It is a paradox, whose importance familiarity fails to diminish, that the most highly developed and useful scientific theories are ostensibly expressed in terms of objects never encountered in experience. The line traced by a draughtsman, no matter how accurate, is seen beneath the microscope as a kind of corrugated trench, far removed from the ideal line of pure geometry. And the “point-planet” of astronomy, the “perfect gas” of thermodynamics, or the “pure species” of genetics are equally remote from exact (...) realization. Indeed the unintelligibility at the atomic or sub-atomic level of the notion of a rigidly demarcated boundary shows that such objects not merely are not but could not be encountered. While the mathematician constructs a theory in terms of “perfect” objects, the experimental scientist observes objects of which the properties demanded by theory are and can, in the very nature of measurement, be only approximately true. As Duhem remarks, mathematical deduction is not useful to the physicist if interpreted rigorously. It is necessary to know that its validity is unaltered when the premise and conclusion are only “approximately true.” But the indeterminacy thus introduced, it is necessary to add in criticism, will invalidate the deduction unless the permissible limits of variation are specified. To do so, however, replaces the original mathematical deduction by a more complicated mathematical theory in respect of whose interpretation the same problem arises, and whose exact nature is in any case unknown. (shrink)

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of (...) jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible. (shrink)

According to the 2020 docudrama, The Social Dilemma, our very addiction to “social media” has, today, become encapsulated in the tensions between its facilitation as a mode of interpersonal communication and as an insidious conduit for machine learning, surveillance capitalism and manipulation. Amidst a variety of interviewees – many of whom are former employees of social media companies – the documentary finishes on a unanimous conclusion: something must change. By using the docudrama as a pertinent example of our “social media (...) malaise,” and while remaining aware of the problems and unethical practices encompassing international digital/social media companies, this paper will argue that we continually refrain from the very question(ing) that would call these companies to account: what does the algorithm desire? In approaching this question, this article will draw from Lacan’s ‘hysterical’ position in accordance with Robert Pfaller’s notion of interpassivity. Together, these concepts will be used to provide a psychoanalytic account of how our subjectivization in social media renders an unconscious endorsement that both frames our awareness of the dilemmas encompassing social media, while also positing an inherent limitation that may offer a possible path out of its impeding affects. This subjective ambivalence – delegated yet reluctantly disavowed – offers an opportunity to realign discussions on the lost object of desire (objet a) and its reproduction in social media algorithms. In so doing, the case will be made that an account of interpassivity can help lay bare the hysterical significance underscoring our digital subjectivization. (shrink)

SummaryA critical outline, primarily for non‐professionals, of some leading ideas and normative implications of “Bayesian Decision Theory”.Violations of the postulated transitivity of the chooser's preference relation are not necessarily symptoms of irrationality. Indeed, the overall normative constraint of “consistency” is too restrictive a guide for many real‐life choices. Rational choice might perhaps be more usefully conceived as an informal art, rather than as the pursuit, in Bayesian style, of maximal expected utility.RésuméUne description critique, destinée avant tout aux non‐professionnels, de (...) quelques idées directrices et implications normatives de la «theorie bayésienne de la décision».Le fait que la transitivité qu'on exige de la relation de préférence du décideur soit violée ne doit pas ětre nécessairement interprétée comme un signe d'irrationnalité. En effet, la contrainte normative universelle de «consistence» est un guide trop restrictif pour maint choix de la vie réelle. Le choix rationnel pourrait ětre plus utilement conçu comme un art, et non comme une recherche à la Bayes de L'utilité maximale attendue.ZusammenfassungEs wird eine kritische Darstellung einiger Hauptgedanken und normativen Implikationen der Bayesschen Entscheidungstheorie vorgelegt, die sich vor allem an Nichtprofessionelle richtet.Verletzungen der postulierten Transitivität der Relation, die das Vorziehen des Wählers ausgedrückt, sind nicht notwendigerweise Symptome für Irrationalität. Die normative Forderung der durchgängigen Konsistenz ist in der Tat als Führer in manchen aus dem Leben gegriffenen Wahlsituationen zu restriktiv. Rationale Entscheidungen sollten vielleicht in nützlicherer Weise als eine Kunst und nicht als das Verfolgen maximaler, erwarteter Nützlichkeit im Sinne Bayes' betrachtet werden. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 363-381 [Access article in PDF] Imre Lakatos and Literary Tradition Suzanne Black ALTHOUGH THE CANON DEBATES have largely subsided, the categories of tradition and canon remain problematic and unhelpfully contentious. Some authors view tradition as weighty and oppressive, while cultural studies scholars criticize the concept itself as elitist and exclusionary. Yet literature, like other creative pursuits, cannot avoid its past; nor should it seek (...) to do so. Progressive ideas have a history and a logical development; to argue otherwise leaves them vulnerable to accusations of faddish trendiness. Artists learn from the work of other artists, and critics rely on older examples to describe and understand what they study. Thus activist critics, writers, and moderate scholars all need some way to react to and to conceive of literary history.E. Dean Kolbas has argued that shared assumptions such as a preoccupation with educational institutions limit the arguments of conservative humanists and canon openers alike. 1 If the perspective of literary critics is indeed narrow, they may benefit from broader and more interdisciplinary studies of tradition. For example, historicist philosophy of science devoted considerable energy to understanding how major accomplishments influence the work of scientists. This scholarship offers several complex accounts of the ways science is shaped by its past, and so can offer literary critics another, more structured, more rational, and even more flexible, view of tradition. In addition, some of its preoccupations, like the emergence of consensus or criteria for the selection of representative examples, are relevant to the canon debates. Finally, because writers and scientists understand the past differently and because their ideas develop in distinct social contexts, literary theory and philosophy of science have potentially complementary strengths and weaknesses. [End Page 363]In this article I first summarize Imre Lakatos's conception of the research program and explain some of its potential benefits for an understanding of literary tradition. Then, to show that the concept of a "literary research program" makes sense, I use the category to examine the ideas of Ricardo Reis, a neo-classical persona created by the Portuguese modernist Fernando Pessoa. Finally, I turn to a discussion of W. H. Auden's "Letter to Lord Byron" to identify some difficulties in applying Lakatos's model to literature. To view Auden as working within a Byronic program directs attention to his interpretation of the older poet, but the poem's formal innovation and its irony suggest some important differences between artistic and scientific approaches to the past, as well as some limitations of Lakatos's analytical framework.During the 1960s and 1970s, partly in response to Thomas Kuhn, but also in reaction against other approaches to their field, several important philosophers of science sought to incorporate the history of science into their work. David J. Hess terms this tendency a historicist "period and style" 2 within philosophy of science. As the Hungarian philosopher Imre Lakatos (echoing Kant) contended, "Philosophy of science without history of science is empty; history of science without philosophy of science is blind." 3 Generalizing about how scientists think (or ought to think) while still bearing in mind actual science led some philosophers of science to devise subtle and provocative ways of viewing the past. Kuhn's notion of paradigms as "models from which spring particular coherent traditions of scientific research" 4 is the best known and influenced Stanley Fish and Frank Kermode. Generally, however, literary critics are unaware of philosophers' responses to Kuhn and of their attempts to refine his category of paradigm. Larry Laudan, for example, sought to delineate the role of "research traditions" in the natural sciences. As his terminology suggests, these formulations overlap to some extent with literary understandings of past practice.But how much overlap is there, and is it significant? While Kuhn and Laudan both mention the arts, they disagree about the relevance of their work to the humanities. In 1969, noting that "topics" such as "competing schools," "changing standards of value" and "altered modes of perception" "have long been basic for the art historian," Kuhn argued that The Structure of Scientific Revolutions "makes them central to... (shrink)

