Based on the presentation of a research framework (the shared work of teachers), this text uses an empirical approach to examine the hypothesis of a co-elaboration of the professional situation. To do so, the empirical investigation, based on the Goffman framework, analyzes the process of reconstructing a teaching session (reference situation) over the course of a pedagogical counselling session (support situation) characterized by interaction between a beginning teacher and a trainer. The invalidation of the hypothesis leads (...) to a suggested conceptualization of the professional situation combining definitional approaches (emphasizing the duality between its singularity and its genericity) and methodological approaches. -/- A partir de la présentation d’un cadre de recherche (le travail partagé des enseignants), ce texte soumet à l’empirie l’hypothèse de la co-élaboration de la situation professionnelle. Pour ce faire, en s’appuyant sur le cadre de Goffman, l’enquête empirique analyse le processus de reconstruction d’une séance d’enseignement (situation de référence) au cours d’une séance de conseil pédagogique (situation support) caractérisée par l’interaction entre une enseignante débutante et un formateur. L’invalidation de l’hypothèse débouche sur une proposition de conceptualisation de la situation professionnelle qui combine des approches définitoires (insistant sur la dualité entre sa singularité et sa généricité) et méthodologiques. (shrink)

Based on the presentation of a research framework (the shared work of teachers), this text uses an empirical approach to examine the hypothesis of a co-elaboration of the professional situation. To do so, the empirical investigation, based on the Goffman framework, analyzes the process of reconstructing a teaching session (reference situation) over the course of a pedagogical counselling session (support situation) characterized by interaction between a beginning teacher and a trainer. The invalidation of the hypothesis leads (...) to a suggested conceptualization of the professional situation combining definitional approaches (emphasizing the duality between its singularity and its genericity) and methodological approaches. A partir de la présentation d’un cadre de recherche (le travail partagé des enseignants), ce texte soumet à l’empirie l’hypothèse de la co-élaboration de la situation professionnelle. Pour ce faire, en s’appuyant sur le cadre de Goffman, l’enquête empirique analyse le processus de reconstruction d’une séance d’enseignement (situation de référence) au cours d’une séance de conseil pédagogique (situation support) caractérisée par l’interaction entre une enseignante débutante et un formateur. L’invalidation de l’hypothèse débouche sur une proposition de conceptualisation de la situation professionnelle qui combine des approches définitoires (insistant sur la dualité entre sa singularité et sa généricité) et méthodologiques. (shrink)

Based on the presentation of a research framework (the shared work of teachers), this text uses an empirical approach to examine the hypothesis of a co-elaboration of the professional situation. To do so, the empirical investigation, based on the Goffman framework, analyzes the process of reconstructing a teaching session (reference situation) over the course of a pedagogical counselling session (support situation) characterized by interaction between a beginning teacher and a trainer. The invalidation of the hypothesis leads (...) to a suggested conceptualization of the professional situation combining definitional approaches (emphasizing the duality between its singularity and its genericity) and methodological approaches. (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)

This article focuses on how to provide environmental descriptions of the context with the intent of creating access to information and dialogical participation for deafblind persons. Multimodal interaction is needed to communicate with deafblind persons whose combined sensory loss impedes their access to the environment and ongoing interaction. Empirical data of interpreting for deafblind persons are analyzed to give insight into how this task may be performed. All communicative activities vary due to their context, participants, and aim. In this study, (...) our data are part of a cross-linguistic study of tactile sign language and were gathered during a guided tour for a deafblind group. The guided tour was tailored to a specific group (adult deafblind tactile signers and their interpreters) visiting one of the oldest cathedrals and pilgrim sites in Scandinavia, with interpreters following up the guide’s presentation and providing descriptions based on the given situation. The tour and the interpreters’ work were videotaped, and the ongoing interaction and communication have been studied through video-ethnographic methods and conversational analysis. The data have been investigated for the research question: What elements are involved in descriptions to provide deafblind individuals access to their environments? Theories from multimodality communicative studies are relevant for the ways tactile descriptions are presented and analyzed. Some of this is an investigation at a microlevel of interaction. An overall inspiration for this study is interaction studies with data from authentic formal and informal conversations and ways of analyzing embodied action and situated gestures in studies of human interaction. Also, concepts of “frontstage,” “backstage,” and “main conversation” are brought into our interpreter-mediated data to follow the role of building meaning in complex conversations. Theories on interaction are used in the analyses to illustrate the participating framework between the guide, the interpreter, the deafblind person, and the situated frame of their interaction. The study opens for a broader understanding of the repertoire of multimodal interaction and how such interaction may be handled as inputs in communication processes. This is of relevance for communication with deafblind persons, for professionals meeting blind and deafblind clients, and for knowledge of multimodal interaction in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Finding a Pedagogical Framework for Dialogue about Nudity and Dance ArtSuzanne Jaeger (bio)"Nudity is like calling something 'Free Beer.' I always threaten to make people do stuff naked, and I'm all for it, but to me, it's usually more trouble than it's worth. If something is swinging around, that's all anybody looks at."—Mark Morris, choreographerIntroductionIn his article on nudity in theatre dance, philosopher Francis Sparshott observes that because (...) we live in a culture in which, for the most part, we remain clothed when in public, we wonder why the dancers in a particular performance of theatre dance are undressed.1 It can be at least a little shocking and often distracting. There are, of course, times when people are naked in public, for example, when seeing a physician, on a nude beach, when using a public change room, or when engaged in a sexual encounter. For the most part, however, we wear clothes in most social contexts. Even if we allow that performances are extraordinary public situations dissimilar from everyday social interactions, because nudity is not the usual condition even for theater dance, we may well wonder why a choreographer has chosen to have the dancers undressed. In other words, the question is fair enough.Certainly, creating some sense of shock or surprise in the audience is often what artists are seeking. Furthermore, they may also be playing on their own, the audience's, or their dancers' exhibitionism. These are all possible aspects of the experience of seeing theater dancers naked on stage. Exhibitionism is itself an interesting aesthetic value, about which much could be said. Exhibitionism is also, at times, tedious, such as when it comes as a [End Page 32] demand for attention that outweighs the interest that can be generated by what the exhibitionist is actually doing. We often expect artists to show us something that goes beyond them—something that focuses our attention and interests away from the artist and onto the work of art.In the following discussion I assume that choreographers sometimes choose to present their dancers undressed because they believe it contributes to the meanings of the dance as a work of art. It is this idea that nudity can be artistically meaningful that I wish to explore. If nudity is not used solely for commercial appeal, shock value, or exhibitionism but rather to contribute to meanings evoked by the dance as an artwork, what more can be said about how the audience has access to these meanings?I begin by defining "art dance" in relation to other kinds of dance practices and then consider a distinction between nudity and nakedness raised first by Kenneth Clark and John Berger in their analyses of meaning in oil paintings and other visual representations of the human form.2 I then introduce two ideas commonly discussed in some canonical literature in the philosophy of art: first, the claim that works of art express feelings; and second, the concept of form as it is used when talking about works of art. Although the discourses of philosophical aesthetics have since moved in new directions, and the notions of expression and aesthetic form are no longer central to the problems of the day, I return to these seminal ideas because they add to our understanding of how nudity can contribute meaning to a work of art dance.I also assume in the discussion that the success of using nudity in a dance work can only be judged on a case-by-case basis. The analyses of feeling and form are meant to provide a pedagogical framework for dialogue with students about the role of nudity in the aesthetics of art dance. The examples serve as illustrations of how one might interpret meanings in particular dance works that use nudity. The educational objective of my interpretations is to promote by example the capacity of art dance observers for experiencing, understanding, and becoming meaningfully involved with works of art dance that use nudity.Part One: Definition of Art DanceWhat I have to say about nudity is said with art or theater dance in mind rather than other forms of dance. This... (shrink)

This paper deals with the exceptions-tolerance property of generic sentences with indefinite singular and bare plural subjects (IS and BP generics, respectively) and with the way this property is connected to some well-known observations about felicity differences between the two types of generics (e.g. Lawler's 1973, Madrigals are popular vs. #A madrigal is popular). I show that whereas both IS and BP generics tolerate exceptional and contextually irrelevant individuals and situations in a strikingly similar way, which indicates the existence of (...) a basically equivalent tolerance mechanism, there is also a difference between them, unnoticed so far, which concerns the degree to which the properties of the legitimate exceptions can be characterized in advance. Following claims in Greenberg (2003), I argue that both this newly observed difference as well as the traditional felicity differences result from an underlying contrast in the type of ‘non-accidentalness’ expressed by the two types of generic sentences, and more formally, in the accessibility relations that their generic quantifier (Gen) is compatible with. To capture the new difference in tolerance of exceptions, I develop an improved version of the exceptions-tolerance mechanism for generic sentences suggested in Kadmon & Landman (1993), namely, a restriction on the set of individuals and situations quantified by Gen, which is partially vague to two different degrees using supervaluationist methods. The different degrees of vagueness in this restriction are shown to be systematically dependent on the two types of accessibility relations that IS and BP generics are compatible with, which are redefined as precise and vague restrictions on the generic quantification over worlds. (shrink)

The relationship between an author's and an audience's intentions is complex but need not preclude mutual engagement. This philosophical investigation challenges existing literary and rhetorical perspectives on intention and offers a new framework for understanding the negotiation of meaning. It describes how an audience's intentions affect their interpretations, shows how audiences negotiate meaning when faced with a writer's undecipherable intentions, and defines the scope of understanding within rhetorical situations. Introducing a concept of intention into literary analysis that supersedes existing rhetorical (...) theory, Arabella Lyon shows how the rhetorics of I. A. Richards, Wayne Booth, and Stanley Fish, as well as the hermeneutics of Hans-Georg Gadamer, fail to account for the complex interactions of author and audience. Using Kenneth Burke's concepts of form, motive, and purpose, she builds a more complex notion of intention than those usually found in literary studies, then employs her theory to describe how philosophers read Wittgenstein's narratives, metaphors, and reversals in argument. Lyon argues that our differences in intention prevent consistency in interpretations but do not stop our discussions, deliberations, and actions. She seeks to acknowledge difference and the communicative problems it creates while demonstrating that difference is normal and does not end our engagement with each other. _Intentions_ combines recent work in philosophy, literary criticism, hermeneutics, and rhetoric in a highly imaginative way to construct a theory of intention for a postmodern rhetoric. It recovers and renovates central concepts in rhetorical theory—not only intention but also deliberation, politics, and judgment. (shrink)

