists, is available online at https://www.loumackenzie.com/offering-the-body. (shrink)

Two conundrums puzzle COVID‐19 investigators: 1) morbidity and mortality is rare among infants and young children and 2) rates of morbidity and mortality exhibit large variances across nations, locales, and even within cities. It is found that the higher the rate of pneumococcal vaccination in a nation (or city) the lower the COVID‐19 morbidity and mortality. Vaccination rates with Bacillus Calmette–Guerin, poliovirus, and other vaccines do not correlate with COVID‐19 risks, nor do COVID‐19 case or death rates correlate with number (...) of people in the population with diabetes, obesity, or adults over 65. Infant protection may be due to maternal antibodies and antiviral proteins in milk such as lactoferrin that are known to protect against coronavirus infections. Subsequent protection might then be conferred (and correlate with) rates of Haemophilus influenzae type B (Hib) (universal in infants) and pneumococcal vaccination, the latter varying widely by geography among infants, at‐risk adults, and the elderly. Also see the video abstract here https://youtu.be/GODBYRbPL00. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Little Girls Become Junior Connoisseurs:A Cautionary Tale of Art Museum Education in the HyperrealMelinda M. Mayer (bio)Introducing the TaleA young girl about eleven years old appeared on the TV screen. She stood in an art museum expounding upon the painting hanging behind her. She talked about the artist and what the image portrayed. With an air of elitist prissiness that suited the museum environment, the girl delivered her (...) presentation to a group of schoolmates. As I and the other art museum educators assembled in the conference room where the video was shown learned, the girl had participated in a program at a prominent art museum in which students from her school came to the museum many times during the school year. This repeat-visit program culminated with these youngsters demonstrating what they learned about art by giving a talk on a single artwork to friends, family, or other classmates. The girl's recitation of art historically correct information was impressive. She sounded just like a junior art historian. Yet, something was missing. The little girl appeared to copy the style of art historical talk more than its content. I turned to the colleague sitting next to me and wondered, "Did that girl learn how to make meaning or how to talk like a curator?"Despite the several years that have passed since the conference, the image of that little girl lingers in my mind. A repeat-visit school program is what an art museum educator working with school tours desires.1 All an art museum educator can hope to impart on a one-shot tour is a simple exposure to art and the museum. Hopefully, that one encounter will result in a lifelong appreciation of art and art museums, but that is a tall order for one field trip. Repeat-visit programs, by contrast, allow knowledge and skills related to art to be presented in the school and museum and reinforced in subsequent sessions. Students can learn to meaningfully interpret the content [End Page 48] of works of art as well as make personal connections with them.The girl in the video, however, did not appear to be engaged in meaning-making. No hint that the painting had metaphorically come off of the museum wall and moved into her life experience appeared in the girl's presentation. Instead, she successfully imitated the manner of an art historian.In the essay "The Precession of Simulacra," the French sociologist Jean Baudrillard theorizes that reality or meaning no longer exist.2 Like the Moebus strip, which when split generates a duplicate of itself, what we experience as reality in this increasingly mediated age in which we live is no more than the repeated circulation of models or simulacra. Rather than models emerging out of real phenomena or originals, they beget themselves—models precede models. Any notion of reality implodes in the circulation of these simulations. Reality becomes what Baudrillard calls the hyperreal—simulation generating simulation. What does this imply for visual art? Interpretation of meaning in artworks would not reveal some represented truth of human experience; instead it would be the repetition of interpretive forms masking that there is no reality to represent. The talk by the little girl in the video indicated that art museum education, at least in that program, had become the perpetuation of a model of inquiry. Rather than making meaning, the girl reproduced the aesthetics of art history interpretation. Even under the ideal circumstances of a repeat-visit school program, the girl became the perfect model of a petite connoisseur.Although the video depicts one little girl in