This second volume of Michael Black's commentary on Lawrence's prose works concentrates on the extraordinary sequence of nonfiction texts written between 1913 and 1917: The "Foreword" to Sons and Lovers, Study of Thomas Hardy, Twilight in Italy, "The Crown," "The Reality of Peace." In all of them Lawrence was compulsively rewriting what he called "my philosophy." They are difficult works: highly metaphorical, in places prophetically expressionist, even surreal. This extended commentary makes sense of them, treating them as a succession of (...) experimental writings that support each other, develop non-discursive modes of writing, and are linked by shared metaphors that reveal shared preoccupations. Black's highly useful analysis is like the close reading of poetry. (shrink)

To travel round the world is to be reminded of the very public presence of history, of the past as issue and identity. Yet this is widely underrated. Using History is the first book to tackle public, non-academic history for the student and general reader. Furthermore, it does so from a truly global perspective as opposed to focusing on the traditional Western-dominated model.

Recent societal changes, including a global pandemic, have exacerbated experiences of and attention to burnout related to work and parenting. In the present study, we investigated how several social forces can act as demands and resources to impact work-related and parental burnout. We tested two primary hypotheses in a sample of women who responded to an online survey. We found that social comparisons, social media use, negative emotions when comparing oneself to others on social media, and a high do it (...) all discrepancy were correlated with higher reports of work-related and parental burnout. Alternatively, positive emotions when comparing oneself to others and social support were related to lower reports of work-related and parental burnout. The influence of social media use on burnout was mediated by the emotions experienced when comparing oneself to others on social media. Tests of moderation indicated that social comparisons had stronger relationships with burnout for those with higher expectations that they should be able to do it all verses can do it all. Tests of social support as a moderator of the relationships between social demands and burnout were largely non-significant. Based on these findings, we make practical suggestions for interventions to increase positive emotions experienced from social media use, and to mediate the do it all discrepancy by redefining expectations around “doing it all.”. (shrink)

Background Non-therapeutic trials in which terminally ill cancer patients are asked to undergo procedures such as biopsies or venipunctures for research purposes, have become increasingly important to learn more about how cancer cells work and to realize the full potential of clinical research. Considering that implementing non-therapeutic studies is not likely to result in direct benefits for the patient, some authors are concerned that involving patients in such research may be exploitive of vulnerable patients and should not occur at all, (...) or should be greatly restricted, while some proponents doubt whether such restrictions are appropriate. Our objective was to explore clinician-researcher attitudes and concerns when recruiting patients who are in advanced stages of cancer into non-therapeutic research. Methods We conducted a qualitative exploratory study by carrying out open-ended interviews with health professionals, including physicians, research nurses, and study coordinators. Interviews were audio-recorded and transcribed. Analysis was carried out using grounded theory. Results The analysis of the interviews unveiled three prominent themes: 1) ethical considerations; 2) patient-centered issues; 3) health professional issues. Respondents identified ethical issues surrounding autonomy, respect for persons, beneficence, non-maleficence, discrimination, and confidentiality; bringing to light that patients contribute to science because of a sense of altruism and that they want reassurance before consenting. Several patient-centered and health professional issues are having an impact on the recruitment of patients for non-therapeutic research. Facilitators were most commonly associated with patient-centered issues enhancing communication, whereas barriers in non-therapeutic research were most often professionally based, including the doctor-patient relationship, time constraints, and a lack of education and training in research. Conclusions This paper aims to contribute to debates on the overall challenges of recruiting patients to non-therapeutic research. This exploratory study identified general awareness of key ethical issues, as well as key facilitators and barriers to the recruitment of patients to non-therapeutic studies. Due to the important role played by clinicians and clinician-researchers in the recruitment of patients, it is essential to facilitate a greater understanding of the challenges faced; to promote effective communication; and to encourage educational research training programs. (shrink)

This paper provides practitioner and academic insights into the importance of examining non-technical skills in a multiteam system emergency response. The case of public health professionals is highlighted, illustrated with unique qualitative field data which focused upon the use of non-technical skills at a meso level of analysis. Results reflected the importance of context upon the multiteam system and highlighted seven non-technical skills used by public health professionals to support an effective response. Recommendations for future research and implications for practice (...) are noted for this hard to access professional group, located within emerging advances in the scientific inquiry of complex and increasingly evident, multi-team systems. (shrink)

Our use of artefacts has at different moments been characterised as either replacing or impoverishing our natural human capacities, or a key part of our humanity. This article critically evaluates the conception of the natural invoked by both accounts, and highlights the degree to which engagement with material features of the environment is fundamental to all living things, the closeness of this engagement making any account that seeks to draw a clear boundary between body and artefact problematic. By doing this (...) I seek to clarify the nature of our embodied relationship with various kinds of artefacts; moving from tools to machines to digital interfaces, I consider their differing potentials to be gathered into the body schema, and thus change our embodied horizons of perception and action. While much research currently seeks to facilitate a more ‘natural’ mode of interacting with technology, I argue that such a mode of interaction does not exist outside the particularity of our relationships with specific objects. As a result, rather than trying to cater to supposedly more natural modes of action and perception, future technologies should aim to enrich our experience with new modes, inviting novel relationships that produce new kinds of sensory and other experience. (shrink)