The relationship between an author's and an audience's intentions is complex but need not preclude mutual engagement. This philosophical investigation challenges existing literary and rhetorical perspectives on intention and offers a new framework for understanding the negotiation of meaning. It describes how an audience's intentions affect their interpretations, shows how audiences negotiate meaning when faced with a writer's undecipherable intentions, and defines the scope of understanding within rhetorical situations. Introducing a concept of intention into literary analysis that supersedes existing rhetorical (...) theory, Arabella Lyon shows how the rhetorics of I. A. Richards, Wayne Booth, and Stanley Fish, as well as the hermeneutics of Hans-Georg Gadamer, fail to account for the complex interactions of author and audience. Using Kenneth Burke's concepts of form, motive, and purpose, she builds a more complex notion of intention than those usually found in literary studies, then employs her theory to describe how philosophers read Wittgenstein's narratives, metaphors, and reversals in argument. Lyon argues that our differences in intention prevent consistency in interpretations but do not stop our discussions, deliberations, and actions. She seeks to acknowledge difference and the communicative problems it creates while demonstrating that difference is normal and does not end our engagement with each other. _Intentions_ combines recent work in philosophy, literary criticism, hermeneutics, and rhetoric in a highly imaginative way to construct a theory of intention for a postmodern rhetoric. It recovers and renovates central concepts in rhetorical theory—not only intention but also deliberation, politics, and judgment. (shrink)

In his previous book, La philosophie et les experiences naturelles, A. De Waelhens claims that great philosophers in the past have not only been in dialogue with their predecessors but also that each great philosopher benefited from a confrontation with a non-philosophical experience. This previous book forms the theoretical justification for the present one. Here the author studies the problem of psychosis, with the hope and the intention of contributing to the further development of philosophy. Insofar as philosophy is fascinated (...) with the obligation "Learn to know yourself" or the search for an answer for the question "Who am I," insofar so claims the author, contemporary philosophy cannot afford to bypass psychoanalysis. The book has six chapters and a conclusion, but could easily be divided in three parts. The first part is a survey of the general approach to psychosis and schizophrenia by a selected group of European psychiatrists. The author indicates the crucial shortcomings of each approach and shows how there is among them a gradual turning away from a physiological interpretation of schizophrenia and psychosis towards a psychological one. In Part II, the author uses mainly the theory of Lacan and his disciples to present a coherent theory of psychosis. The crucial concepts are 1) the Oedipus-complex, 2) the mirror stage, 3) the foreclosure of a reference to the father. The Oedipus-complex is well known from Freud’s works although it receives here a more structural interpretation. The mirror stage refers to the events around 6-8 months when the child has to appropriate himself as a unified body, not just a collection of partial elements. This task can be noticed easily when one observes the attitude of the child towards the mirror. Hence the name. In order to perform this task successfully the child needs the support of the mother. The function of the mother is still more important for the third problem: a reference to the father. A healthy development of the child requires that the mother is capable of recognizing and of acknowledging the part played by the father in the creation of the child. This is done in our culture by giving the child the name of the father. Mothers of psychotics often are emotionally unable to tolerate that. They want to situate their child exclusively in relation to themselves: they foreclose any reference to the father. Psychosis is therefore related to the foreclosure of the name-of-the-father. These three crucial concepts allow the author to explain the crucial symptoms of schizophrenia, and to compare it with paranoia and paraphrenia. The third part of the book is a philosophical discussion of the problem of psychosis. The author offers the continental philosophical tradition as a better intellectual framework to study psychosis than the physical framework that Freud used in his Project for a Scientific Psychology and that he never completely abandoned. In the conclusion A. De Waelhens summarizes the direct philosophical consequences of the study of psychosis, the most fascinating being that one has to recognize the priority of language in the constitution of the subject, and that there is a meaningful relation between the way I relate to myself, the things and other people. Two improvements could be made in the book. The first is pedagogical: i.e., a critical bibliography of the crucial works of Lacan and his school and of the phenomenological tradition would have been very helpful for any reader not familiar with one of the two streams of thought. A second improvement would be the inclusion in Chapter One of a discussion of the development which has taken place in the U.S.A. in the explanation of schizophrenia. It is parallel with the development in Europe. A useful reference is E. G. Mishler and N. E. Walker: "Family Interaction Processes and Schizophrenia: A Review of Current Theories," in International Journal of Psychiatry, July 1966, Vol. 2, Number 4. Although the book is difficult, it is very insightful and provocative and it certainly merits translation.—W. V. E. (shrink)

The primary means for psychotherapy interaction is language. Since talk-in-interaction is accomplished and rendered interpretable by the systematic use of linguistic resources, this study focuses on one of the central issues in psychotherapy, namely agency, and the ways in which linguistic resources, person references in particular, are used for constructing different types of agency in psychotherapy interaction. The study investigates therapists' responses to turns where the client complains about a third party. It focuses on the way therapists' responses distribute (...) experience and agency between the therapist and the client by comparing responses formulated with the zero-person to responses formulated with a second person singular pronoun that refers to the client. The study thus approaches agency as situated, dynamic and interactional: an agent is a social unit whose elements are distributed in the therapist-client interaction. The data consist of 70 audio-recorded sessions of cognitive psychotherapy and psychoanalysis, and the method of analysis is conversation analysis and interactional linguistics. The main findings are that therapists use the zero-person for two types of responses: affiliating and empathetic responses that distribute the emotional experience between the client and the therapist, and responses that invite clients to interpret their own experiences, thereby distributing control and responsibility to the clients. In contrast, the second person references are used for re-constructing the client's past history. The conclusion is that therapists use the zero-person for both immediate emotional work and interpretative co-work on the client's experiences. The study suggests that therapists' use of the zero-person does not necessarily attribute “weak agency” to the client but instead might strengthen the clients' agency in the sense of control and responsibility in the long term. (shrink)

Nursing work increasingly demands forms of expertise that complement specialist knowledge. In child and family nursing, this need arises when nurses work in partnership with parents of young children at risk. Partnership means working with parents in respectful, negotiated and empowering ways. Existing partnership literature emphasises communicative and relational skills, but this paper focuses on nurses’ capacities to facilitate parents’ learning. Referring to data from home visiting, day‐stay and specialist toddler clinic services in Sydney, a pedagogical framework (...) is presented. Analysis shows how nurses notice aspects of children, parents and parent–child interactions as a catalyst for building on parents’ strengths, enhancing guided chance or challenging unhelpful constructs. Prior research shows the latter can be a sticking point in partnership, but this paper reveals diverse ways in which challenges are folded into learning process that position parents as agents of positive change. Noticing is dependent on embodied and communicative expertise, conceptualised in terms of sensory and reported channels. The framework offers a new view of partnership as mind‐expanding for the parent and specifies the nurse's role in facilitating this process. (shrink)

Many factors like the structure of the society, political conditions, and social structure of a country are useful in determining pedagogical approaches. One of them is culture, which is influential on the way of life of the individual, as well as thinking and learning styles. This requires the examination of the relationship between culture and pedagogy. It is possible to discuss cultural, multicultural, and intercultural pedagogical approaches regarding the relationship between pedagogy and culture. The socio-political agenda of a (...) country is the thing that defines the pedagogy-culture association and acts as a mediator for this association and its reflections on the applied educational systems. In this regard, the interpretation of the cultural-pedagogical concerning the educational philosophies of countries becomes more necessary. Since culture affects general pedagogy, naturally, it also affects religious pedagogy. Besides, the importance of the phenomenon of cultural-religious pedagogy becomes visible when considering the inseparable integrity of culture and religion. This study aims to make a start to develop a more effective religious pedagogy by interpreting the association between culture and religious pedagogy in Turkey. For this purpose, it introduces the cultural pedagogy and cultural-religious pedagogy concepts, and then, addresses the main issues in developing cultural-religious pedagogy in Turkey.Summary: Currently, it is seen that many societies are changing and becoming open societies. Education in free societies is not an indoctrination activity. This situation requires that appropriate pedagogies are developed in education by considering all ideas, beliefs, and cultures related. When the fact that the multicultural structure is seen in many societies with the effect of globalization is found, the reflections of ethnic, religious, and cultural diversity on education have been considered, which have given birth to the need for cultural pedagogy.When the integrity of religion and culture is considered, it is possible to argue that the effect of culture should be regarded as in religious pedagogy. However, when a cultural-religious pedagogy is a matter, there are questions awaiting answers as follows: (a) whether the religion that exists in the definition of religious pedagogy is to be considered as a phenomenon or any religion is mentioned, which issues are to be considered in studies followed after one of these is preferred, (b) if a pedagogy is to be developed based on the interaction of religion with culture, and (c) whether it is to be dealt with in the context of one single religion with culture or with an intercultural approach. This current study aims to introduce the concept of cultural-religious pedagogy by explaining the effect of the questions mentioned above on cultural-religious pedagogy studies and to determine the issues that must be considered in cultural-religious pedagogy studies. This study, which was conducted with the Literature Review Method was limited by examining the concept of cultural-religious pedagogy in terms of some paradigms; and excluded any suggestions in terms of developing cultural-religious pedagogy in practice. It is considered that discussing the meaning of the concept for Turkey with its opportunities and limitations will augment this field to draw attention to the principles of developing cultural-religious pedagogy.Since pedagogy covers many subjects and phenomena in the scope of education, it is possible to argue that it constitutes a general and universal structure about the human existence and nature. Although the individual has common characteristics in terms of being human, s/he is a part of the culture to which they are attached in terms of the social aspect, and individuals that have different cultures -in other words, communities or congregations- differ from each other. These characteristics, which are called cultural differences, are essential in terms of education because they affect and individuate learning. Continuing the educational activities in a setting where different behavioral types that have specific features in a multicultural and open societal structure in a way that will protect this diversity, and the necessity to think about the pedagogical principles in facilitating the learning of the individual attaching to his/her cultural features constitute the fundamental goal of cultural pedagogy studies.In countries that have diversity in terms of ethnicity, structure, religion, and culture, although a pedagogical approach is seen, which provides the opportunity for the agreement that is based on cultural and religious partnerships with the intercultural pedagogical approach, differences are also considered over the explanations that are brought about by the members of the religion or culture at the points where culture and religion separate from each other.In Turkey, on the other hand, since a cultural pedagogy is also necessary together with the intercultural approach due to the social structure, the necessity of constructing the relationship between religious pedagogy and culture must be fictionalized different from the one that is adopted in the Western world. When considered from the perspective of Turkey, it is possible to mention an Islamic religious pedagogy in which Islamic theology takes a central place. However, it must not be considered as an obligation. Recognizing religion as a phenomenon in the academic and literary field, or admitting it as the Islamic religion will vary according to the nature of the study in question.When the issue is considered for the Islamic religion in particular, although a pedagogy in which the primary sources of Islamic religion, the Qur’an and hadiths are the centers will be formed, the differences in the interpretation of the verses and hadiths and the cultural influence in these interpretations cause that an Islamic cultural pedagogy is developed. As a particular religious pedagogy field, it is possible to mention the Islamic religious pedagogy by considering the rituals that are formed with cultural influences like forms of covering the head, Mevlit (Islamic memorial ceremony), etc., which are considered to be religious by people. It is possible to argue that culture has a significant impact on the preferences of the Sects in terms of differences in the parts of religion that are open to interpretation. In this respect, it is also possible to argue that the Sects that have different methodologies and that make conclusions with varying ways of thinking will create different pedagogies. Accordingly, it is possible to say that the Islamic pedagogy may be formed in two ways without considering the Sect issue; firstly, with a general methodology, and secondly, with more specific methodological approaches in terms of sects.When the fact that sects have effects on the multicultural structure of Turkey, if the purpose is to form a multicultural religious pedagogy, it must be based on the differences of the Sects instead of religions as it is the case in Europe. However, when the fact that the discrepancies between the Sects are not an element of disintegration, but constitute a wealth of interpretation is considered, it must not be regarded as incorrect to emphasize these differences. From this point of view, it is possible to mention a cultural Islamic religious pedagogy. When talking about grounding the cultural or intercultural religious pedagogy, explaining this issue only by grounding it on the Sects will limit the scope of it. Because it is possible to establish pedagogy over each of the differences like geographical regions and traditional or modern approaches. Determining and working on each of these differences will contribute to a more effective religious education. Taken together, when considering the true nature of cultural diversity as well as the structure of the religions that exist in the society, there is a need to talk about a cultural-religious pedagogy in Turkey and to establish the relation between cultural pedagogy. (shrink)

