This chapter contains sections titled: Erotica and Pornography: From the Romantic to the Vulgar Aesthetic Contemplation: The Romantic and the Beautiful Notes.

Deleuze's theory of difference revolves around the idea that fusion and fission--the extreme external limits of functioning systems--represent the death of these systems. In order to maintain their duree, qualitative difference and change, systems internalize the external limits in conditions of repeated contraction and dilatation which constitute the inclusive disjunctive law of their function. This basic idea permits Deleuze to articulate an ontology of difference and repetition, a minoritarian theory of language and a version of materialist politics which support (...) each other and strengthen the cause of radical pluralism. Deleuze's ontology substitutes Difference for Being, introduces the intensive media of space and time, takes intensity to be the sentiendum of quality and extension, holds the synthesizing Ideas to be problematic and problem-setting multiplicities of differentiated elements, and argues that the repetition of the eternal return guarantees different/ciation by dissolving the identity of the "unity of apperception". The minoritarian theory of language is similarly constituted. The external limit of language, represented by self-referential and self-predicative elements, would be the death of language. On the other hand, watchwords and poetic utterances through their self-referentiality and self-predication makes language possible. The former attempt to fuse language and to overcode sign-regimes, whereas the latter highlight the interval, the "estrangement-effects" and the rhizomatic proliferation of lines of escape. Finally, the emancipatory interest which animates Deleuze's theory of difference is grounded on the notion "body without organs". The ontological, schizoanalytic and political appropriation of this immanent-transcendent referance, together with Deleuze's claim that it is the body without organs which renders possible "energetic" desire--both in paranoid and schizophrenic "arrangements"--crown this theory of difference with critical aspirations. (shrink)

Current research has focused on gender as a conditioning factor in students’ study choices, highlighting the existence of gender stereotypes associated with these choice. The general objective of this article is to analyse if there are differences based on sex in the choice of musical instruments in music conservatories. The methodology used is quantitative. We have analysed the data on enrolment in the different instrumental specialities of two public music conservatories in Seville (Spain) at the three levels of (...) music education: Basic, Professional and Higher Music Education. This article contrasts if there are instrumental specialities that are mostly chosen by one or the other sex, and to check if this sexual segregation has been produced by chance or can be explained by other causes. This investigation was carried out for a total of 4120 students from two different conservatories. The main conclusions of the study were the existence of feminized and masculinized instrumental families, and the relationship between the variables “students’ sex” and “instrumental families and musical specialities” was significant with a medium effect size. This research confirms that men and women choose the instruments that have traditionally been associated with their male or female roles respectively. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent (...) with our typical usage of the term “pornographic art.”. (shrink)

Basic Ethics presents for a wide range of students and other interested readers the questions raised in thinking about ethical problems, the answers offered by moral philosophy, and the means to better integrate both into the reader's world and personal life. It takes up what the author calls a "worldview theory," which shows readers how to begin with the values and understanding of the world that they already possess in order to transition from there to new levels of increasing (...) ethical awareness. Updates to the Third Edition include the more thorough integration of feminist ethics into the principal theoretical traditions, a new chapter on the ethical responsibility to be well informed of current events, expanded coverage of human rights, and additional opportunities on how to use ethical reasoning in thinking about one's own life and about public policy. Key Features: - Links personal values to a philosophical treatment of the major ethical theories - Presents ethics in the context of social/political issues that face our nation and the world - Challenges the student to react to the presented material through critical exercises that may be used as weekly assignments and can form the basis of class discussion and evaluation. - Engages the student to think about underlying issues first before presenting the most popular solutions - Invites the reader to make up her own mind on how to formulate an ethical theory that will help her in her own life - Offers a sixteen-chapter format to fit into most college-semester calendars - Presents an overall structure that establishes foundational problems in ethical theory in the first section of the book that are variously addressed by the different ethical theories in the second section of the book - Highlights key terms to help the reader grapple with issues raised - Includes a final chapter designed to help students comprehend the book in its entirety. Updates to the Third Edition: - Highlights new research on human rights and their relevance to ethical thinking and contemporary moral issues - Integrates feminist ethics into the principal theoretical traditions: virtue ethics, ethical intuitionism, and some versions of deontology - Provides new coverage of "fake news" and the moral responsibility to be well and accurately informed of current events - Expands opportunities to use ethical reasoning in thinking about one's own life and about public policy. (shrink)