The ontology behind quantum mechanics has been the subject of endless debate since the theory was formulated some 100 years ago. It has been suggested, at one time or another, that the objects described by the theory may be individual particles, waves, fields, ensembles of particles, observers, and minds, among many other possibilities. I maintain that these disagreements are due in part to a lack of precision in the use of the theory’s various semantic designators. In particular, there is some (...) confusion about the role of representation, reference, and denotation in the theory. In this article, I first analyze the role of the semantic apparatus in physical theories in general and then discuss the corresponding ontological implications for quantum mechanics. Subsequently, I consider the extension of the theory to quantum fields and then analyze the semantic changes of the designators with their ontological consequences. In addition to the classical arguments to rule out a particle ontology in the case of non-relativistic quantum field theory, I show how the existence of black holes makes the proposal of a particle ontology in general spacetimes unfeasible. I conclude by proposing a provisional pluralistic ontology of fields and spacetime and discussing some prospects for possible future ontological economies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Black and White:A Note on Ancient NicknamesAlan CameronDistinguishing homonyms is a problem in any society, and it is not perhaps surprising that the same simple devices recur over long periods of time and in different parts of the ancient (and modern) world.P. Amh. LXII.6–7 lists two Ptolemaic soldiers called Apollonios, distinguishing them as μέλας and. Some years ago Frank M. Snowden suggested that the first of the pair was (...) actually black–skinned.1 A. M. Devine raised two different objections to this hypothesis.2 First, he finds "little hard evidence to suggest that general colour–terms like μέλας by themselves carried any specific racial connotations in antiquity." Yet it depends what is meant by hard evidence. There is certainly some evidence, for which reference may now be made to Lloyd A. Thompson's useful book Romans and Blacks (1989). But "racial connotations" are not really the point at issue. The question is rather, did the writer intend to indicate the color of the first Apollonios' skin?Personal descriptions in Egyptian documents do in fact very frequently specify skin color as an identifying characteristic. But they normally use a more subtle vocabulary than just black/white:.3 I do not recall seeing plain μέλας and used for this purpose. If skin color were the explanation here, we should have to assume that two men described bluntly as black and white one after another on the same document stood at opposite ends of the spectrum in skin color. That this should happen in the case of men who were in addition homonyms would surely be an improbable coincidence. The explanation must [End Page 113] lie in their homonymy. Second, Devine proposed a satisfying alternative, an exact parallel where explanation in terms of skin color is excluded: Alexander's two Macedonian marshals called Cleitus, again distinguished as μέλας and.4Devine went on to suggest that the black/white antithesis "was doubtless a commonplace... in Hellenistic armies." There is no need to restrict the practice to the military—or indeed to the Hellenistic world. I can add another three or four examples, from a much wider social, chronological, and geographical range. First another Hellenistic case. Diogenes Laertius names two Epicurean philosophers from Alexandria called Ptolemaios who were also distinguished in this way: δύο τε Πτο (10.25).5 It is suggestive that no explanation of the nicknames was felt necessary. Next an example from Ostrogothic Italy. Anicius Acilius Aginantius Faustus cos. A.D. 483 and Anicius Probus Faustus cos. 490 were distinguished as Albus and Niger respectively.6 Third, the consuls of 61 and 53 B.C., cousins who both bore the names M. Valerius Messala, were distinguished as Niger and Rufus respectively.7 Last, those who have seen the recent film Donnie Brasco may recall two capi in the Bonanno crime family, Alphonse "Sonny" Indelicato and Dominick "Sonny" Napolitano, distinguished as "Sonny Red" and "Sonny Black."8Roman cognomina were often based on physical peculiarities (Ahala, Ahenobarbus, Balbus, Cincinnatus, Crus, Dentatus, Nasica, Paetus, to quote the merest handful), and Niger and Rufus appear often enough as regular cognomina.9 The earliest Rufi were no doubt so called because of their red hair,10 but then the name was passed down to descendants regardless of hair color, as a fixed part of their nomenclature. The phenomenon under discussion is something different, perhaps picked up by the Romans from Hellenistic practice. [End Page 114]In most cases, these homonyms could have been and doubtless often were distinguished satisfactorily enough by the use of a father's name or ethnic or (for the Romans) full nomenclature. But in many contexts this must have seemed too formal. The color–nicknames were an informal device. Like (for example) νέος or iunior,11 they had the limited function of distinguishing people in a specific, often informal context. Like νέος and iunior again, they were not a formal or permanent element in a man's nomenclature and should not be so treated in modern works of reference.For example, after the death of Black Cleitus, White Cleitus was presumably known as just Cleitus. The two Fausti were by no means exact homonyms. It was only in contexts where they were styled simply... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 409 Ariane Cruz Beyond Black and Blue: BDSM, Internet Pornography, and Black Female Sexuality I have been the meaning of rape I have been the problem everyone seeks to eliminate by forced penetration with or without the evidence of slime and/ but let this be unmistakable in this poem is not consent I do not consent —June Jordan, (...) Poem about My Rights Introduction: The Evidence of Slime Slavery, itself a kind of “slime,” remains an active marketplace for the production of Black female sexuality and its representations.1 The impact of chattel slavery and the pervasive rape of Black female slaves on modern 1. In using the term “Black women,” I am referring to African American women for whom the history of chattel slavery in the Americas has produced the socio-historical conditions that uniquely inform Black female subjectivity and sexual politics. My use of this term is not to essentialize Black American womanhood; rather, like Black feminist scholar Patricia Hill Collins, I use the term to gesture to a Black women’s standpoint influenced by the condition and experience of gendered and racialized abjection, a “common experience of being Black women in a society that denigrates women of African descent.” Patricia Hill Collins, Black Feminist Thought: Knowledge, Consciousness and the Politics of Empowerment (London: Routledge, 1990), 22. In this essay, I focus on Black women who practice BDSM, a small but nonetheless heterogeneous group of women in the already-marginalized larger kink community. 410 Ariane Cruz constructions and representations of Black women has been well theorized, in particular by a number of Black feminist scholars who have worked to rupture what Darlene Clark Hine terms the “culture of dissemblance,” the politics of silence shrouding expressions of Black female sexuality.2 While the antebellum legacy of sexual violence on Black women is substantive, what has not been effectively considered is how Black women deliberately employ the shadows of slavery in the deliverance and/or receiving of sexual pleasure. That is, how the “slime”—a staining sludge of pain and violence—becomes a type of lubricant to stimulate sexual fantasies, access sexual pleasure, and heighten sexual desire. In this paper, I explore how Black women facilitate a complex and contradictory negotiation of pain, pleasure, and power in their performances in the fetish realm of BDSM.3 Situating my analysis in the context of hardcore BDSM Internet pornography and the controversial praxis of race play, I argue that BDSM is a critical site from which to reimagine the formative links between Black female sexuality and violence. Race play is a BDSM practice that explicitly uses race to script power exchange and the dynamics of domination and submission. Most commonly an interracial erotic play, race play employs racism, often involving the exchange of racist language, role-playing, and the construction of racist scenes. Eroticizing not just racism, but the miscegenation taboo, racial difference, and (hyper) 2. See Darlene Clark Hine, “Rape and the Inner Lives of Black Women in the Middle West,” Signs 14, no. 4 (1989): 912–920. For more on Black female slave sexual assault and its aftermath, see Hazel V. Carby, Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist (Oxford: Oxford University Press, 1987); Ann duCille, “‘Othered’ Matters: Reconceptualizing Dominance and Difference in the History of Sexuality in America,” Journal of the History of Sexuality 1, no. 1 (1990): 102–27; Elsa Barkley Brown, “Imaging Lynching: African American Women, Communities of Struggle, and Collective Memory,” in African American Women Speak Out on Anita Hill-Clarence Thomas, ed. Geneva Smitherman (Detroit, MI: Wayne State University Press, 1995), 100–24; and Cheryl Harris, “Whiteness As Property,” Harvard Law Review 106, no. 8 (June 1993): 1707–91. 3. BDSM is an umbrella term that stands in for bondage/discipline (B/D), domination /submission (D/S), and sadism/masochism or sadomasochism (S/M). For the purposes of this paper I exchange S/M, S&M, and/or SM with the more contemporary label BDSM. For more about the terminology of BDSM, see Margot Weiss, Techniques of Pleasure: BDSM and the Circuits of Sexuality (Durham, NC: Duke University Press, 2011). Ariane Cruz 411 racialization itself... (shrink)