In the field of education for sustainable development (ESD), the theoretical background is often absent (Considère and Tutiaux-Guillon, 2013 ; Tutiaux-Guillon, 2013), suggesting that a shared culture would be established and practices would be self-evident. Indeed, the exploration of ESD pedagogies highlights epistemological bases that are absent, incomplete or very personal and ideologically marked. We base our argument on the results of our thesis, defended in 2018 and based on a methodological device that has enabled us to collect the (...) statements of more than a thousand French primary and secondary school teachers about their practices in ESD. The instrumented analysis of the concepts of the anthropological theory of didactics (ATD) developed by Chevallard (2011a) with the notion of « praxeology » highlights a clear gap existing between the pedagogical modalities implemented and the theoretical support at the origin of these pedagogies. In this context, the highlighting of a certain number of references from the scientific literature suggests that certain supports can be identified (and that certain obstacles can be overcome) in order to work towards a shared pedagogical culture and effective professional development for teachers. (shrink)

We argue that theory-of-mind (ToM) approaches, such as “theory theory” and “simulation theory”, are both problematic and not needed. They account for neither our primary and pervasive way of engaging with others nor the true basis of our folk psychological understanding, even when narrowly construed. Developmental evidence shows that young infants are capable of grasping the purposeful intentions of others through the perception of bodily movements, gestures, facial expressions etc. Trevarthen’s notion of primary intersubjectivity can provide a theoretical (...) framework for understanding these capabilities and his notion of secondary intersubjectivity shows the importance of pragmatic contexts for infants starting around one year of age. The recent neuroscience of resonance systems (i.e., mirror neurons, shared representations) also supports this view. These ideas are worked out in the context of an embodied “Interaction Theory” of social cognition. Still, for more sophisticated intersubjective interactions in older children and adults, one might argue that some form of ToM is required. This thought is defused by appeal to narrative competency and the Narrative Practice Hypothesis (or NPH). We propose that repeated encounters with narratives of a distinctive kind is the normal route through which children acquire an understanding of the forms and norms that enable them to make sense of actions in terms of reasons. A potential objection to this hypothesis is that it presupposes ToM abilities. Interaction Theory is deployed once again to answer this by providing an alternative approach to understanding basic narrative competency and its development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art, Artists and Pedagogy. Philosophy and the Arts in Education ed. by Christopher Naughton, Gert Biesta, David R. ColeAnnette ZiegenmeyerChristopher Naughton, Gert Biesta, and David R. Cole, eds., Art, Artists and Pedagogy. Philosophy and the Arts in Education (New York: Routledge, 2018)The question about the role and purpose of the arts in education in the twenty-first century is an important issue being currently discussed in various publications.1 Despite (...) many valuable approaches about how to reflect on the challenges arts and education face today, no adequate and sustainable solution seems to have been worked out yet.In their book Art, Artists and Pedagogy, Christopher Naughton, Gert Biesta and David R. Cole (editors) and other co-authors explore new ways to rethink arts education in the twenty-first century via two main philosophies in education. The first one is based on Gert Biesta’s work, The Rediscovery of Teaching, that focuses on the relation of the arts to the world and on what kind of society we may wish to envisage by using concepts such as “grown-up-ness” and “middle ground.”2 The second one is based on Gilles Deleuze and Félix Guattari, who provide a theoretical framework to look more deeply into the influence of state and global capital when taking decisions on how art education should develop in the future. Within their different positions, both philosophies also complement each other by sharing some relevant aspects concerning, for example, the value of arts in society. [End Page 104]Besides the editors who are leading academics in the arts, philosophy, and education, most of the co-authors are established professors and senior lecturers from Australia, New Zealand, Canada, and the USA. Considering the fact that the book is intended for educators who teach the arts at different age-levels in schools and universities or for artists working in the community, it is surprising that there are not more voices of contemporary artists and teachers integrated in the publication to capture the philosophical discourse being perceived from their viewpoints. This could add an interesting counterpoint to the philosophical approaches and thus widen the perspective on the subject.The book comprises fifteen chapters which can be read either individually or sequentially. In the introductory chapter, Biesta reflects on the potential of the arts in an era of growing economization of education. Representing the exploration and transformation of our desires, the arts can thus become a positive force for the ways in which we seek to exist in the world in grown-up modes. As a consequence, Biesta suggests an “approach of resistance in how we engage with others and how we come to terms with our own desires and those of the others.”3 He sees the work of the teacher as “interruptive” in that it raises the question about which desires appear to be helpful towards existing in a grown-up way in the world.4Many articles in the book use aspects of Biesta’s philosophy as a (methodological) starting point and lens to further develop their approach. To begin with, Mary Ann Hunter reflects on Biesta’s concept of “interruption” by examining how school partnerships with artists can be valued as a necessary interruption.5 According to Hunter, the way artists act “unteacherly” presents a chance to interrupt the regulatory practices of schooling and to thus ameliorate some of the negative impacts of assessment-focused teaching. Julianne Moss and Anne-Marie Morrissey also refer to Biesta, but concentrate on issues of identity and subjectivity by showing how the teacher comes to terms with herself, her desires, and those of the students (by mitigating her own knowledge and skills with those of her class). Robyn Ewing and John Saunders focus on the concept of grown- up-ness. With reference to a drama project with children from a primary school in the context of an Australian teacher professional learning program, Ewing and Saunders show that the process of co-creating drama work with children provides an open space within teaching where “transformative learning” can be experienced. Nico de Vos focuses on another interesting aspect by bringing in the philosophical idea of bodily connectedness in... (shrink)

The text of “The Four Premises” (Muqaddimāt al-Arba‘a), which began with Sadr al-Sharī‘ah (d. 747/1346), centralizes on the actions of human beings by connecting it with the problem of good and evil in the field of kalām, Islamic philosophy and logic, and fıqh. It was also commented in with incisive and critical footness by Sa‘d al-Dīn al-Taftāzānī (d. 791/1390). In Ĥāshiya ‘alā Muqaddimāt al-Arba‘a, al-Kastalī (d. 901/1496) discusses the two main issues. One of them is good/husn-evil/qubh, the other is human (...) actions. Good-evil dichotomy here is axiological, whereas the human actions are examined within an ontological structure. The quest for the origin of moral values is a husn-qubh debate. Identifying the hierarchy of human actions in ontology is another problem. The main purpose of this study is to investigate the theological discussions in the Ĥāshiya ‘alā Muqaddimāt al-Arba‘a which were written following the order of Sultan Mehmed the Conqueror/Fatih. This text addresses the origin of moral judgment and the question of freedom and destiny in human actions linked to the problem of good and evil. Discussing these two fundamental issues, has made it necessary to thoroughly investigate perhaps all the subheadings which concern the entire paradigm that falls under the framework of understanding the God, nature, and humanity. By looking at the treatise, the main sources of the issues being discussed are mostly generated from an Islamic jurisprudence works, entitled Tawḍīḥ and Talwīḥ. It can easily be discerned that the direct quotations that were made or taken indirectly were from these two sources. References to other sources were quite seldom. However, the excerpts that were taken from primary sources were interpreted and expounded by the author and amended anew. In this article al-Kastalī’s comments will be analyzed. He’s work Ĥāshiya ‘alā Muqaddimāt al-Arba‘a will be analyzed in depth and will be published for the first time with a critical edition. Text of Muqaddimāt al-Arba‘a is a product of a culture of criticism and critical thinking has two foundations: Disproval and verification. Critical thinking is then bidirectional. It is wrong to carry out the criticism activity in only one direction. It is insufficient to simply refute the opposing idea. It is not enough to show the wrong. The so-called right idea also needs to be justified. In the Tawdīh, Sadr al-Sharī‘ah criticizes al-Ashʿarī in the issues of husn-qubh and human actions. According to this criticism, good and evil should be based on the reason. On the other hand, human is free in his actions. As it is known, goodness and badness was based on religion according to al-Ashʿarī. Acquisition (kasb) given to man was unclear. It is al-Taftāzānī who wrote an annotation on Tawḍīḥ with the name of Talwīḥ. He’s comments are successful in terms of theology. However, these interpretations do not mean that he accepted the Muqaddimāt al-Arba‘a. In terms of al-Taftāzānī, proofs of Sadr al-Sharī‘ah is weak. The theological disputes in Tawḍīḥ and Talwīḥ have reached the level of tension in the following works. The origins of the divergence are based on the differentiation between the schools of al-Māturīdi and al-Ashʿarī. In fact, these schools are not different from each other in terms of the method they use. Although the roads walked were the same, the results achieved were different. The main reason for this is that the issue is ambiguous and the problem of good and evil is multidimensional. It is directly related to God and human. It is also connected with ontology and epistemology together. The position on the husn-qubh issue is also decisive for other theological problems. The root of the evil problem or theodicy is mostly based on this problem in Islamic thought. The actions of God and human are questioned here. The value judgments that actions will take are examined. Which action is more moral and better? Another major problem discussed in this article is human actions. It is a matter of freedom of human volition. The volition of man before the absolute God is a problem. Because God has absolute power, will and knowledge. On the other hand, God imposes responsibility on man. But what are the limits of this responsibility? Al-Kastalī discusses all these problems in the context of Sadr al-Sharī‘ah and al-Taftāzānī. In the big picture there are representatives of the schools of al-Māturīdi and al-Ashʿarī. Al-Kastalī doesn’t paint a new picture, rather makes the lines in the picture clear. In this article, the texts will be analyzed mutually. The content and uses of the concepts will be given importance. Ideas will be discussed from their main sources and the roots and different reach of the issues will be touched. The interactions of different schools of thought will also be included. (shrink)