Rae Langton famously argues that pornographic speech illocutionarily subordinates and silences women. Making good this view hinges on identifying the context relevant for fixing such force. To do so, a parallel is typically drawn between pornographic recordings and multipurpose signs involved in delayed communication, but the parallel generates a dispute about the right illocutionary force-fixing context. Jennifer Saul and myself argue that if pornographic speech is akin to multipurpose signs, its illocutionary force is fixed by the actual decoding context: of (...) using/viewing pornographic recordings. By contrast, Claudia Bianchi argues that the relevant context is intended/expected decoding. Here I take issue with Bianchi’s view. Her intentionalist account faces two serious objections. First, the collapse objection: Bianchi’s intentionalist view is so formulated that it collapses into that endorsed by Saul and me. This undermines Bianchi’s case against us. Second, the dissonance objection: looking at a different aspect of Bianchi’s view, and one that does depart from the positions of Saul and myself, shows that her analysis is too intentionalist and cannot be used to elucidate pornography’s illocutionary force. Bianchi’s view should hence be rejected. This nevertheless leaves open further theoretical avenues of research, which I briefly discuss at the end of the paper. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and (...) television: a satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

Rubinoff is a moralist standing firmly in the tradition of Paul Goodman, Jules Henry, Edgar Friedenberg, et al., and as such he measures up well. The signal point of difference between Rubinoff and these others is that they speak with a sociological voice, Rubinoff with a philosophical one; but the messages are similar: we are floundering in a world decaying because it is filled with people who are floundering, stupid, and/or evil. As philosopher, Rubinoff draws upon his philosophical resources to (...) score points in his battle against the status quo. In this role as philosopher many would want more rigor from him; but rhetoric, not rigor, is what he is about, and images, not propositions, are what he is dealing in. The only real casualty in this decision of style is the title of the book. One is never really sure what he means by pornography. One feels he might have spent a little more time elaborating his contention that power must be the key commodity in a "progress-oriented" society, and that power "is extrinsically an expression of irrationality." Rubinoff stands with those who suspect that man is essentially demonic. We must recognize and accept our evil. If we don't, we release it pornographically in war, racism, hate, violence. One of the many institutions that receives a stinging blow from Rubinoff's flailing around is the social sciences, which too often discover the cause of a social ill, but then use that discovery plus their commitment to objectivity as an equivocation and an excuse for not declaring it wrong. Even though the book is written in an almost journalistic simplicity, making full use of dramatic and literary references as well as philosophic literature, there are a number of enigmas and obscurities which, as with a good film, can enhance your involvement and enjoyment. The book is provocative reading whether you end up agreeing that Rubinoff has successfully made his point or not.--S. O. H. (shrink)

Is pornography within the coverage of the First Amendment? A familiar argument claims that it is not. This argument reasons that the free speech principle protects the communication of ideas, which appeal to the reason ; pornography communicates no ideas and appeals to the passions rather than the reason ; therefore pornography is not protected by the free speech principle. This argument has been specified in different ways by different writers. The most prominent and careful of these (...) are Frederick Schauer and John Finnis. Both founder on the attempt to distinguish pornography from art, which both would protect. If art, film, and literature should be protected, then this protection should extend to the pornographic subsets of these genres. (shrink)

Este ensayo se ocupa, fundamentalmente, de los conceptos de deseo, placer, voluntad, erotismo y seducción. Desde el principio, se pone en escena la pornografía como pretexto para pensar esos conceptos, teniendo claro que se trata de establecer sus relaciones, así como sus diferencias más radicales. Nuestra hipótesis es que el deseo nada tiene que ver con la satisfacción de las demandas. El deseo es un afecto mediante el cual se vincula la voluntad a los objetos de su interés, no un (...) sentimiento producido por sus características particulares. En ese sentido es que intervienen los demás conceptos. El concepto de deseo puede ser caracterizado al tener en cuenta la experiencia interior del erotismo, al igual que el intercambio simbólico en la seducción. La investigación se divide en cuatro partes. La primera se ocupa de los conceptos de voluntad, deseo, ley. La segunda tiene que ver con la idea de que el deseo se vincula con una ambigüedad erótica siempre presente en la voluntad. La tercera parte matiza los conceptos de deseo, erotismo y voluntad sobre la experiencia del seductor de Kierkegaard. Finalmente, volvemos al tema de la pornografía para remarcar la diferencia entre placer y deseo. --- “From Pornography to Seduction: between Pleasure, Desire and Will”. This article is, fundamentally, about the concepts of desire, pleasure, will, eroticism and seduction. From the beginning, pornography is shown to think about these concepts, taking account that it is to establish their relations, as well as their more radical differences. Our hypothesis is that desire has nothing to do with the satisfaction of demands. Desire is an affection through which the willis related to the objects of its interest ties and not a feeling produced by its particular characteristics. It is in that sense that the other concepts are relevant. The concept of desire can be characterized when considering the inner experience of the eroticism, like the symbolic interchange of seduction. The text is divided in four parts. The first is about the concepts of will, desire and law. The second part has to do with the idea that desire always relates to erotic ambiguity always present in the will. In the third part I clarify the concepts of desire, eroticism and will upon the experience of Kierkegaard’s seducer. Finally, I return to the subject of pornography to remark the difference between pleasure and desire. (shrink)