Children’s cognitive and language development is a central aspect of human development and has wide and long-standing impact. The parent-infant relationship is the chief arena for the infant to learn about the world. Studies reveal associations between quality of parental care and children’s cognitive and language development when the former is measured as maternal sensitivity. Nonetheless, the extent to which parental mentalizing – a parent’s understanding of the thoughts, feelings, and attitudes of a child, and presumed to underlie sensitivity – (...) contributes to children’s cognitive development and functioning, has yet to be thoroughly investigated. According to the epistemic trust theory, high mentalizing parents often use ostensive cues, which signal to the infant that they are perceived and treated as unique subjective beings. By doing so, parents foster epistemic trust in their infants, allowing the infant to use the parents a reliable source of knowledge to learn from. Until recently, parental mentalizing has been limited to verbal approaches and measurement. This is a substantial limitation of the construct as we know that understanding of intentionality is both non-verbal and verbal. In this investigation we employed both verbal and non-verbal, body-based, approaches to parental mentalizing, to examine whether parental mentalizing in a clinical sample predicts children’s cognitive and language development 12 months later. Findings from a longitudinal intervention study of 39 mothers and their infants revealed that parental embodied mentalizing in infancy significantly predicted language development 12 months later and marginally predicted child cognitive development. Importantly, PEM explained unique variance in the child’s cognitive and linguistic capacities over and above maternal emotional availability, child interactive behavior, parental reflective functioning, depression, ethnicity, education, marital status, and number of other children. The theoretical, empirical, and clinical implications of these findings are discussed. (shrink)

We explore the ethics of using motivational interviewing, an evidence-based, client-centred and directional counselling method, in conversations with next of kin about deceased solid organ donation. After briefly introducing MI and providing some context around organ transplantation and next of kin consent, we describe how MI might be implemented in this setting, with the hypothesis that MI has the potential to bring about a modest yet significant increase in next of kin consent rates. We subsequently consider the objection that using (...) MI in this context would be manipulative. Although we cannot guarantee that MI would never be used in a problematically manipulative fashion, we conclude that its use would, nevertheless, be permissible as a potential means to increase next of kin consent to deceased solid organ donation. We propose that MI be trialled in consent situations with next of kin in nations where there is widespread public support for organ donation. (shrink)

Evidence‐based interventions have been developed and used to prevent HIV infections among black men who have sex with men (MSM) in Canada and the United States; however, the degree to which interventions address racism and other interlocking oppressions that influence HIV vulnerability is not well known. We utilize integrative antiracism to guide a review of HIV prevention intervention studies with black MSM and to determine how racism and religious oppression are addressed in the current intervention evidence base. We searched CINAHL, (...) PsychInfo, MEDLINE and the CDC compendium of evidence‐based HIV prevention interventions and identified seventeen interventions. Three interventions targeted black MSM, yet only one intervention addressed racism, religious oppression, cultural assets and religious assets. Most interventions' samples included low numbers of black MSM. More research is needed on interventions that address racism and religious oppression on HIV vulnerability among black MSM. Future research should focus on explicating mechanisms by which multiple oppressions impact HIV vulnerability. We recommend the development and integration of social justice tools for nursing practice that aid in addressing the impacts of racism and other oppressions on HIV vulnerability of black MSM. (shrink)

This article examines how Žižek’s analysis of “subjective” violence can be used to explore the ways in which media coverage of a terrorist attack is contoured and shaped by less noticeable forms of “objective” (symbolic and systemic) violence. Drawing upon newspaper coverage of the 2017 London Bridge attack, it is noted how examples of “subjective” violence were grounded in the externalization of a clearly identifiable “other”, which symbolically framed the terrorists and the attack as tied to and representative of the (...) UK Muslim community. Examples of “systematic” violence were most notable in the ideological edifice that underpinned this framing but also in the ways in which newspaper reports served to draw upon British values in the aftermath of the attack. This directed attention away from the contradictions within the UK, towards narratives that sought to “fix” these contradictions through eradicating the problem of “the other” and/or by violently protecting the British values “they” seek to undermine. As a consequence, newspaper coverage worked to uphold the illusion that “peace” could be achieved by eradicating terrorism through further forms of objective violence, including, internment without trial; the “ripping up” of human rights; and, closer surveillance of Muslim communities. Indeed, it was this unacknowledged violence that worked to maintain British values in the press’ coverage. (shrink)