The aim of the work is to provide a language to reason about Closed Interactions, i.e. all those situations in which the outcomes of an interaction can be determined by the agents themselves and in which the environment cannot interfere with they are able to determine. We will see that two different interpretations can be given of this restriction, both stemming from Pauly Representation Theorem. We will identify such restrictions and axiomatize their logic. We will apply the formal tools (...) to reason about games and their regulation. (shrink)

The purpose of this study was to present a translation and interpreting teacher role identity framework for investigating how T&I teachers in China develop their role identities. There is a vast literature on language teacher identity in higher education compared to a paucity of literature on the development of T&I teacher identity. Developing a strong T&I teacher identity in the context of Chinese universities is challenging as teachers combine sub-roles of trainers/educators, researchers, and practitioners, and the context is more supportive (...) of constructing a researcher role than trainer/educator and practitioner roles. A strong teacher identity, on the other hand, is vital since it enhances teachers’ willingness to engage in professional development. This study proposes a framework based on the Dynamic Systems Model of Role Identity that describes how three sub-roles interact and contribute to overall T&I teacher identity. This work contributes to the scant literature on T&I teacher identity research, shedding light on how different role identities may interact throughout the professional careers of a teacher. Additionally, the framework may also foster an awareness of the impact of higher education on a teacher and, as a result, offer implications for universities in China to encourage the development of teacher identity. (shrink)

On 22 July, 2011, we were confronted with the horror of the actions of Anders Behring Breivik. The instant reaction, as we have seen with similar incidents in the past—such as the Oklahoma City bombings—was to attempt to explain the incident. Whether the reasons given were true or not were irrelevant: the fact that there was a reason was better than if there were none. We should not dismiss those that continue to cling on to the initial claims of a (...) wider Jihadist plot behind the actions of Timothy McVeigh and Terry Nichols as Islamophobes (or merely lacking common sense): for, it is often easier to rely on reason—no matter how fictional—than not to have anything to cling on at all. In many ways, it is even better if the reason is fictional: for, if grounded in a certain fact, or reality, it can then go away. However, if it is in the realm of the imaginary, it is then always already metaphorical: thus, can be applied to any and every situation. And it is this, if we echo Friedrich Nietzsche, that gives us our “metaphysical comfort”; that we can know what is going on. This is why conspiracy theories are so popular: underlying them is the logic that someone—no matter how implausible—is in control of the situation. One would rather believe that all acts of terror stemmed from Osama bin Laden (and the narrative worked even better when he was in a ‘cave in Afghanistan’) than if they were the actions, and decisions, of singular individuals. For, if there is a head organizing everything, it can be cut off; there is no controlling a mass of singularities. As Jean Baudrillard continues to teach us, the term ‘mass’ is not a concept. It is a leitmotif of political demagogy, a soft, sticky, lumpen-analytical notion. A good sociology would attempt to surpass it with ‘more subtle’ categories: socio-professional ones, categories of class, cultural status, etc. This is wrong: it is by prowling around these soft and acritical notions (like ‘mana’ once was) that one can go further than intelligent critical sociology. Besides, it will be noticed retrospectively that the concepts ‘class’, ‘social relations’, ‘power’, ‘status’, ‘institution’, and ‘social’ itself—all these too-explicit concepts which are the glory of the legitimate sciences—but also only ever been muddled notions themselves, but notions upon which agreement has nevertheless been reached for mysterious ends: those of preserving a certain code of analysis. To want to specify the term ‘mass’ is a mistake—it is to provide meaning for that which has none.1 And it is this lack of meaning—this nothingness of not only the mass, but our inability to know in general—that truly scares us. For, if we are never able to legitimately make a generalizing statement, this suggests that we can never actually posit beyond a singular, situational, moment. Hence, we can never claim to know anyone: at best, we can only catch momentary glimpses. It is for this very reason that the insanity plea Breivik’s lawyer will attempt is the one that horrifies us the most. For, if Breivik is insane, this foregrounds our inability to understand, know. And as Aristotle has taught us, it is more important that something is plausible than if something were probable—in this context, we would rather have Breivik as a calculating mass murderer than someone who was completely out of his mind. This is especially ironic in the light of the fact that none of us would say that we have any similarity with Breivik. If that were so, the declaration that he was mad should be no more than a logical consequence. However, we also want Breivik to be accountable for his actions. And in order for that to be so, we need him to be of sound mind. But if that were true, we can then no longer distinguish ourselves from him. And it is precisely this that scares us. For, we are horrified not when there are abnormalities to our way of life. There are usually two different reactions to this—either oppose and destroy it; or subsume it under the dominant logic. We see this most clearly in reactions to immigration: there are either calls for immigrants to ‘pack up and leave’ or pseudo-liberal notions of ‘we are all alike’. Both of which are merely version of “all men are brothers”—the brutal translation of which is that you are my brother if you live the same way as me; otherwise not only are you not my brother, you are also potentially not part of mankind (you might as well be, to echo Giorgio Agamben, bare life ). This is played out in our age of what is commonly termed post-political bio-politics —an instance of horribly awkward theoretical jargon that Slavoj Žižek channeling Agamben unpacks rather elegantly: “ post-politics is a politics which claims to leave behind old ideological struggles and, instead, focus[es] on expert management and administration, while bio-politics designates the regulation of the security and welfare of human lives as its primary goal.”2 Žižek continues: Post-political bio-politics also has two aspects which cannot but appear to belong to two opposite ideological spaces: that of the reduction of humans to ‘bare life,’ to Homo sacer , that so-called sacred being who is the object of expert caretaking knowledge, but is excluded, like prisoners at Guantanamo or Holocaust victims, from all rights; and that of respect for the vulnerable Other brought to an extreme through an attitude of narcissistic subjectivity which experiences the self as vulnerable, constantly exposed to a multitude of potential harassments [….] What these two poles share is precisely the underlying refusal of any higher causes, the notion that the ultimate goal of our lives is life itself. That is why there is no contradiction between the respect for the vulnerable Other and […] the extreme expression of treating individuals as Homini sacer .3 This is why the ones that are harshest towards new immigrants are the recently naturalized citizens of any country. For, if there is no longer any “ideological struggle” and all life is reduced to mere automaton-living, there is the realization that we are all the same—not in a tree-hugging hippie sense—but that the immigrant is the same as us precisely because we are all immigrants. And since all nations, and by extension peoples in a nation (especially those who believe in the notion of nationality, and national identity), have to find some manner, no matter from where or what it is, to distinguish themselves from those around them, the other (in spite, and especially in the light, of its absence) is the most crucial aspect of the discourse of nationality. More precisely, in the interests of what Baudrillard calls “preserving a certain code of analysis” (nationality in this case), what has to be maintained is the absolute otherness of the other. Very rarely is Boris Johnson right: “it is not enough to say he is mad. Anders Breivik is patently mad.”4 However, much like Breivik in his manifesto, he should have stopped whilst he was ahead. By attempting to diagnose Breivik—“the fundamental reasons for their callous behavior lie deep in their own sense of rejection and alienation. It is the ideology that gives them the ostensible cause … that gives them an excuse to dramatize the resentment … and to kill.”—Johnson falls into the same trap that he accuses others of: “to try to advance any other explanation for their actions … is simply to play their self-important game.” More crucially, and this is the point that Johnson completely misses, attempting to rationalize Breivik’s actions—to rehabilitate reason—is a desperate attempt at maintaining his otherness. In fact, we’ll end up going one step further, insist on Breivik’s sanity, put him on the stand, and hope that he will display such a difference from all of us that we can rest safe that we are unlike him and his kind. That, in itself, is a dangerous game to play. One should not forget that the turning point in Mary Shelley’s Frankenstein is in the central part of her novel where she lets the monster speak. At that moment, the monster moves from an ‘it’ to a fully subjectivized person; with his own stories, historicities, emotions, and so on. In Slavoj Žižek’s reading of Frankenstein , this is the moment where “the ultimate criminal is thus allowed to present himself as the ultimate victim. The monstrous murderer reveals himself to be a deeply hurt and desperate individual, yearning for company and love.”5 But, in the case of Breivik, this goes beyond just a risk of us feeling for him: for, no right-minded person should ever deny another the opportunity to put forth her or his own case. The problem lies with us trying to deny the madness of Breivik’s act by putting him back under reason. The problem is in our inability to differentiate the act from the person; the singular from the universal.6 In our desperation to preserve the notion that we are rational beings incapable of becoming monsters, we’ve had to deny the meaninglessness—in the strict sense of it lying outside of reason—of Breivik’ act; we’ve had to “provide meaning where there is none.” For, if this act were a moment of madness—a moment that comes from elsewhere—we cannot say that it will not descend upon us one day. If Breivik’s actions were that of a sane person, one who is in control of his being, his self, we can then locate the otherness in his being. More importantly, this would allow us to distinguish ourselves from that said being. Breivik’s sanity is the only thing that allows us to say that ‘this act of terror is borne out of one with an ultra-right ideology’; and ‘since I am not of that ideology, I would never do such a thing’. By doing that, we attempt to protect ourselves by claiming that people who share Breivik’s ideology are foreign to us, other to us. However, if Breivik’s act was a moment of insanity, his otherness is no longer locatable: and the notion of ‘us and them’ shifts from a geographical, physical, religious, or cultural notion, to one in the realm of ideas. And this is what truly scares us. For, if what is foreign is not phenomenological, then it cannot be seen, detected, sensed. Anders Behring Breivik, Timothy McVeigh, and Terry Nichols, terrify us not merely for the fact that they were white in a white society, but more pertinently that their skin color did not matter: we would not be able to spot them even if they were blue, even if they were right next to us, even if we had known them all our lives. Even as we are grappling with holding Breivik accountable by declaring him of sound mind, what truly terrifies us is that deep down we know that Breivik’s act is a moment of madness; beyond all comprehensibility. And this means that we would not be able to spot the idea; even if it were in our heads at this very moment. We have gone to lengths to rehabilitate Breivik, McVeigh, Nichols, and such perpetrators of massive incomprehensible violence, in order to preserve our difference from them. What we have really been trying to deny is the fact that everyone, at any given moment, could have a moment of madness. And this is the true radicality of Mary Shelley: in allowing us to momentarily enter the head of the monster, she shows us not just the fact that he is like any one of us, but that any one of us could, in the right (or wrong) circumstance, be like him. Perhaps here, there is a lesson to be learned from Wes Craven’s A Nightmare on Elm Street . The most dangerous thing that one could do on Elm Street was to mention Freddy’s name—once you had knowledge of him, you were open to the possibility of a visit during your dreams. This suggests that Freddy is a combination of externalities (after all, when you die, he survives) and your self (if you have never heard of him, he cannot come for you). In this sense, Freddy would be the manifestation par excellence of what Avital Ronell calls a “killer text”—it is one’s relationality with the text (and the ideas, notions, in the said text) that opens oneself to it, to the lessons of the text, to being changed, affected, even to the dangers of the text. After all, one should never forget Plato’s warning that ideas can corrupt, can be perilous. To compound matters, as Ronell reminds us, “the connection to the other is a reading—not an interpretation, assimilation, or even a hermeneutic understanding, but a reading.”7 Thus, in attempting to differentiate ourselves from Breivik by concocting some reason(s) why we are not like him, we have done nothing but read him, open a connection to him. *** Bang bang, he shot me down Bang bang, I hit the ground Bang bang, that awful sound Bang bang, my baby shot me down. “Bang Bang (My Baby Shot Me Down)” Sonny Bono, 1966. This is the part that we all know and remember. Whilst never quite remembering that this is a song that is not so much about violence, love, but about remembering. For, after the bridge comes the accusatory stanza: “Now he's gone, I don't know why/ And till this day, sometimes I cry/ He didn't even say goodbye/ He didn't take the time to lie.” Bang Bang is a game that the two lovers used to play; and all she has now is the memory of the game to remember him by. And the only reason she has to recall this game is: he never provided her a reason for his leaving, his death. Not that she will, can, ever get that satisfactory answer. This is precisely the game we are playing with Anders Behring Breivik. Even though he has left a 1500 page manifesto, even though we will allow him to use the court-room as his platform, we will continue screaming at him “tell me why …” For, what we want him to say is that we are not like him: what we really want him to do is, “take the time to lie …” Perhaps here, we should allow the echo of the infans to resound in baby . As Christopher Fynsk reminds us, the infans is one that is pre-language, pre-knowing, pre-understanding: it is the very finitude, and exteriority, of relationality itself.8 And thus, it is a position of openness to the fullness of possibility—and nothing else. This would be, in Ronell’s terms, a “connection to the other” that knows nothing other than the fact that it is a connection. The true horror of 22 July, 2011, is the fact that it is not Anders Behring Breivik who is mad, but the act itself that is. And this is precisely why only “my baby” that could have “shot me down.” For, it is an act that is from beyond, a sheer act of madness that—as Plato warns us—is whispered into our ears (and can so easily be mistaken for inspiration, and even wisdom), an act that can both seize, and cease, us at the same time. And what can this utter openness to an other, the other, be but a moment of love, a true ‘falling in love’. At the moment of whispering, nothing can be known as we are babies as our baby shoots us down …. Hence, all attempts at analyzing this event (including this one) are not only futile, but border on the farcical. The real tragedy is that we forget that all of us have the possibility of becoming Breivik. NOTES Jean Baudrillard. In the Shadow of the Silent Majorities . Trans. Paul Foss, John Johnston, Paul Patton, & Andrew Berardini. Los Angeles: Semiotext(e), 2007. p. 37. Slavoj Žižek. Violence: Six Sideway Reflections . London: Profile Books, 2009. p. 34 Ibid: 35-36. Boris Johnson. “ Anders Breivik: There is nothing to study in the mind of Norway’s mass killer .” The Telegraph . (25 July, 2011): Slavoj Žižek. Violence: Six Sideway Reflections . London: Profile Books, 2009. p.39. What is killing us is the notion that Breivik’s act is beyond reason, beyond knowing, outside understanding itself. This is why Boris Johnson’s plea was for us to ignore Breivik as a madman. But to do so, Johnson conflates the notion of the act and the person; the singular and the universal. This is exactly the same gesture as insisting on his sanity: the ‘madman’ is merely the absolute other, one that we are not. Avital Ronell. The Telephone Book: Technology, Schizophrenia, Electric Speech . Lincoln: University of Nebraska Press, 1989: 380. Christopher Fynsk. Infant Figures: The Death of the Infans and Other Scenes of Origin . Stanford, CA: Stanford University Press, 2000.  . (shrink)