one art museum program, is there not a cautionary tale here for the field of art museum education?3 When visitors to art museums, including children on school field trips, participate in educational programs, are they engaging in meaning-making or an experience in the hyperreal? In theory art museum educators espouse facilitating meaning-making as their mission; however, in practice are they falling into a vortex of recycling the models of art historical interpretation they assimilated during their own education? Do they replicate the form of the model rather than the substance of interpretation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 291-293 [Access article in PDF] A Reply to Jessica Benjamin Lester C. Olson I am grateful to Jessica Benjamin for making the time to write a letter concerning her experiences in 1979 at "The Second Sex Conference," where Audre Lorde delivered her speech "The Master's Tools Will Never Dismantle the Master's House." The letter arrived on 4 March 2000, after I had sent the (...) final version of the essay on Lorde's speech to Philosophy and Rhetoric. Although the editor indicated that, despite the late date, it would be possible for me to revise the essay to account for Ms. Benjamin's statement, I instead asked the editor to publish the statement as a comment after the essay, because of the historical value of her firsthand experiences and understandings of the conference, and because her letter provides an opportunity to engage in a dialogue called for in the conclusion of my essay. In addition, the letter gives additional information about context, which impacts any interpretation of Lorde's speech. As such, it becomes an occasion to reflect on interpreting rhetorical texts in historical contexts.As a rhetorical critic, I have been working, periodically, on understanding the rhetoric of Lorde's speech for about three years now. During September 1997, I wrote to several scholar-activists who were well positioned to know about the audiences at the conference and whether there were audio or video recordings of the speech. I was anxious to secure a recording because I knew from my earlier experience in researching Lorde's other speeches that, at times, she revised the texts for printed versions of them. Except for archivists at New York University, nobody replied to my letters. In the meantime, I presented preliminary drafts of my interpretation of Lorde's speech at conferences of the National Communication Association--one paper analyzing the speech itself and a second on later critical commentaries on it. In addition, in undergraduate classes on rhetorical criticism, I used the speech as a sustained example during class discussions on doing rhetorical criticism. In addition to reading Simone de Beauvoir's The Second Sex (1949) because its publication was the basis for the entire [End Page 291] conference, I read some conference participants' later publications based on their conference papers. Having secured a formal acceptance of my essay, I decided to send a penultimate copy of it to the scholar-activists to whom I had written in 1997, hoping that it might elicit some replies. Two people sent letters during the last couple of months, one so brief that it would not have affected my interpretation of Lorde's speech. Ms. Benjamin's letter, however, mattered to me--both because of its historical importance in its own right and because of the ramifications it has for interpretations in the essay.My immediate response to the first paragraph of Ms. Benjamin's letter was defensiveness. It disturbed me to realize that Ms. Benjamin had experienced my essay as perpetuating the divisiveness and polarization at the time and as marginalizing her experiences. My intentions were not to continue a destructive practice, but rather to examine Lorde's rhetoric to identify pitfalls in coalition politics across multiple differences (both within and among social groups) to mitigate them to the extent possible. Subsequently, I realized that my own defensiveness exemplified one such pitfall. By asking the editor to publish Ms. Benjamin's letter, I could perhaps model a dialogue approach, which I had called for in the essay's conclusion; rectify in some measure the marginalization of Ms. Benjamin's account; and provide readers with additional information for their active reinterpreting of the speech, essay, and letter.Further, based upon Ms. Benjamin's letter, some aspects of the rhetorical context may merit attention in revising my essay. The comments about the organizer's efforts to include a range of social groups and about the resistance to those efforts deserve mention, because becoming audience members was already a rhetorical effect. If, as one black feminist suggested to Ms. Benjamin, "only white women" came to feminist... (shrink)