The four essays collected in this dossier are directed upon the contemporary understandings of blackness, as an ontology, a phenomenology, or a historicity. In the order of their presentation they encompass and situate what seems first to limit black being or overflow it, but which, when questioned, that is, disclosed, or unconcealed, does not fit into this logos, nor is ordered by it, even making what is most discernable about blackness in its past, future, or present, seem imaginary, moored in (...) a non-present,and presence, but in ways which make the non-being that marks blackness as sign, affect, or speaking being, unthinkable except as an appearing, a manifestation, an identity.As a dossier directed upon the present philosophical understanding of blackness, each paper seeks to unanchor blackness from the meanings and presuppositions that it normally calls forth. Beyond what is discernable, or ready-made, each paper addresses structures that make (and have made) blackness discernable as the always given to be seen, as meaningless speech, as pathology, as a concept beyond reason.The dossier opens with a question: what kind of disturbance does blackness present to being? Why does it seem to madden reason, or call forth frenzy? In Calvin Warren’s essay, “The Karen Call,” what comes into correlation with blackness are various kinds of emergency that structure white thought and presence but that belie witnessing and intelligibility, and in whose chain of significations can be discerned an ontological privilege that constitutes the world. To appear emergent, it seems, all blackness has to do is become one with the myth that bans or compromises it; a manifestation in which subject-object relations are already polarized by the dangers that deploy it in dramas of emergency. Once blackness becomes emergent, there is no escape, for it comes up against what Warren, reading Heidegger against the grain, suggests is a racial destiny of Being. To appear black is forthwith to resemble an es gibt that is indissociable from threat, falsehood, fantasy, and obliteration. To that extent, blackness attests to a kind of ontological emergency without surcease or hope, and one whose trace remains in every moment or glimpse; whose technical modality and structure always returns us to the call that is neither speech nor gaze, word nor symbol, but represents an extimacy that is undeconstructable, beyond utterance, meaning, or reparation.Such extimacy seems to induce a crisis in the philosophical notion of being itself. In Axelle Karera’s essay, “Paraontology,” the question asked is why blackness cannot be contained or fitted into ontology itself; or, if philosophy is ontology, why does blackness seem to signify an irreducible resistance to it?How does such resistance occur? If blackness can only be presented as “paraontology,” a word that seems to shelter ontology at the same time as it presents the search for a new order of being, what does the para teach us about blackness as disorder, resistance, or identity? What is its philosophical genealogy and affiliation, and why does the para itself seem to never get beyond its own conciliation, or filiation to philosophy, whose ordering and racist historicity thereby remains the seme and mark of the para as interval, trope, and index? Or, put more simply, can blackness ever resist its own resistance as trope, conjuncture, or representation? Retracing that genealogy through the work of Oskar Becker, Karera uncovers a surreptitious repetition in black uses of the word, in whose weave can be discerned a fascist interference that not only undermines the fugitivity of the resistance so claimed, but one that unwittingly repeats a fascist ontology of world, history, and being.1 It’s a startling, deeply disturbing claim. But the apparent echoing of the Heideggerian bell in black significations of ontology suggests that what is being reabsorbed here is not so much a radical difference but a concept that remains justified and in fee to, pardoned and annulled by, a white notion of being. What, then, can it mean to think blackness as para? Nothing more than a philosophical confusion that confuses l’être qui fuit, that is, the lack that Lacan says cannot be completed or resisted, for an appositional fantasy of displacement. Here everything that is deemed black has to be made meaningful in apposition to ontology, but everything that is black must also, it seems, always return apposition to the white para of ontology; to be black and appositional would, it seems, produce only the disavowal of the philosophical genealogy that always already determines it.One would be right to distrust such claims—the moralism of the refusal, and the scandal of the faux resistance by which the para hides behind its own whited-out screen.In the third contribution to the dossier, the question asked is what would it mean for blackness to repair itself, to let go or retrieve and so redeem its own historical conjuncture? How do we refer to an irreparable past, that is, a past that keeps on coming back, but one that has no sign or signified, no memory that can recapture or reveal it, or simply rejoin us to it without remainder? Rinaldo Walcott’s essay, “‘Retrospective Significance,’” revisits the reparations debate as a question of black being. Instead of repair, he finds desolation and emptiness, or what he calls a staggeringly incoherent rhetoric of coherency. It’s a paradox that addresses what it means to remember or to forget a nothing; if blackness is nothing, how does one reconnect with it, bond with it, compensate it in its historic devastation? What would it mean to receive meaning from such devastation, to express it if this nothingness is absolute, or absolutely valueless? If ontology is a structure, then blackness, Walcott suggests, expresses nothing less than a “slave-ness” that continues to confront and disturb us absolutely, irrevocably. As such slave-ness is the trace that remains as a sign of the irreparable. As a trace, and not a sign, slave-ness becomes the primordial signifier of being, nation, history, and diaspora. But it is what makes it irrecuperable that defines its value and difficulty for the very language of reparation. Walcott pursues this difficult, enigmatic thread through the work of black thinkers on diaspora and identity. He concludes: black being cannot be dissociated from the disturbance it offers value, conscience, and any thought of alterity.The final and fourth contribution returns to the question of blackness as the trace or thread (the monstration) of being. How does one follow the thread (montrer) of blackness if it is always already withdrawn from being? David Marriott’s essay, “Ontology and Lalangue,” evokes Lacan’s concept of lalangue in pursuit of this enigmatic equivocation between letter and signifier, philosophy and psychoanalysis. Showing how both discourses have sought to master this exorbitance as master and/or free it as slave, I show how blackness is extinguished by the very words used to precipitate it into being. The slavish audacity of this lalangue is then shown to disarticulate, or more exactly, withdraw from ontology, but only so that whiteness can be presented and proclaimed all the more as the un-representable truth and logic of Dasein. This way of excluding blackness while preserving whiteness is not only central to philosophical and psychoanalytic understandings of language, Marriott argues, but this way of manifesting itself without manifesting itself is also crucial to the racialization of the logos as such.What is essential here is the way a meaning that is beyond meaning or representation is inserted into a problematic of mastery and servitude that advances-conceals a racial genealogy but in ways that makes the being of blackness an enigma. As such, blackness becomes an exorbitance that is always effaced in its monstration. More, its revelation must necessarily be unrecognized as the very locus of knowledge and truth. In that sense, what would it mean to figure, or to speak, this n’est pas without the consolation of being, meaning, truth, or logic? What would it mean to represent it as situated or defined by the language of ontology? Is black speaking being always in a relationship to and simultaneously the manifestation of a lalangue of lalangue? (shrink)

In this book, David M. Black asks questions such as 'why do we care?' and 'what gives our values power?' using ideas from psychoanalysis and its adjacent sciences such as neuroscience and evolutionary biology in order to do so. _Why Things Matter_ explores how the comparatively new scientific discipline of consciousness studies requires us to recognize that subjectivity is as irreducible a feature of the world as matter and energy. Necessarily inter-disciplinary, this book draws on science, philosophy and the history (...) of religion to argue that there can be influential values which are not based exclusively on biological need or capricious life-style choices. It suggests that many recent scientific critics of religion, including Freud, have failed to see clearly the issues at stake. This book will be key reading for psychoanalysts and psychotherapists as well as counsellors with an interest in the basis of religious feeling and in moral and aesthetic values. The book will also be of interest to scholars of psychoanalysis, philosophy and religion. (shrink)

Keyword analysis is used to compare the reporting strategies of three major UK newspapers on the topic of Edward Snowden and state surveillance. Differences are identified in the reporting strategies of The Guardian, Daily Mail and The Sun that provide insight into the ideology of the British press. There is significant variation in the style, content and stances of each newspaper towards state surveillance, as well as clear evidence of ideology within each paper: The Guardian is critical of surveillance (...) and defensive of its decision to publish classified documents; the Daily Mail focuses heavily on personalisation and the personal life of Edward Snowden; and The Sun perpetuates an us/them ideology that is highly supportive of state surveillance. These differences are motivated by each newspaper’s ideology, news values and audience considerations and demonstrate how British newspapers offer radically different perspectives on the same events. (shrink)

This article is a summary of two chapters of a book published in French in 1997, entitled Comment L'esprit vient aux Bêtes, Paris, Gallimard. The core idea is that the crucial distinction between internal and external states, often used uncritically by theorists of intentionality, needs to be made on a non-circular basis. The proposal is that objectivity - the capacity to reidentify individuals as the same across places and times depends on the capacity to extract spatial crossmodal invariants, which in (...) turn presupposes a capacity to (re)calibrate perceptual inputs across modalities in a principled way. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Through examining the BBC television series, Black and British: A Forgotten History, written and presented by the historian David Olusoga, and in extending Paul Gilroy’s assertion that the everyday banality of living with difference is now an ordinary part of British life, this article considers how Olusoga’s historicization of the Black British experience reflects a convivial rendering of UK multiculture. In particular, when used alongside Žižek’s notion of parallax, it is argued that understandings of convivial culture can be supported by (...) a historical importance that deliberately ‘shocks’, and subsequently dislodges, popular interpretations of the UK’s ‘white past’. Notably, it is parallax which puts antagonism, strangeness and ambivalence at the heart of contemporary depictions of convivial Britain, with the UK’s cultural differences located in the ‘gaps’ and tensions which characterize both its past and present. These differences should not be feared but, as a characteristic part of our convivial culture, should be supplemented with historical analyses that highlight but, also, undermine, the significance of cultural differences in the present. Consequently, it is suggested that if the spontaneity of conviviality is to encourage openness, then understandings of multiculturalism need to go beyond reification in order to challenge our understandings of the past. Here, examples of ‘alterity’ are neither ‘new’ nor ‘contemporary’, but instead, constitute a fundamental part of the nation’s history: of the ‘gap’ made visible in transiting past and present. (shrink)

We argue that (1) a purported example of an infinite inference we humans can actually perform admits a faithful, finitary description, and (2) infinite inference contravenes any view which does not grant our minds uncomputable powers. These arguments block the strategy, dating back to Carnap's Logical Syntax of Language, of using infinitary inference rules to secure the determinacy of arithmetical truth on conventionalist grounds.