The paper investigates Maurice Merleau-Ponty’s discussion of body and space and Gilles Deleuze’s reading of Francis Bacon’s work, in order to derive a renegotiated interrelation between habitual body, phenomenal space, preferential plane and constructive line. The resulting system is ap- plied as a filter to understand the sartorial fashion of Rei Kawakubo and Hussein Chalayan and their potential as a spatial prosthesis: the operative third skin. If the evolutionary nature of culture demands a constant change, how does the surface (...) of a third skin, which embodies the generative of stable/ unstable, respond to changes of context? The fleeting, shifting conditions of contemporary culture/ lifestyle rely upon, result in, and reflect one constant, change: change of working conditions, family structures, modes of inhabitation, relation networks, of userprofile and identity, of social and territorial boundaries. We occupy the shift- ing spatial parameters of a transitional supermodern environment. Culture, as enacted or embodied through each of these fields, is regulated by a number of abstract and factual variables that interplay constantly: time, space, movement, surface, individual, and data. Elizabeth Grosz argues that culture is an evolutionary effect: it regenerates itself in order to ensure the survival of the species. Each “prosthetic” expression of culture – language, fashion, architecture, etc. – changes repeatedly. Here change is not an end in itself, but a means. And the most successful prosthesis may not be the one that is able to answer the largest number of challenges, but one which itself undergoes a process of learning, self-modification, and differentiation – in short, a process of evolution. Any prosthesis is by nature an extension of the body. In the case of architecture and fashion the prosthesis addressing change is most often external to the body – a “cultural fur” or a surface phenomenon, that is, a highly profiled supplementary skin. As with all prostheses, their respective life-span depends on their ability to reflect a change in context and value systems. They are adapted or updated, if not, they vanish. Any situation of change is processed as a differentiation between the actual and the virtual of a given context. Grosz identifies distinctions between the actual and virtual, the real and the possible: the possible is a preformed real that has not yet received its final materiality, and thus delineates a range of options of becoming. The real is the blueprint of the possible, negotiated by factual limitations, and it is conjoint with the actual through a process of differentiation and divergence. The virtual comprises alternate variations of the actual, it defines a realm of deviation from the blueprint. In order to be responsive to change, the balance between the actual and virtual thus must be rendered unstable: “The virtual requires the actual to diverge, to differentiate itself, to proceed by way of division and disruption, forging modes of actualisation that will transform this virtual into others unforeseen or uncontained within it.” 4 The integration of the virtual allows a re-ordering of the blueprint, a return to the crossroad of possibilities, unlimiting and processing an alternative real, and establishing a state of continual change. A repeated change – not as a choice between a number of options but as a gradual process – marks the moment of evolution, and requires a dynamic system. Such a dynamic can be rendered as an adaptable, flexible, modular, mobile, or morphing system of change. The key lies with the fluency and ability of adaptation for the proposed differentiation between actual and virtual – thus it is an elastic change that is required. The nature of this elasticity is encoded in a repeated repositioning of the variables: a constant fine-tuning of a maximum number of parameters that engineer, alter and define the blueprint. When looking for a dynamic system that incorporates a transformation of skin or space, we are in search of dynamics through an operative surface, controlled by means of the constructive line. Both operative surface and constructive line are generative methods for the formation and form finding of the second and third skin of sartorial fashion and architecture respectively, as they both produce inhabitable or wearable envelopes with a specific responsiveness. Both professions share communication, coding and signage, form information programs, pattern charts, volume outlines, texture fields, surface operations, and implement electronic or digital extensions. In both, the constructive line shapes the surface twice: before production and in operation. The surface demarcates space, spatial envelope, enclosing garment, field of action. In which way can an operative system of the surface with stable/ unstable conditioning generate a phenomenological or evolutionary change in the reconstruction of body and context? How do time, space, movement, surface, individual and data interact in this framework? What is the impact of surface strategies and constructive line on that system? (shrink)

This book presents the methodological framework of combining Multimodal Conversation Analysis (MCA) with Interpretative Phenomenological Analysis (IPA) to interpretively analyse translanguaging practices in educational contexts. Beginning with an overview of the three uses of translanguaging - translanguaging as a theory of language, as a pedagogical practice and as an analytical perspective - the book goes on to critically examine the different methodological approaches for analysing translanguaging practices in multilingual classroom interactions. It explains how MCA and IPA are useful methodologies (...) for understanding how and why translanguaging practices are constructed by participants in the classroom and discusses types of data collected and data collection procedures. The author, Kevin W. H. Tai, shows how combining these approaches enables researchers to study how translanguaging practices are constructed in multilingual classrooms and how teachers make sense of their own translanguaging practices at particular moments of classroom interaction. This detailed and concise guide is indispensable for students, practitioners, policymakers, and researchers from across the globe, particularly those working in the fields of applied linguistics and language education. (shrink)

This article presents and discusses how theories inform social work practice and what impact this has on the professional-client relation, specifically how social work professionals perceive children and interpret their possibilities. Data for the analysis to come are drawn from a qualitative study of child welfare services in Norway. The aim of the article is to bring to light how theoretical knowledge as well as social workers´ personal experiences influence the professional work, and consequently parents´ (...) and children’s opportunities to participate. A main finding is that social workers´ interpretations are informed by underlying theoretical frameworks that engender a narrative reasoning, that is, the plots of the parents’ and the children’s past histories, as well as the current situation, provide sense and coherence to professional work and understanding. The analysis focuses on how the social workers perceive the children they deal with, particularly how they acknowledge children´s voices and participation in professional interaction. The empirical examples contribute to expand the horizon of professional practice, in terms of how theoretical perspectives influence and inform everyday practice with service users. (shrink)

Hume claims that judgment is the active device through which beliefs influence emotions. Without such a device, Hume reasons that beliefs and emotions would not in­teract at all, because beliefs are always about ideas while emotions are reactions to events in the world. Judgment is the link between the theoretical and the applied aspects of the human being, and is, if Hume is right, crucial for any system of philosophical counseling to be successful. No client would attempt to modify his (...) or her beliefs, or reflect on the thoughts of philosophers, without some expectation of an emotional payoff. The counseling process hinges on a link between reason and the emotions, but what is the nature of this link? Since judgment is itself (if we are lucky) a primarily rational process, the question of the connection between reason and the emotions seems to be left unanswered. The purpose of this paper is to examine the link between reason and the emotions by taking judgment to be judgment of truth or falsity. Once a belief is deemed to be true by the client, an assessment is made as to how this truth will affect the client’s well being. I argue that this is true even if the client is severely depressed or believes that he/she does not deserve good treatment or good fortune, or seems otherwise unconcerned with his/her well being. If the truth is judged to be a threat to the well being of the client, an emotional reaction ensues. Likewise, if the truth is judged to be a benefit to the client, an emotional reaction will occur. I argue further that even though different truths will be taken as either benefits or threats depending on the client, the ultimate interpretation of the true statement as either benefit or threat will automatically generate an emotional response. If this ontology is correct, then the philosophical counselor will take as his/her primary role 1) a practitioner of epistemology (determining when beliefs are justified and true) and 2) a trainer in interpretation (determining when beliefs are to be interpreted as blessings or threats.). (shrink)