Third Line is an installation of video projections and selected artefacts presented at the 2014 International Žižek Studies Conference: Parallax Future in Art and Design, Ideology, and Philosophy, with the support of the Ontario Arts Council. Third Line represents a self-referential and speculative study of haiku structure, in conjunction with the idea of optical interference and parallax. The title refers to Žižek’s explanation of the haiku function: the third line of haiku stands for the momentary event where reality loses (...) its substantial mass. The objective was to create a visual experience that affiliates the haiku structure with an experiential system of visual perception. We designed a dual, parallax video projection system, with one facet of the screen revealing a sequence of haiku text – metaphrasms systematically extracted from Žižek’s books – as the other side showed a video of ambient, material dissolution. The installation also featured a tableau of collected objects, referencing the project’s material development and ideological framework. (shrink)

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but rather about mixing art. Several (...) different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

The appearance of mass media and a versatile medium of videos can serve the convenience and instructive information for children; on the other hand, it could abet them in implicit image consumption. Now is the time for kids' to be in need of thinking power which enables them to make a choice, applications andcriticism of information within such visual cultures. In spite of these social changes, the realities are that our curriculum still doesn't meet a learner's demand properly. This research, (...) in this context, is aimed at looking out on the currently implemented art appreciation learning process in a critical fashion, and also aimed at suggesting a plan for visual culture learning by applying the philosophy program for kids as a new alternative. The purpose of such education is toenhance the capability to solve a variety of problems they are facing in the course of daily life by reflecting their matter of concern in a curriculum. What we have to pay attention to in visual culture learning is 'visual literacy.' Such an interpretative faculty of a critical reading of images is a must especially when kids should make a judgment of value hidden in images in their daily events, make an analysis of an ideological message and make an information-oriented decision. Therefore, learners have to enrich their higher-order thinking power as well as critical thinking faculty in modern society. If there is no objection to these social surroundings, it is quite natural that philosophy education, which forms a base of a higher-order thinking for children should be handled significantly at school. (shrink)

One of the best gimmicks on the cognitive science conference circuit is the demonstration of inattentional blindness. Many readers of this journal must have already been exposed to it. For the rest we will briefly describe a striking and popular demonstration. It typically evolves during a conference talk, where the presenter provides the audience with a stimulus in the form of a small video clip of six people, three in white, three in black, who pass two basket balls around. (...) The instruction is to count the number of passes made by the players in white. When the movie is over, the presenter asks for a response, someone provides it, and he then goes on to elicit a report: 'Did anyone notice something strange during the film?' Usually, only those who have seen the film before have, but they are not allowed to answer. The film is then replayed, but this time, the audience is instructed to look out for anything unusual. Muted, surprised laughter goes through the auditorium when someone dressed as a gorilla enters into the scene of kids playing, confronts the spectators, bangs his chest, and slowly walks out again. It seems incredible that it went unnoticed the first time around, and yet those who have been exposed to the experiment before can testify that the gorilla was indeed there in both showings of the film. (shrink)

Qu'est-ce que la fameuse caverne de Platon si ce n'est la plus grande chambre noire que l'on ait jamais réalisée? Reprenant cette intuition de Paul Valéry, Jean-François Mattéi procède à une relecture magistrale des grands dialogues de Platon, de La République au Timée, pour y découvrir la matrice de notre monde, un monde envahi par les images et les simulacres. Du cinéma aux jeux vidéo en passant par Internet, le cyberespace et les téléphones portables, nouvelles "cavernes personnelles ", les images (...) ont en effet pris le pouvoir. Censées initialement représenter le réel, elles se sont mises à le simuler, à le dupliquer, voire à l'absorber pour faire surgir une nouvelle dimension, celle du virtuel. Matrix, Avatar, World of Warcraft, Toy Story, la 3D, sont le vecteur de cette révolution. Pour la plupart des philosophes, la victoire des simulacres constitue un renversement sans précédent du rapport entre image et réalité, institué il a 2500 ans par Platon. Les images ne seraient plus le miroir d'une réalité intelligible qui leur confère consistance, mais de purs simulacres sans aucun rapport avec le réel. En croisant la lecture minutieuse de Platon avec une plongée passionnante dans les processus les plus contemporains de modélisation des images, cet essai démontre qu'il n'en est rien. Loin d'être autonomes, les phénomènes de simulation proviennent de procédés rationnels qui projettent leur intelligibilité dans le sensible. Et ces procédés artificiels redoublent l'opération première, advenue dans la nuit des temps, au cours de laquelle le monde fut structuré grâce à des modèles intelligibles qui se sont inscrits en lui. (shrink)

As the number of infections and mortalities from the SARS‐CoV‐2 pandemic continues to rise, the development of an effective therapy against COVID‐19 becomes ever more urgent. A few reports showing a positive correlation between BCG vaccination and reduced COVID‐19 mortality have ushered in some hope. BCG has been suggested to confer a broad level of nonspecific protection against several pathogens, mainly via eliciting “trained immunity” in innate immune cells. Secondly, BCG has also been proven to provide benefits in autoimmune diseases (...) by inducing tolerogenicity. Being an acute inflammatory disease, COVID‐19 requires a therapy that induces early priming of anti‐viral immune responses and regulates aberrant hyperactivity of innate‐immune cells. Here, we hypothesize that BCG can offer reliable spatiotemporal protection from COVID‐19 by triggering trained immunity and tolerogenesis, through multiple cellular pathways. We propose further research on BCG‐mediated immunoprotection, especially in vulnerable individuals, as a strategy to halt the progress of the SARS‐CoV‐2 pandemic. Also see the video abstract here https://youtu.be/P2D2RXfq6Vg. (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)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires (...) two identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