In the Treatise, Book I, Part iv, Section 2, Hume seeks to explain what causes us to believe that objects continue to exist even when they are not perceived. He argues that we won't be able to prov...

Through research that was conducted with mountain bike trail builders, this article explores the processes by which socio-natures or ‘emergent ecologies’ are formed through the assemblage of trail building, mountain bike riding and matter. In moving conversations about ‘Nature’ beyond essentialist readings and dualistic thinking, we consider how ecological sensibilities are reflected in the complex, lived realities of the trail building community. Specifically, we draw on Morton’s (2017) notion of the ‘symbiotic real’ to examine how participants connect with a range (...) of objects and non-humans, revealing a ‘spectral’ existence in which they take pleasure in building material features that are only partially of their creation. Such ‘tuning’ to the symbiotic real was manifest in the ongoing battle that the trail builders maintained with water. This battle not only emphasized the fragility of their trail construction but also the temporal significance of the environments that these creations were rendered in/with. In conclusion, we argue that these findings present an ecological awareness that views nature as neither static, inert or fixed, but instead, as a temporal ‘nowness’, formed from the ambiguity of being in and with nature. Ecologically, this provides a unique form of orientation that re-establishes the ambiguity between humans and nature, without privileging the former. It is set against this ecological (un)awareness that we believe a re-orientation can be made to our understandings of leisure, the Anthropocene and the nature-culture dyad. (shrink)

Black magic (henceforth BM) is acting in an attempt to harm human beings through supernatural means. Examples include the employment of spells, the use of special curses, the burning of objects related to the purported victim, and the use of pins with voodoo dolls. For the sake of simplicity, we shall focus on attempts to kill through BM. The moral attitude towards BM has not been, as far as we know, significantly discussed in contemporary analytic philosophy. Yet the topic brings (...) up interesting questions and poses challenges, occasionally even reaching the level of paradoxes. Ideas of respecting persons, in particular, will be seen to be challenged by this form of magic. The notion of respecting persons will be treated here broadly and pluralistically. Indeed part of the interest in the discussion will be the unfolding of the diverse ways in which this term should be understood, and the contrasts between its various uses. Often, as we shall see, respect for persons and disrespect for them, in different senses, will co‐exist, and the dilemma will be one where avoiding some forms of disrespect will involve us in disrespect in other senses. (shrink)

How does material culture matter for institutions? Material objects are increasingly prominent in sociological research, but current studies offer limited insight for how material objects matter to institutional processes. We build on sociological insights to theorize aesthetic style, a shared pattern of material object presence and usage among a cluster of organizations in an institutional field. We use formal relational methods and a survey of material objects from religious congregations to uncover the aesthetic styles that are part of the (...) “logics of god” in the United States’ Christian religious field. We argue aesthetic styles help structure an institutional field by spanning objects’ meanings across space and time, stabilizing objects’ authority, and demarcating symbolic boundaries. Our research provides a conceptual tool for understanding how objects bridge the material and symbolic dimensions of institutions and a methodological example for examining the meaning of objects across numerous organizations in an institutional field. (shrink)

We present a framework for analyzing black hole backreaction from the point of view of quantum open systems using influence functional formalism. We focus on the model of a black hole described by a radially perturbed quasi-static metric and Hawking radiation by a conformally coupled massless quantum scalar field. It is shown that the closed-time-path (CTP) effective action yields a non-local dissipation term as well as a stochastic noise term in the equation of motion, the Einstein–Langevin equation. Once the thermal (...) Green's function in a Schwarzschild background becomes available to the required accuracy, the strategy described here can be applied to obtain concrete results on backreaction. We also present an alternative derivation of the CTP effective action in terms of the Bogolyubov coefficients, thus making a connection with the interpretation of the noise term as measuring the difference in particle production in alternative histories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Style In DickensRobert AlterIt is a sad symptom of the devolution of literary studies and of our culture’s relation to language that it should at all be necessary to explain that style is crucial to the experience of reading. As the language of literature has been variously designated a mask for ideology, an expression of the “poetics of culture,” or a medium of communication not different (...) in kind from menus and graffiti, the academic study of literature in many cases seems to have lost the essential sense that style has its unique enchantments, and that those enchantments can often be a privileged vehicle of insight, even of vision. As someone who is temperamentally a rationalist, I do not want to sound mystical, but I find it an empirical fact as a reader that great writers are able in a variety of surprising ways to tap into occult connections between words and social, historical, psychological, or moral realities. Saul Bellow has aptly stated this commingling of uncanny insight and deep satisfaction that style can give its readers:A small clue will suffice to remind us that when we hear certain words—“all is but toys,” “absent thee from felicity,” “a wilderness of monkeys,” “green pastures,” “still waters,” or even the single word “relume”—they revive for us moments of emotional completeness and overflowing comprehension, they unearth buried essences. 1A novel is a whole world reconstituted through words. Style in a novel is that world’s very air which we breath (I shall presently cite a rather literal illustration of this principle in Dickens), the rhythm of relation [End Page 130] of the represented objects and personages, the depth of field in which they are seen. When we read style in Dickens, or in any other novelist, we of course are reading all sorts of other things at the same time—plot, character, moral dilemma, historical predicament, and so forth—but we can see all these in their full complexity only if we attend to the illuminating play of style.Despite the great length of his major novels, Dickens deserves to be read slowly, with delectation, with occasional pauses to reread a choice passage, because he is one of the most inventive and vigorous stylists in the whole range of English literature. Style, as we know, has many facets, and Dickens’s powerful rhythms, his supple patterns of alliteration, the hammer-blows of the anaphoric insistence he often favors, the cunning interplay of different linguistic registers he sometimes introduces, are all worthy of attention. But he is above all the great master of figurative language in English after Shakespeare, and what I want to concentrate on here is how I focus as a reader on Dickens’s use of figurative language, and what it reveals to me about the world of his novels.Dickens is one of those novelists who is preeminently a rhetorical performer, and so there is a good deal of self-conscious display of virtuosity, sheer exuberant verbal high jinks, in his writing. The high jinks are there for the reader to enjoy—in historical context, to keep the reader’s interest from one monthly serial to the next—but as Dickens grows in mastery and gravity, they are more and more a means of what Bellow calls unearthing buried essences. Let me glance quickly at the operation of style in a passage from Dombey and Son (1848), an approximate midpoint in Dickens career, and then consider more closely the visionary power of his prose at two moments in his last completed novel, Our Mutual Friend (1861). Here is the description in chapter thirteen of the company office of Dombey and Son as its august proprietor enters:The wit of the Counting-House became in a moment as mute as the row of leathern fire-buckets hanging up behind him. Such vapid and flat daylight as filtered through the ground-glass windows and skylights, leaving a black sediment upon the panes, showed the books and papers, and the figures bending over them, enveloped in a studious gloom, and as much abstracted in appearance, from the world without, as if they were assembled at the... (shrink)