Modal logic is one of philosophy’s many children. As a mature adult it has moved out of the parental home and is nowadays straying far from its parent. But the ties are still there: philosophy is important to modal logic, modal logic is important for philosophy. Or, at least, this is a thesis we try to defend in this chapter. Limitations of space have ruled out any attempt at writing a survey of all the work going on in our (...) field—a book would be needed for that. Instead, we have tried to select material that is of interest in its own right or exemplifies noteworthy features in interesting ways. Here are some themes that have guided us throughout the writing: • The back-and-forth between philosophy and modal logic. There has been a good deal of give-and-take in the past. Carnap tried to use his modal logic to throw light on old philosophical questions, thereby inspiring others to continue his work and still others to criticise it. He certainly provoked Quine, who in his turn provided—and continues to provide—a healthy challenge to modal logicians. And Kripke’s and David Lewis’s philosophies are connected, in interesting ways, with their modal logic. Analytic philosophy would have been a lot different without modal logic! • The interpretation problem. The problem of providing a certain modal logic with an intuitive interpretation should not be conflated with the problem of providing a formal system with a model-theoretic semantics. An intuitively appealing model-theoretic semantics may be an important step towards solving the interpretation problem, but only a step. One may compare this situation with that in probability theory, where definitions of concepts like ‘outcome space’ and ‘random variable’ are orthogonal to questions about “interpretations” of the concept of probability. • The value of formalisation. Modal logic sets standards of precision, which are a challenge to—and sometimes a model for—philosophy. Classical philosophical questions can be sharpened and seen from a new perspective when formulated in a framework of modal logic. On the other hand, representing old questions in a formal garb has its dangers, such as simplification and distortion. • Why modal logic rather than classical (first or higher order) logic? The idioms of modal logic—today there are many!—seem better to correspond to human ways of thinking than ordinary extensional logic. (Cf. Chomsky’s conjecture that the NP + VP pattern is wired into the human brain.) In his An Essay in Modal Logic (1951) von Wright distinguished between four kinds of modalities: alethic (modes of truth: necessity, possibility and impossibility), epistemic (modes of being known: known to be true, known to be false, undecided), deontic (modes of obligation: obligatory, permitted, forbidden) and existential (modes of existence: universality, existence, emptiness). The existential modalities are not usually counted as modalities, but the other three categories are exemplified in three sections into which this chapter is divided. Section 1 is devoted to alethic modal logic and reviews some main themes at the heart of philosophical modal logic. Sections 2 and 3 deal with topics in epistemic logic and deontic logic, respectively, and are meant to illustrate two different uses that modal logic or indeed any logic can have: it may be applied to already existing (non-logical) theory, or it can be used to develop new theory. (shrink)

The primary theoretical focus of this paper is on Free Choice uses of any, in particular on two phenomena that have remained largely unstudied. One involves the ability of any phrases to occur in affirmative episodic statements when aided by suitable noun modifiers. The other involves the difference between modals of necessity and possibility with respect to licensing of any. The central thesis advanced here is that FC any is a universal determiner whose domain of quantification is not a (...) set of particular individuals but the set of possible individuals of the relevant kind. In a theory of genericity utilizing situations, an any phrase can be seen as having a universal quantifier binding the situation variable of the common noun. This inherent genericity is argued to be at the heart of the intuition that any statements support counterfactual inferences and do not involve existential commitments. A conflict in presuppositions is shown to account for the incompatibility of unmodified any phrases in affirmative episodic statements and the crucial role played by modification in ameliorating this clash is explicated. In the case of modals of necessity, the interaction between the universal force of any and the particular modal base is shown to be crucial. In view of these facts it is argued that FC any is not directly licensed by modal or generic operators as generally assumed but that its felicitous use is sensitive to the pragmatics of epistemic modality. Turning to its polarity sensitive uses, language internal as well as crosslinguistic evidence is presented to distinguish it from FC any in having the existential quantificational force typical of indefinites. The paper concludes by suggesting that the common tie between them is that they both occur in statements that apply to a class of entities, rather than to particular members of the class. (shrink)

Over the past decade, there has been an extensive debate about whether researchers have an obligation to disclose genetic research findings, including primary and secondary findings. There appears to be an emerging (but disputed) view that researchers have some obligation to disclose some genetic findings to some research participants. The contours of this obligation, however, remain unclear. -/- As this paper will explore, much of this confusion is definitional or conceptual in nature. The extent of a researcher’s obligation to (...) return secondary and other research findings is often limited by reference to terms and concepts like “incidental,” “analytic validity,” “clinical validity,” “clinical relevance,” “clinical utility,” “clinical significance,” “actionability,” and “desirability.” These terms are used in different ways by different writers to describe obligations in different sorts of cases. -/- Underneath this definitional confusion is a general notion, supported by much of the literature, that findings only need to be disclosed when they surpass certain presumably objective or measureable thresholds, such as medical importance or scientific reproducibility. The problem is that there is significant variability in the way that these terms and concepts are used in the literature and, as such, in defining the scope of an obligation to return findings that surpasses the relevant thresholds. -/- The goal of this paper is to analyze the definitional muddle underlying the debate about returning genetic research findings, with the hope of answering a few questions. First, what is the range of definitions being used in this debate? Based on an extensive literature review, Part 1 will lay out a range of articulated definitions for each relevant term, with the goal of categorizing them into a handful of distinct types. Part 2 explains the definitional redundancy and confusion in the current literature, and, drawing from the terminological patterns identified in Part 1, outlines more cohesive building blocks to inform the development of future disclosure frameworks.Our minimum goal in articulating these conceptual building blocks is to promote clearer articulations of, and distinctions between, future disclosure frameworks. More ambitiously, we suggest which definitions and conceptualizations we consider most appropriate to use in future disclosure frameworks. Here, we seek to balance benefits to participants through the disclosure of important information with the minimization of undue burdens on individual researchers and the research enterprise more generally. -/- Our analysis builds upon the central philosophical distinction between concepts and conceptions. The basic idea is that the “concept” of X refers to the general (and relatively uncontroversial) structure/shape of X, while various “conceptions” of X are more particular, filled out, and controversial elaborations of the concept. In other words, “concepts” of X will be formal representations of X, while “conceptions” of X will be substantive interpretations of the key elements and relationships operating within that formal framework. (Implicit in this distinction is an important point about the nature of disagreement – namely, that in order for two or more parties to “disagree” about X as opposed to simply talk past one another, there must be at least enough shared agreement about X to know that the parties are referring to the same thing. A concept of X provides this point of common agreement, while competing conceptions of X mark the areas where disagreement arises.) In this paper, we will employ this distinction in a fundamental way to clarify exactly where the primary disagreements arise in the debate over disclosing genetic research findings. -/- We propose that, underlying all the seeming confusion and disagreement, there are three central and widely agreed upon concepts at work in this debate—validity, value, and volition. The first two concepts concern the nature of the information itself. An obligation to disclose only exists when findings are valid and have value but there are competing conceptions of how to determine or define validity and valuableness. The third concept—volition—pertains not to the information but rather to the person to whom it will be disclosed. Does that person want or not want the information, and what is the best way of determining this? Here, too, competing conceptions arise. Our key point, though, is that almost all of the ethical disagreement arises because of competing conceptions of these three concepts. Understanding and appreciating this key point can help to refocus the substantive debate by providing some common ground to start from in determining how best to interpret these shared concepts. This refocusing can, ideally, produce more productive debate and facilitate some progress in resolving it. (shrink)

The primary theoretical focus of this paper is on Free Choice uses of any, in particular on two phenomena that have remained largely unstudied. One involves the ability of any phrases to occur in affirmative episodic statements when aided by suitable noun modifiers. The other involves the difference between modals of necessity and possibility with respect to licensing of any. The central thesis advanced here is that FC any is a universal determiner whose domain of quantification is not a (...) set of particular individuals but the set of possible individuals of the relevant kind. In a theory of genericity utilizing situations, an any phrase can be seen as having a universal quantifier binding the situation variable of the common noun. This inherent genericity is argued to be at the heart of the intuition that any statements support counterfactual inferences and do not involve existential commitments. A conflict in presuppositions is shown to account for the incompatibility of unmodified any phrases in affirmative episodic statements and the crucial role played by modification in ameliorating this clash is explicated. In the case of modals of necessity, the interaction between the universal force of any and the particular modal base is shown to be crucial. In view of these facts it is argued that FC any is not directly licensed by modal or generic operators as generally assumed but that its felicitous use is sensitive to the pragmatics of epistemic modality. Turning to its polarity sensitive uses, language internal as well as crosslinguistic evidence is presented to distinguish it from FC any in having the existential quantificational force typical of indefinites. The paper concludes by suggesting that the common tie between them is that they both occur in statements that apply to a class of entities, rather than to particular members of the class. (shrink)

Recent years witnessed a growing interest in non-standard epistemic logics of knowing whether, knowing how, knowing what, knowing why and so on. The new epistemic modalities introduced in those logics all share, in their semantics, the general schema of ∃x◻φ, e.g., knowing how to achieve φ roughly means that there exists a way such that you know that it is a way to ensure that φ. Moreover, the resulting logics are decidable. Inspired by those particular logics, in this work, (...) we propose a very general and powerful framework based on quantifier-free predicate language extended by a new modality, which packs exactly ∃x◻ together. We show that the resulting language, though much more expressive, shares many good properties of the basic propositional modal logic over arbitrary models, such as finite-tree-model property and van Benthem-like characterization w.r.t.\ first-order modal logic. We axiomatize the logic over S5 frames with intuitive axioms to capture the interaction between the new modality and know-that operator in an epistemic setting. (shrink)