The ELSI Program: Closing the Loop was an interpretive policy study undertaken to identify how the research and the researchers funded through the program to study the ethical, legal, and social implications of mapping the human genome contributed to the construction of a public policy agenda. The stated goals of this federal grant program, known as ELSI and administered through the National Center for Human Genome Research within the National Institutes of Health, was to maximize the benefits and minimize the (...) harms of the genetic information developed as a result of the government supported genomic research. The purpose of the research project was to generate meaning and understanding regarding the social constructions of this community of researchers. Specifically, identifying themes in the process and outcomes of the research activity was intended to inform future public policy actions, thereby, closing the loop on the reflexive activity generated by the ELSI Program. The activities of the sixty-four researchers granted awards between 1990 and 1993 comprised the core sample for the study. The research process was embedded in a constructivist philosophy and the design included participant observation and an analysis of textual materials generated by the grantees. Data included periodical articles, authored and edited books, videos, popular print and visual media materials, conference papers and presentations, forum reports, interviews, and materials generated by the researcher in the process of the research--notes and analytic memos. Data analysis was an interpretive synthesis of a content analysis, contextual analysis, grounded theory coding categories, and the reflexive process of the researcher. ;The phenomena under investigation were the interactional activities of the ELSI group of researchers through which meaning was shaped on the ethical, legal, and social implications of genomic mapping. A theoretical model of the constructions of the researchers as developed included two core categories: "Framing Academic Constructions" and "Institutionalizing the Myth". The ELSI researchers used a variety of strategies, including rhetorical questioning, professional blocking and impersonalizing, plying a trade, and academic time in generating constructions. The research and researchers contributed to institutionalizing a myth of a genome through strategies that included being the expert, narrowing the focus, and marveling. The consequence of these social interactions was a process of "Making Points Not Meaning", participation in symbolic activities that generated few issues for the public policy agenda. The constructions of the policy study were then situated in the context of the discipline of public administration and policy studies. Significant to the impact of the research findings was understanding how the cooptation of these researchers might effect an health care delivery system dominated by commercial interests such as biotechnology and managed care organizations. The study concluded with a discussion of how situated knowledge constructions, social epistemology, interdisciplinarity, and interpretive research methods might contribute to enhanced credibility in public policy actions. (shrink)

On November 18, 1994, academic, activist, and philosopher Cornel West addressed the National Alliance of Black School Educators at a conference in the Westin Bonaventure Hotel in Los Angeles, California. Dr. West’s speech, captured in this video recording, focuses on the experience of African Americans in America, a culture that, according to West, is steeped in the “pernicious and vicious” influence of white supremacy. West argues that 1994 is one of the “more frightening and terrifying moments” in the history (...) of the United States, and he laments the election of Newt Gingrich as well as the leadership positions of such figures as Strom Thurmond and Orrin Hatch. He urges the audience to adopt an approach to democratizing American politics by not only resisting white supremacy but also male supremacy, heterosexual supremacy, and any other attitude that dehumanizes other people. West also deplores the decline of “non-market values” such as kindness, community, and love, contending that “market culture” leads to “market morality,” in which every part of human life is commodified. (shrink)

To explore the question of physical thinking – using the body as an instrument of cognition – we collected extensive video and interview data on the creative process of a noted choreographer and his company as they made a new dance. A striking case of physical thinking is found in the phenomenon of marking. Marking refers to dancing a phrase in a less than complete manner. Dancers mark to save energy. But they also mark to explore the tempo of (...) a phrase, or its movement sequence, or the intention behind it. Because of its representational nature, marking can serve as a vehicle for thought. Importantly, this vehicle is less complex than the version of the same phrase danced ‘full-out’. After providing evidence for distinguishing different types of marking, three ways of understanding marking as a form of thought are considered: marking as a gestural language for encoding aspects of a target movement, marking as a method of priming neural systems involved in the target movement, and marking as a method for improving the precision of mentally projecting aspects of the target. (shrink)

Joint remembering relies on the successful interweaving of multiple cognitive, linguistic, bodily, social and material resources, anchored in specific cultural ecosystems. Such systems for joint remembering in social interactions are composed of processes unfolding over multiple but complementary timescales which we distinguish for analytic purposes with the terms ‘coordination’, ‘collaboration’, ‘cooperation’, and ‘culture’, so as better to study their interanimation in practice. As an illustrative example of the complementary timescales involved in joint remembering in a real-world activity, we present a (...) micro-qualitative analysis of an interactional sequence in which two members of a fourperson team of video designers crafted a memory- scaffolding tool. In order to find the temporal structure of the crafting of the memory-scaffolding tool, we used software for pattern recognition. The analysis suggests that coordination, collaboration, cooperation, and culture reveal complementary aspects of interacting to remember, which should be considered as complex phenomenon unfolding at multiple interanimating timescales. (shrink)