An elaboration and defense of the “interaction view of metaphor” introduced in the author's earlier study, “Metaphor” . Special attention is paid to the explication of the metaphors used in the earlier account.The topics discussed include: selection of the “targets” of the theory; classification of metaphors; how metaphorical statements work; relations between metaphors and similes; metaphorical thought; criteria of recognition; the “creative” aspects of metaphors; the ontological status of metaphors.Metaphors are found to be more closely connected with background models than (...) has previously been recognized. (shrink)

It has long been a truism of the history of philosophy that intentionality is an invention of the medieval period, and within this standard narrative, the central place of Arabic philosophy has always been acknowledged. Yet there are many misconceptions surrounding the theories of intentionality advanced by the two main Arabic thinkers whose works were available to the West, Avicenna and Averroes. In the first part of this paper I offer an overview of the general accounts of intentionality and intentional (...) being found in the linguistic, psychological, and metaphysical writings of Avicenna and Averroes, and I trace the terminology of “intentions” to a neglected passage from Avicenna’s logic. In the second part of the paper I examine the way that Avicenna and Averroes apply their general theories of intentionality to the realm of sense perception. I offer an explanation of why Avicenna might have chosen to denominate the objects of the internal sense faculty of estimation as “intentions”, and I explore the implications of Averroes’s decision to attribute intentionality to the external senses and the media of perception. (shrink)

This paper has two objectives. The first objective is a decoupling of the African body from ‘blackness’—a discursive formation—that was attached to the body by the slave and the colonial regimes. The second aim is a critique of modern epistemic and epistemological regimes that give ‘blackness’ its modern currency. To achieve these goals, I use phenomenology, a philosophy of self-responsible beginning according to Edmund Husserl, to return to the African body before colonialism and slavery. Through phenomenology I can ‘bracket’ what (...) the above regimes and their legacies have been conditioning the African to see and know about the body. The paper is therefore an attempt at a liberatory epistemology aimed at overcoming what Achille Mbembe has referred to as a ‘dungeon of appearance’. Since ‘blackness’ is continental and diaspora Africans (CADA) seen through discursive colonial eyes, phenomenology provides an epistemological freedom to observe the body in-time. (shrink)

Ice Cube "What's a brother gotta do to get a message through to the Red, White, and Blue?" Ice-T Rap music has emerged as one of the most distinctive and controversial music genres of the past decade. A significant part of hip hop culture, [1] rap articulates the experiences and conditions of African-Americans living in a spectrum of marginalized situations ranging from racial stereotyping and stigmatizing to struggle for survival in violent ghetto conditions. In this cultural context, rap provides a (...) voice to the voiceless, a form of protest to the oppressed, and a mode of alternative cultural style and identity to the marginalized. Rap is thus not only music to dance and party to, but a potent form of cultural identity. It has become a powerful vehicle for cultural political expression, serving as the "CNN of black people", or upping the high-tech ante, as their "satellite communication system". It is an informational medium to tune into, one that describes the rage of African-Americans facing growing oppression, declining opportunities for advancement, changing moods on the streets, and everyday life as a matter of sheer survival. In turn, it has become a cultural virus, circulating its images, sounds, and attitude throughout the culture and body politic. (shrink)

This paper explains what an infinite regress argument is. Part 1 contains some examples of infinite regress arguments. Part 2 presents a schema for all such arguments an defines an infinite regress argument as one that approximates to the schema. Part 3 tests the schema on the examples. Part 4 contrasts my account of infinite regress arguments with that given by Passmore and shows that Passmore's theory succumbs to objections. Part 5 distinguishes an infinite regress argument from an infinite regress (...) and defines an infinite regress. Part 6 explains the dyslogistic force of 'infinite regress'. (shrink)

Viewing moral scepticism as the rejection of objective desirabilities, inductive scepticism may be seen as the rejection of objective believabilities. Moral scepticism leads naturally to amoralism rather than subjectivism, and inductive scepticism undermines not our practices of induction but only a view about justification. The two scepticisms together amount to the adoption of a defensibly narrow, formal view of reason.

We isolate two abstract determinacy theorems for games of length $\omega_1$ from work of Neeman and use them to conclude, from large-cardinal assumptions and an iterability hypothesis in the region of measurable Woodin cardinals thatif the Continuum Hypothesis holds, then all games of length $\omega_1$ which are provably $\Delta_1$ -definable from a universally Baire parameter are determined;all games of length $\omega_1$ with payoff constructible relative to the play are determined; andif the Continuum Hypothesis holds, then there is a model of (...) ${\mathsf{ZFC}}$ containing all reals in which all games of length $\omega_1$ definable from real and ordinal parameters are determined. (shrink)

Scholars and media practitioners who gathered at "Media Ethics Summit II" explored a wide range of topics, many of them new since the 1987 summit. This article draws from those conversations and from the scholarly papers drafted by Christians and Cooper and distributed prior to the summit. It constitutes an informal agenda of issues and themes for anyone concerned with the current and future states of media ethics. The agenda falls roughly under nine touch points: issues raised by new technology (...) and changing corporate environments; economic and other challenges to truth telling, objectivity, and other traditions; media and government issues; issues of accountability and transparency in all media of communication; educational issues; issues of diversity and globalization of all media; new agendas for ethics research and pedagogy; individual freedom and responsibility, and ongoing monitoring of the media ethics environment. (shrink)

These essays are intended to illustrate various ways in which ideas about language may be used to clarify philosophic problems. They contain careful interpretations and criticisms of theories of language.