The primary function of language is communication. We use the tools of situation theory and game theory to develop a definition and model of communication between rational agents using a shared situated language. ;A central thesis of this dissertation is that the key feature of situated communication that enables agents to derive content from meaning is a special type of logical inference called a strategic inference. ;The model we develop, called the Strategic Discourse Model, looks at a single (...) strategic inference. An essential element of a strategic inference is that the content depends on the sentence uttered and on the embedding circumstances. This includes the private and public information and beliefs of the agents, their goals and intentions, and crucially, the other sentences the speaker might have uttered but chose not to. A complete model of communication involves a system of simultaneous strategic inferences. ;When the strategic interaction between two agents is common knowledge between them, that is, when it is a game, the information transfer is a communication. The content communicated is given by the solution to the game. This analysis formalizes Grice's ideas on nonnatural meaning within a situation-theoretic framework. A consequence of our situated analysis is that agents do not need to have the complex and infinite set of nested intentions postulated by the Gricean approach. A simple intention to communicate is all that is required, the ambient game doing the rest of the work. ;This model has many applications. Problems like resolving ambiguity, determining reference, inferring implicatures and indirect speech acts fall within its scope. As one application, we outline a new theory of names and definite descriptions. This account builds upon Russell and Strawson, and Barwise and Perry. The basic idea is that names and descriptions can both be used in various ways circumscribed by an ontological and a communicative constraint. This offers a new solution to the puzzle of informative identity statements and clarifies the referential-attributive distinction. It suggests an approach to the concept of representation. ;An underlying theme is to synthesize situation theory and game theory. (shrink)

Recently, focus groups and qualitative interviews with nurses who provide frontline care for persons living with HIV highlighted the contentiousness surrounding the seemingly innocuous activity of counselling clients about HIV‐status disclosure, hereafter disclosure counselling. These empirical studies highlighted that while some nurses felt they should instruct clients to disclose their HIV‐positive status if HIV transmission were possible, other nurses were equally adamant that such counselling was outside the nursing scope of practice. A review of these opposing perceptions about disclosure counselling, (...) including an examination of the empirical evidence which supports each point, revealed that the dichotomous arguments needed to be nuanced. The empirical evidence about serostatus disclosure neither supported nor refuted either of these assertions; rather, it substantiated parts of each. To create this understanding, both empirical and theoretical works are used. First, the results of empirical studies about serostatus disclosure, or lack thereof and HIV transmission is presented; as part of this, Marks and Crepaz's HIV disclosure and exposure framework is examined. Second, the work of Michel Foucault on disciplinary and pastoral power is drawn from. The outcome is a nuanced understanding about the interrelationships between disclosure counselling and nursing practice and a final interpretation about what this understanding means for public health practice. (shrink)

How to interpret singular terms in fiction? In this paper, we address this semantic question from the perspective of the Artifactual Theory of Fiction (ATF). According to the ATF, fictional characters exist as abstract artifacts created by their author, and preserved through the existence of copies of an original work and a competent readership. We pretend that a well-suited semantics for the ATF can be defined with respect to a modal framework by means of Hintikka’s world lines semantics. The (...) question of the interpretation of proper names is asked in relation to two inference rules, problematic when applied in intensional contexts: the Substitution of Identicals and Existential Generalization. The former fails because identity is contingent. The latter because proper names are not necessarily linked to well-identified individuals. This motivates a non-rigid interpretation of proper names in fiction, although cross-fictional reference (e.g. to real entities) is made possible by the interpretative efforts of the reader. (shrink)

Public professionals do not only serve their clients but also – by doing so – the public at large. The state often has a direct grip on their work, through financing, regulation or otherwise. This leads to a deeply felt conflict in contexts where authoritarian, illiberal leadership is widespread. Public professionals then face a moral dilemma: should they resist illiberal pressures by the state, or continue to obey their states? The paper's main question is how this practical dilemma for (...) public professionals should be interpreted. First, it presents a framework to interpret the professional situation, characterising it as a fiduciary relation, which we can understand through the lens of Thomas Hobbes's theory of authorisation/representation. On this theoretical basis, the paper discusses three competing models for understanding the public professional's predicament. The teleological model revolves around loyalty to one's clients. The conscientious professional model which is about loyalty to one's own moral convictions. The constitutional model is about loyalty to constitutional principles. The paper argues in favour of the constitutional model. Standing up against illiberal pressures is best interpreted as a matter of loyalty to the principles of constitutionality that underly the fiduciary relation between citizens and their states. (shrink)

We review some of the major accounts in the current epistemology of modality and identify some shared issues that plague all of them. In order to provide insight into the nature of modal statements in science, philosophy, and beyond, a satisfactory epistemology of modality would need to be suitably applicable to practical and theoretical contexts by limited beings. However, many epistemologies of modality seem to work only when we have access to the kind of knowledge that is at (...) least currently beyond our reach. Or, in the extreme case, it is argued that even if we knew all the relevant information about the respective domain – or even the entire state of the world – there would still remain a special class of modal truths that would be left unaccounted for. Neither picture bodes well for practical applicability, nor for the philosophical justification of these epistemologies. This is especially the case as we hold that one of the main motivations for modal inquiry typically arises in cases of imperfect information and limited cognitive resources. We close by providing a partial remedy to the situation by suggesting an overall framework of relative modality (RM) that can be used to both unify some existing modal epistemologies and, at the same time, make them more metaphysically modest. (shrink)

This interpretive study proposes a framework with which to explore the ethical significance of classroom-based literacy practices. Overly narrow views of literature as a source of role models or moral precepts take insufficient account of the complexity of text and experience. Through analyses of telling examples from student writing and discussion in response to literature, the occurrence and interaction of six forms of ethical engagement are documented: judging, distancing, empathizing, affiliating, disclosing and resisting. The study concludes that ethical matters are (...) interwoven with the socially accomplished, situated work of engaging with literature and with specific pedagogical structures. (shrink)

Contemplative pedagogy focuses on creating a sense of presence within educators to effectively educate the whole person through mindfulness in teaching. As I engage in a self-study, I develop initial components for the way I employ contemplative pedagogy. I aim to understand myself as an educator in order to teach effectively. One way to enable particular kinds of understandings is through self-study methodology. The foundational framework that develops through my ongoing self-study may interest those who are unfamiliar with the terrain (...) of contemplative pedagogy. For the purposes of this article, I place an emphasis on the philosophy and ethics classes that I taught at Middlesex County College in New Jersey, although I teach several classes on many campuses. My philosophical method requires me to engage in a self-study of my teaching practices. My project involves self-study as a philosophical research methodology that aims to inform educators and rethink the theories and praxis of teaching. As I work towards improvement- aimed pedagogy, I make myself vulnerable as I share my experiences with my Peer Scholar. My Peer Scholar, which some researchers call a “critical friend”, deliberates with me to challenge epistemological assumptions along with suspicions. The self-study dialogue with my Peer Scholar causes me to define initial components of how I engage in an improvement-aimed contemplative pedagogy. My hope is to support those who wish to implement contemplative pedagogy in higher education as I relate my working framework based on the themes that developed from the deliberation. The components in the article that convey how I engage in contemplative pedagogy are not meant to serve as a checklist or stern procedure for classroom activities. I share these components as aspects of my contemplative pedagogy, with suggestive scripts, not as a rigid structure but rather as a work in progress that is always under construction. (shrink)

Background Despite the bourgeoning of digital tools for bioethics research, education, and engagement, little research has empirically investigated the impact of interactive visualizations as a way to translate ethical frameworks and guidelines. To date, most frameworks take the format of text-only documents that outline and offer ethical guidance on specific contexts. This study’s goal was to determine whether an interactive-visual format supports frameworks in transferring ethical knowledge by improving learning, deliberation, and user experience.Methods An experimental comparative study was conducted with (...) a pre-, mid-, and post-test design using the online survey platform Qualtrics. Participants were university based early-stage health researchers who were randomly assigned to either the control condition (text-only document) or the experimental condition (interactive-visual). The primary outcome variables were learning, (measured using a questionnaire), deliberation (using cases studies) and user experience (measured using the SED/UD Scale). Analysis was conducted using descriptive statistics and mixed-effects linear regression.Results Of the 80 participants, 44 (55%) used the text-only document and 36 (45%) used the interactive-visual. Results of the knowledge-test scores showed a statistically significant difference between participants’ post-test scores, indicating that the interactive-visual format better supported understanding, acquisition, and application of the framework’s knowledge. Findings from the case studies showed both formats supported ethical deliberation. Results further indicated the interactive-visual provided an overall better episodic and remembered user experience compared with the text-only document.Conclusions Our findings show that ethical frameworks formatted with interactive and visual qualities provide a more pleasing user experience and are effective formats for ethics learning and deliberation. These findings have implications for practitioners developing and deploying ethical frameworks and guidelines (e.g., in educational or employee-onboarding settings), in that the knowledge generated can lead to more effective dissemination practices of normative guidelines and health data ethics concepts. (shrink)

This essay situates “singularity” at the heart of the power dynamics operative in contemporary pedagogy and the system supporting it. More than merely academic learning, indeed, “school” here denotes not only the range of disciplinary authorities at work within the classroom and the educational system at large but also discursive obedience to knowledge. Supported by close readings of Arendt and Derrida, this paper thus argues that nothing less than the formation of identity is at stake in “school.” What are (...) the boundaries, limits, and conditions of possibility for a student’s invention of his or her own singularity within an institution and curriculum that, at the same time, demands obedience to authority? This paradoxical formation of identity within the constrictive demands of authority constitutes the primary task of thinking the “invention of singularity” at the heart of schooling in conjunction with democracy, language, vocation, and ideology. (shrink)

Despite sharing Catholic Social Teaching as their system of morals and both being confronted with marketisation pressures, working conditions at German and Belgian Catholic social service providers of elderly care differ. We argue that an interdisciplinary approach is needed to understand such differences, as interpretation of CST is mediated by local contexts. Working conditions result from interactions shaped by each country’s respective religious, legal and socio-economic contexts, providing players with different levels of discretion and power resources. In Belgium, working conditions (...) at Catholic elderly care providers tend to be better due to a strong Catholic trade union, encompassing labour market regulation and a universal legal system applying to all care providers. Moreover, there is strong interaction between these Catholic care providers and other Catholic institutions. By contrast, German CSSPs, operating as faith-based organisations with their own legal framework in a relatively liberalised and decentralised labour market, are able to use various flexibility practices which put pressure on working conditions. Using such practices is partially justified by the Catholic discourse on charity and altruism, stressing the particular nature of work in the Catholic care sector. Overall, the article demonstrates differences in the local application of CST. It also shows how transnational differences in working conditions at Catholic social service providers are the product of more than just local differences in the interpretation and application of CST principles, being shaped by interactions between a country’s specific religious, legal and socio-economic contexts. (shrink)