We present data and argument to show that in Tetris—a real-time interactive video game—certain cognitive and perceptual problems are more quickly, easily, and reliably solved by performing actions in the world rather than by performing computational actions in the head alone. We have found that some translations and rotations are best understood as being used to implement a plan, or to implement a reaction. To substantiate our position we have implemented a computational laboratory that lets us record keystrokes and (...) game situations, as well as allows us to dynamically create situations. Using the data of over 30 subjects playing 6 games, tachistoscopic tests of some of these subjects, and results from our own successful efforts at building expert systems to play Tetris, we show why knowing how to use one’s environment to enhance speed and robustness are important components in skilled play. (shrink)

The aim of this project to expose the reasons behind the pandemic of misinformation (henceforth, PofM) by examining the enabling conditions of epistemic agency and the emerging technologies that threaten it. I plan to research the emotional origin of epistemic agency, i.e. on the origin of our capacity to acquire justification for belief, as well as on the significance this emotional origin has for our lives as epistemic agents in our so-called Misinformation Age. This project has three objectives. First, I (...) plan to expose the degree to which epistemic agency is made possible by an under-researched species of emotion called epistemic feelings. Perhaps, the most epistemically significant is the feeling of confidence. In particular, epistemic feelings make epistemic agency possible by making errors in reasoning salient or the potential lack thereof. -/- Second, in order to diagnose the reasons for PofM, I will analyze the emotional basis of epistemic agency in the context of emerging technologies. Epistemic feelings ought to be construed as motivators of epistemic acts, specifically acts following exposure to misinformation spread by social media. For example, a recent study found that subjects on YouTube have a 6.3% probability in five clicks to go from watching innocuous videos to misogynistic videos. Accordingly, one prominent view holds that social media algorithms lead subjects down the proverbial rabbit hole, producing content that elicits strong emotional reactions. -/- But under-researched is the degree to which these emotions are intertwined with epistemic feelings, so that subjects are likely to misjudge the information as correct due to being primed to do so by processing the AI's suggested media. Thus, when this technology is used in epistemic practices, the result is invariably epistemically bad behavior because of how this manner of producing content motivates epistemic acts through the production of erroneous feelings of confidence, which result from the perceived ease of cognitive processing: the content is easy to process and so, the subject confidently misjudges, it is true. As of yet, an account of this cognitive and emotional decision-making process has not been used to analyze how emerging technologies are threatening epistemic agency, and thus our wellbeing as knowers. -/- Finally, I plan to develop therapeutics for PofM by outlining how to reform our collective epistemic practices. Thus, this project complements existing research in virtue epistemology, specifically by articulating the challenges to cultivating epistemic virtues and warding off the vices of the mind. In summation, the project aims to account for how emerging technologies are committing a form of epistemic injustice through the exploitation of cognitive biases and the production of erroneous epistemic feelings, with the overarching goal being a framework for convalescing from the pandemic of misinformation plaguing our age. (shrink)

In this study, we predict the different levels of performance in a Nintendo Entertainment System (NES) Tetris session based on the score and the number of matches played by the players. Using the first 45 seconds of gameplay, a Random Forest Classifier was trained on the five keys used in the game obtaining a ROC_AUC score of 0.80. Further analysis revealed that the number of down keys (forced drop) and the number of left keys (left translation) are the most relevant (...) keys in this task, showing that by merely including the data from these two keys our Random Forest Classifier reached a ROC_AUC score of 0.83.We conclude that the keylogger data during the early phases of a game session can be successfully used to predict performance in longer sessions of Tetris. (shrink)

If philosophical moral reflection tends to promote moral behavior, one might think that professional ethicists would behave morally better than do socially comparable non-ethicists. We examined three types of courteous and discourteous behavior at American Philosophical Association conferences: talking audibly while the speaker is talking (versus remaining silent), allowing the door to slam shut while entering or exiting mid-session (versus attempting to close the door quietly), and leaving behind clutter at the end of a session (versus leaving one's seat (...) tidy). By these three measures, audiences in ethics sessions did not appear to behave any more courteously than did audiences in non-ethics sessions. However, audiences in environmental ethics sessions did appear to leave behind less trash. (shrink)

This book constitutes the thoroughly refereed post-proceedings of the International Conference on Artificial Intelligence and Symbolic Computation, AISC 2000, held in Madrid, Spain in July 2000. The 17 revised full papers presented together with three invited papers were carefully reviewed and revised for inclusion in the book. Among the topics addressed are automated theorem proving, logical reasoning, mathematical modeling of multi-agent systems, expert systems and machine learning, computational mathematics, engineering, and industrial applications.