Dialogue is a recurring and significant component of Indian religious and philosophical literature. Whether it be as a narrative account of a conversation between characters within a text, as an implied response or provocation towards an interlocutor outside the text, or as a hermeneutical lens through which commentators and modern audiences can engage with an ancient text, dialogue features prominently in many of the most foundational sources from classical India. Despite its ubiquity, there are very few studies that explore this (...) important facet of Indian texts. This book redresses this imbalance by undertaking a close textual analysis of a range of religious and philosophical literature to highlight the many uses and functions of dialogue in the sources themselves and in subsequent interpretations. Using the themes of encounter, transformation and interpretation - all of which emerged from face-to-face discussions between the contributors of this volume - each chapter explores dialogue in its own context, thereby demonstrating the variety and pervasiveness of dialogue in different genres of the textual tradition. This is a rich and detailed study that offers a fresh and timely perspective on many of the most well-known and influential sources from classical India. As such, it will be of great use to scholars of religious studies, Asian studies, comparative literature and literary theory. (shrink)

There are many ways of combining three letters out of an alphabet of 26; yet still there are overlaps which can confuse meaning. So the first duty of anyone using an acronym is to say what it denotes. Here, POM is “problem-oriented medicine”, EBM is “evidence-based medicine”, and CPD is “continuous professional development”. These designations, familiar as they are to clinicians, define what is meant by these terms, but fall well short of describing them for the general reader, something which (...) must now be done.Problem-oriented medicine, described and advocated by Lawrence Weed,1 is an approach which elicits and categorises the patient's problems, both those described by him or her and those discovered on physical examination or in the course of investigation. The list of problems, with the action proposed for each, forms the basis of the clinical record. This approach has the great merit of focusing on what is actually troubling the patient, and it includes the important task of listening to what he says. All approaches to difficult matters have their limitations; those of POM include the inarticulacy of some patients, the impatience of some doctors, the accumulation of problems as age advances, and the inelasticity of time.Evidence-based medicine has …. (shrink)

This article draws upon the work of Timothy Morton and Slavoj Žižek in order to critically examine how mountain bike trail builders orientated themselves within nature relations. Beginning with a discussion of the key ontological differences between Morton’s object-oriented ontology and Žižek’s blend of Hegelian-Lacanianism, we explore how Morton’s dark ecology and Žižek’s account of the radical contingency of nature, can offer parallel paths to achieving an ecological awareness that neither idealises nor mythologises nature, but instead, acknowledges its strange and (...) contingent form. Empirically, we support this theoretical approach in interviews with twenty mountain bike trail builders. These interviews depicted an approach to trail building that was ambivalently formed in/with the contingency of nature. In doing so, the trail builders acted with a sense of temporal awareness that accepted the radical openness of nature, presenting a ‘symbolic framework’ that was amiable to nature’s ambivalent, strange and contingent form. In conclusion, we argue that we should not lose sight of the ambivalences and strange surprises that emanate from our collective and unpredictable attempts to symbolize nature and that such knowledge can coincide with Morton’s ‘dark ecology’ – an ecological awareness that remains radically open to our ecological existence. (shrink)

In ‘Treating Adolescents Differently’, Skelton, Black, and Forsberg develop their wellbeing-based justification of the asymmetrical treatment of adolescent consent and refusal in the context of health care to justify the differential and paternalistic treatment of adolescents more generally. The core of the Skelton, Black, and Forsberg’s view is a variabilist theory of what is fundamentally and non-instrumentally prudentially good for adolescents, which includes the prudential value of what they call shielding—or the value of being insulated from full responsibility for their (...) choices. This theory of wellbeing, they argue, explains why adolescents may be treated differential and paternalistically in numerous domains. It is good for them to be shielded because it allows for a variety of freedom from making certain kinds of decisions in the absence of a safety net provided by others in supportive and caring relationships. Skelton, Black, and Forsberg argue that their account of the justification of differential and paternalistic treatment of adolescents has attractive implications for a range of cases and holds up well in the face of philosophical criticism. (shrink)

SummaryIn early and prehistoric times, human groups cooperated among themselves and competed viciously with other groups. Concepts of international relations, notably universal hegemony and exclusive nationalism, go back to the earliest recorded history. Only the ancient Greeks experienced inter-state relations somewhat analogous to those of modern Europe; and the first reflections on these may be found in Thucydides. The Greeks, and later the Romans, above all Cicero, developed a notion of cosmopolitanism. During the Latin Middle Ages, the papacy perpetuated the (...) idea of universal hegemony. The principle of state sovereignty was also formulated. The pre-modern Chinese empire was held to rule ‘all-under-Heaven’; Confucian ethics contributes the notion of humanity as the fundamental category. Muslims deepened the us–them distinction by claiming sole legitimacy for their religious community under the Caliph. Today, Muslims veer between this and a more Western approach to international relations. (shrink)

This book describes the shape of a Christian ethic that arises from a conversation between contemporary accounts of natural law theory, and virtue ethics. The ethic that emerges from this conversation seeks to resolve the tensions in Christian ethics between creation and eschatology, narrative and natural law, and objectivity and relativity. Black moves from this analytic foundation to conclude that worship lies at the heart of a theologically grounded ethic whose central concern is the flourishing of the whole human person (...) in community with both one another and God. (shrink)

This book considers the ability of individuals and communities to maintain healthy relationships with their surroundings—before, during and after catastrophic events—through physical activity and sporting practices. -/- Broad and ambitious in scope, this book uses sport and physical activity as a lens through which to examine our catastrophic societies and spaces. Acknowledging that catastrophes are complex, overlapping phenomena in need of sophisticated, interdisciplinary solutions, this book explores the social, economic, ecological and moral injustices that determine the personal and emotional impact (...) of catastrophe. Drawing from international case studies, this book uniquely explores the different landscapes and contexts of catastrophe as well as the affective qualities of sporting practices. This includes topics such as DIY skateparks in Jamaica; former child soldiers in Africa; the funding of sport, recreation and cultural activities by extractive industries in northern Canada; mountain biking in the UK; and urban exploration in New Zealand. Featuring the work of ex-professional athletes, artists, anthropologists, sociologists, political ecologists, community development workers and philosophers, this book offers new perspectives on capitalism, nature, sociality, morality and identity. -/- This is essential reading for academics and practitioners in sociology, disaster studies, sport-for-development and political ecology. (shrink)

The purpose of this paper was to test whether imaginative resistance – a term used in the philosophical literature to describe the reluctance to imagine counter-moral worlds – is experienced by peo...

I distinguish between two versions of the black hole information-loss paradox. The first arises from apparent failure of unitarity on the spacetime of a completely evaporating black hole, which appears to be non-globally-hyperbolic; this is the most commonly discussed version of the paradox in the foundational and semipopular literature, and the case for calling it `paradoxical' is less than compelling. But the second arises from a clash between a fully-statistical-mechanical interpretation of black hole evaporation and the quantum-field-theoretic description used in (...) derivations of the Hawking effect. This version of the paradox arises long before a black hole completely evaporates, seems to be the version that has played a central role in quantum gravity, and is genuinely paradoxical. After explicating the paradox, I discuss the implications of more recent work on AdS/CFT duality and on the `Firewall paradox', and conclude that the paradox is if anything now sharper. The article is written at a introductory level and does not assume advanced knowledge of quantum gravity. (shrink)

Black holes are extremely relativistic objects. Physical processes around them occur in a regime where the gravitational field is extremely intense. Under such conditions, our representations of space, time, gravity, and thermodynamics are pushed to their limits. In such a situation philosophical issues naturally arise. In this chapter I review some philosophical questions related to black holes. In particular, the relevance of black holes for the metaphysical dispute between presentists and eternalists, the origin of the second law of thermadynamics and (...) its relation to black holes, the problem of information, black holes and hypercomputing, the nature of determinsim, and the breakdown of predictability in black hole space-times. I maintain that black hole physics can be used to illuminate some important problems in the border between science and philosophy, either epistemology and ontology. (shrink)