Pedagogy, power and practice ethics: clinical teaching in psychiatric/mental health settings Often, baccalaureate nursing students initially approach a psychiatric mental health practicum with uncertainty, and even fear. They may feel unprepared for the myriad complex practice situations encountered. In addition, memories of personal painful life events may be vicariously evoked through learning about and listening to the experiences of those diagnosed with mental disorders. When faced with such challenging situations, nursing students often seek counsel from the clinical and/or classroom faculty. (...) Pedagogic boundaries may begin to blur in the face of student distress. For the nurse educator, several questions arise: Should a nurse educator provide counseling to students? How does one best negotiate the boundaries between ‘counselor’, and ‘caring educator’? What are the limits of a caring and professional pedagogic relation? What different knowledges provide guidance and to what differential consequences for ethical pedagogic relationships? This paper offers a comparative analysis of three philosophical stances to examine differences in key assumptions, pedagogic positioning, relationships of power/knowledge, and consequences for professional ethical pedagogic practices. While definitive answers are difficult, the authors pose several questions for consideration in discerning how best to proceed and under what particular conditions. (shrink)

Previous research, for example in English, French, German, and Spanish, has investigated the interplay between grammatical gender information and stereotype gender information (e.g., that secretaries are usually female, in many cultures), in the interpretation of both singular noun phrases (the secretary) and plural nouns phrases, particularly so-called generic masculines—nouns that have masculine grammatical gender but that should be able to refer to both groups of men and mixed groups of men and women. Since the studies have been conducted in cultures (...) with broadly similar stereotypes, the effects generally reflect differences in the grammatical systems of the languages. Russian has a more complex grammatical gender system than the languages previously studied, and, unlike those languages frequently presents examples in which grammatical gender is marked on the predicate (in an inflection on the verb). In this study we collected stereotype norms for 160 role names in Russian, providing a useful resource for further work in this language. We also conducted a reading time study examining the interaction of grammatical and stereotype gender information in the interpretation of both Russian singular noun phrases, and plurals that were (potentially) generic masculines. Our results show that, although both types of gender information are used, when available, the effects of grammatical marking on the predicate are not as strong as those of such marking on subject noun phrases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary contributor (...) to an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

Evidence is limited on how elementary social studies preservice teachers make sense of museum settings and the use of museum artifacts for instruction, especially while consumed with learning how to teach. This study explored 81 elementary preservice teachers’ dispositional thinking toward museum pedagogy in a teacher education program. Objectives were to determine an overall dispositional thinking profile and also investigate possible distinct dimensions. The study employed descriptive and exploratory factor analysis (EFA) to establish systematically reliable factor solutions representing a profile (...) of preservice teachers’ dispositions. Results indicate preservice teachers’ museum pedagogy dispositional thinking can be measured with three dimensions and one overall generic form of dispositional thinking. Representing the dimensions are these factor structures: (a) willingness to use museum settings and their artifacts to support social studies teaching, (b) capacity to interact with museum artifacts for K-6 social studies teaching, and (c) recognizing the prospect of museum pedagogy as an approach to enhance K-6 social studies education. Based on the factor structures, we introduce a conceptual framework to represent elementary social studies preservice teachers’ dispositional thinking about museum pedagogy. Engaging in preliminary work to first understand preservice teachers’ thoughts and dispositions, before creating or adopting curricula, may deepen and strengthen their agentic growth in museum education for social studies teaching. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

The paper contributes to previous studies of identity as locally and interactionally produced by pointing to some of the multimodal resources employed by participants to achieving, challenge and manage the professional identity of ‘leader’ in different workplace settings. We examine professional identity work in sequential environments where it provides a resource for handling the resistance to improvement displayed by another participant. We show how leader identity work gets embedded within a four-part structure of: identifying a problem, (...) proposing improvements, misaligning with others’ proposals, and managing the misalignment. The paper is based on video ethnographic fieldwork and recordings of face-to-face institutional interaction at two different institutional settings in Denmark. The study provides insight about the role of identity work in the interactional achievement of institutional procedures. (shrink)

Les fondements théoriques d'une analyse des activités dans les discours professionnels illustrée par des données issues de rencontres en conseil génétique sont présentés ici. En prenant l'activité comme unité de base de l'action, je me réfère rapidement à «l'activité théorique» proposée par Leontyev, rajoutant les notions de «jeux de langage» de Wittgenstein et de «types d'activités» de Levinson. L'activité d'analyse dans les discours professionnels doit aller au-delà du seul codage des instances de l'usage du langage et doit s'orienter vers la (...) compréhension d'une écologie spécifique de l'activité, incluant les dimensions relationnelles et de rôles des participants présents ou absents. Cette interprétation peut s'analyser en considérant le cadre thématique et interactionnel d'une situation donnée grâce à la prise en compte des propriétés structurelles et relationnelles dans l'usage du langage.In this paper I present a theoretical basis for activity analysis in professional discourse settings followed by an illustration of data from the genetic counseling encounters. By taking activity as the basic unit of action, I briefly draw on "activity theory" as proposed by Leontyev, supplemented by Wittgenstein's notion of "language games" and Levinson's notion of "activity types". I argue that activity analysis in the professional discourse settings has to go beyond mere coding of instances of language use towards an interpretive understanding of the activity-specific ecology, including the role-relational dimensions of co-present and absent participants. Such an interpretive task can be achieved through thematic and interactional mapping of a given encounter by taking into consideration the structural and relational properties situated language use. (shrink)

The article presents the study of the effectiveness of pedagogical conditions of organizational culture formation of future border guard officers, as well as the essence and features of its content. It has been found out that organizational culture is a professionally important quality of future border guard officers, which covers knowledge about the mission and values of the border guard agency, ability to maintain and contribute to the harmonized work of the border guard unit and is expressed through (...) adhering to professional standards in interpersonal interaction and in performing border security tasks, as well as in self-organization and mobilization. In the conditions of higher military educational institution it is recommended to intensify the value-motivational attitude of cadets to learn current issues of organizational culture of the border guard officers; to develop their abilities and skills of team work by introduction of social and psychological training; to apply modern dialogic forms, methods and interactive technologies of training for the development of skills of professional communicative interaction; to develop cadets’ organizational abilities, managerial decision making skills and leadership by gradually introducing into the educational process professionally oriented situational tasks, gradually complicating content with each course. The results of the pedagogical experiment regarding formation of organizational culture of future border guard officers in the course of their professional training are described in detail. (shrink)

Gaze behavior is an important component of children’s language, cognitive, and sociocultural development. This is especially true for young deaf children acquiring a signed language—if they are not looking at the language model, they are not getting linguistic input. Deaf caregivers engage their deaf infants and toddlers using visual and tactile strategies to draw in, support, and promote their child’s visual attention; we argue that these caregiver actions create a developmental niche that establishes the visual modality capital their child needs (...) for successful sign language learning. But most deaf children do not have deaf signing parents and they will need to rely on adult signing teachers if they are to acquire a signed language at an early age. This study examines classroom interactions between a Deaf teacher, her teacher’s aide, and six deaf preschoolers to document the teachers’ “everyday practices” as they socialize the gaze behavior of these children. Utilizing a detailed behavioral and linguistic analysis of two video-recorded book-sharing contexts, we present data summarizing the teacher’s attention-getting actions directed toward the children and the discourse-embedded cues that signal the teacher’s expectations for student participation in the signed conversation. We observed that the teacher’s behaviors differed according to the parent status of the deaf preschooler suggesting that Deaf children of Deaf parents arrive to the preschool classroom with well-developed self-regulation of their attention or gaze. The teachers also used more physical and explicit cueing with the deaf children of hearing parents—possibly to promote their ability to leverage the visual modality for sign language acquisition. We situate these socialization patterns within a framework that integrates notions of intuitive or indigenous practices, developmental niche, and modality capital. Implications for early childhood deaf education are also discussed. (shrink)

This book provides an account of discursive or reason-governed cognition, by synthesizing research in the philosophy of language, the philosophy of mind, and evolutionary anthropology. -/- Using the grasp of a natural language as a model for the autonomous or self-governed rationality of discursive cognition, the author uses a semantics for individual intentions, shared intentions, and normative attitudes as a framework for understanding what it is to be a rational animal. This semantics interprets claims about shared intentions and (...) claims about what people ought and may do as the expression of plans of action that involve taking the points of view of other people within a community. This has important consequences for our understanding of both the natural basis and the social relevance of intentional and normative mental states. In order to distinguish the strong and weak modal force, which characterizes normativity but not shared intentionality, the author argues that a notion of single-minded practical cognition is necessary. This account of single-mindedness is then used to shed light on the autonomy or self-government characteristic of discursive cognition, as manifest in a linguistic community whose members are able to adopt the standpoints of others. -/- Drawing together research in philosophy and the related sciences, the formal account of the semantic content of the claims we use to give expression to shared intentional and normative mental states integrates well with research in cognitive science, evolutionary anthropology, and social psychology concerning the ontogenetic and phylogenetic development of shared intentionality and norm psychology in human beings and other primates. The Single-Minded Animal will appeal to researchers and advanced students working on shared intentionality, normativity, rationality, cognitive science, social and developmental psychology, and evolutionary anthropology. (shrink)

When philosophers cultivate a professional interest in philosophical practice as a form of counseling therapy, the implicit bias of their practice is likely to emulate the “helping profession” model of client engagement. The effort seems noble enough, but emulating the model of the helping professions might actually be incommensurate with the philos­pher’s calling. The philosophical temperament emulates a less constraining but more aggressive model of intervention than we find operating in the professional domain of therapeutic counseling practices. While (...) the philosophical temperament resolves to question and analyze its subject-matter without the encumbrances of social constraint or the promise of utility, it employs methods of philosophical questioning and analysis decidedly more agonistic than can be motivated under the auspices of the “helping profession” model of therapeutic intervention. The philosophical temperament is a challenging temperament, a probing, testing, exploring, engaging temperament whose only vested commitment is to further inquiry. After setting up this distinction between philosophical practice and the helping professions I pose some thoughts regarding the philosophical encounter within a counseling situation, with emphasis on the challenge of translating back and forth between the client’s subject matter and the philosopher’s frame of reference. In the course of negoti­ating these challenges, the philosophical temperament encounters two divergent paths we must learn to travel with equal facility: we must make room for beneficial critique in philosophical counseling while motivating effective critical perspective within the client’s own world-view. The challenge is to see such a philosophical encounter as a place of translation, in which the counselor’s philosophical temperament is exposed to the alterity of the client’s domain of experience without losing its critical facility. In this way, the philosophical encounter is exercised in a movement between worlds, as an interweaving dance of translation and innovation characteristic of a “place” of mutual engagement. The resulting tension in these dialogical encounters is a direct consequence of the philosophical intervention in a client’s personal life. The philosopher’s challenge is to negotiate carefully between two domains of translation (between the cognitive-emotive domain of lived-experience and the philosophical domain of conceptual thinking, reflective inquiry and critical analysis), and to establish connections between these domains to facilitate philosophical encounters in a space of shared listening. (shrink)