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting with his (...) closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)

The main objective of the present paper is to introduce some features of fake/bogus conferences and some viable approaches to differentiate them from the real ones. These fake/bogus conferences introduce themselves as international conferences, which are multidisciplinary and indexed in major scientific digital libraries. Furthermore, most of the fake/bogus conference holders offer publishing the accepted papers in ISI journals and use other techniques in their advertisement e-mails.

Papers presented at the Kierkegaard: Resources and Results Conference, held at McGill University, June 6-8, 1980.

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Two ConferencesProfessional Discourse, Music Education, and JusticeEric ShiehThis is an exploration of misunderstandings. Beginning with my own.It is 3:15pm at the Pearson International Airport, Toronto. I am leaving the musica ficta/Lived Realities conference on "Engagements and Exclusions in Music, Education, and the Arts" held at the University of Toronto, January 2008, and this is what I write: "I am thinking about what I am going to (...) take from this conference and I think ultimately it may be a profound sense of disappointment. I do not feel anymore that I am part of a larger community that will support me, or that there is a web of people engaged in justice-oriented practice …."Explicitly addressing issues of equity and social justice in music education, the conference shared similar themes and a similar participant base with a conference held at Teachers College, New York City, in October 2006, titled the "International Conference on Music Education, Equity, and Social Justice," the first of its kind. Yet where I left the Toronto conference with a sense of disappointment, I found myself writing after the New York conference: "Don't forget—the [End Page 203] feeling of urgency … of wanting to engage again in philosophy, and wanting to read again and renew faith with the project of change."The difference that provoked these polar reactions, I contend here, is in part a difference in the research presented at the two conferences—a differing orientation toward issues of social justice as well as toward the music education profession itself. I also argue, however, that the researchers share more similarities than the discourses surrounding the conferences allow and in part the differences perceived are a by-product of professional structures that serve to polarize discourse—structures that are foregrounded in these two conferences. My intent here, then, is not to valorize the NYC conference or disparage the Toronto conference based on my reactions but to read these reactions as problematic, where euphoria can be reactionary and resistance productive, with the understanding that they are heavily limited by my identification as a young, unestablished music practitioner. I begin first by unpacking those reactions through a reading of the differences between the two conferences. Ultimately, I seek the implications of these differences and similarities for research and practice at the intersection of social justice and music education, and argue that my initial reactions are symptomatic of a wider and potentially harmful approach to this work.Justice, Positively and Negatively ConceivedI wish to begin explicating the differences between the two conferences at an oddly revealing detail: the inscriptions featured on the covers of the respective conference booklets and, in the case of the Toronto conference, replicated on the website and call for papers. The NYC conference features a lengthy and hopeful quote by Maxine Greene, worth reproducing in full: "Because it is only through the projection of a better social order that we can perceive the gaps in what exists and try to transform and repair…. This can happen in classrooms, in corridors, in schoolyards, in the streets around."1 Contrast this with the authorless four-word mantra of the Toronto Conference: "Charity is Not Justice," represented as a photograph of graffiti on what looks to be a construction site. The difference is stark: the Greene quote indicates that the NYC conference might seek to project a better social order from which action might arise. The Toronto conference, on the other hand, forcefully declares the project of justice in the negative: it is not charity.It is worth taking a moment to put these two inscriptions in dialogue. There is a way, certainly, that Greene in this quote allows for—and perhaps encourages—charitable work. If a person, for example, believes that a better world includes feeding the homeless, he or she might be moved to open a soup kitchen. Insofar as this is an act of charity (and most people would agree that it is), the mantra of the Toronto conference rejects it outright. Furthermore, the use of a [End Page 204] photograph of presumably authentic graffiti lays claim to a kind of streetwise, oppressed authority that throws a... (shrink)