BackgroundProblematic pornography use is considered an addictive behavior, which is an important clinical issue. Despite considerable research interest in problematic pornography use worldwide, to the best of our knowledge, there are no extant studies on the subject in Japan. Therefore, despite the fact that many people in Japan use pornography, the difference between problematic and non-problematic users among Japanese people is not known.ObjectiveThis study aimed to identify the characteristics of problematic pornography use among Japanese students, to (...) the best of our knowledge. Specifically, we examined general psychopathological symptoms, sexual compulsivity, depression, anxiety, and low effortful control.MethodsThe participants were 150 college students aged 20–26 years at a university in midland Japan. An online questionnaire was administered that included items on pornography usage patterns, impaired control of pornography use, sexual compulsivity, depression, anxiety, and effortful control.ResultsMost men and approximately one-third of women used pornography at least once in the past month. Some users reported significant daily-life problems due to difficulty in controlling pornography use. Participants with impaired control of pornography use had higher depression, anxiety, and sexual compulsivity, and lower effortful control than pornography users without impaired control.ConclusionSome Japanese students reported significant daily-life problems due to impaired control of pornography use. The characteristics of individuals with impaired control are consistent with previous studies. The results of this study suggest that individuals with impaired control may have poor mental health, and that there is need for further research and development of treatment systems to manage this issue in Japan. Further research exploring a more varied sample in Japan is required to effectively examine problematic pornography use. (shrink)

Eastern Philosophy: The Basics is an essential introduction to major Indian and Chinese philosophies, both past and present. Exploring familiar metaphysical and ethical questions from the perspectives of different Eastern philosophies, including Confucianism, Daoism, and strands of Buddhism and Hinduism, this book covers key figures, issues, methods and concepts. Questions discussed include: What is the ‘self’? Is human nature inherently good or bad? How is the mind related to the world? How can you live an authentic life? What is the (...) fundamental nature of reality? Throughout the book the relationships between Eastern Philosophy, Western Philosophy and the questions reflective people ask within the contemporary world are brought to the fore. With timelines highlighting key figures and their contributions, a list of useful websites and further reading suggestions for each topic, this engaging overview of fundamental ideas in Eastern Philosophy is valuable reading for all students of philosophy and religion, especially those seeking to understand Eastern perspectives. (shrink)

Abstractionism in the philosophy of mathematics aims at deriving large fragments of mathematics by combining abstraction principles (i.e. the abstract objects $\S e_1, \S e_2$, are identical if, and only if, an equivalence relation $Eq_\S$ holds between the entities $e_1, e_2$) with logic. Still, as highlighted in work on the semantics for relevant logics, there are different ways theories might be combined. In exactly what ways must logic and abstraction be combined in order to get interesting mathematics? In this paper, (...) we investigate the matter by deriving the axioms of second-order Peano Arithmetic from Frege's Basic Law V (the extension of $F$ is identical with the extension of $G$ if, and only if, $F$ and $G$ are extensionally equivalent) in the presence of a relevant higher-order logic. The results are interesting. Not only must we take on logic as true, and not only must we apply our logic to abstraction principles, but also we have to apply our theory of abstraction back to the logic in order to arrive at arithmetic. Thus, what Abstractionism gives us is not simply what we get from abstraction via logic, but also what we get from logic via abstraction. (shrink)

Since the publication of The Sexual Politics of Meat in 1990, activist and writer Carol J. Adams (2000 [1990]) has put forth a feminist defence of veganism based on the argument that meat consumption and violence against animals are structurally related to violence against women, and especially to pornography and prostitution. Adams’ work has been influential in the growing fields of animal studies and posthumanism, where her research is frequently cited as the prime example of vegan feminism. However, her (...) particular radical feminist framework, including her anti-pornography and anti-prostitution arguments, are rarely acknowledged or critiqued. This article challenges the premises of Adams’ argument, demonstrating that her version of vegan feminism is based upon an unsubstantiated comparison between violence against women and violence against other-than-human animals, and on the silencing and exclusion of sex workers as subjects. The article contests the limited reading of Adams, and of feminism, offered in some key works in animal studies and posthumanism, at the same time that it recognises the need to challenge the anthropocentrism evident in much feminist theory. By way of alternative approaches to the sexual politics of veganism, the article highlights the interventions of artist and activist Mirha-Soleil Ross, proposing that her situated and embodied commitment to animal rights brings sex worker agency into the story, while resisting simple comparisons among different forms of violence. The concerns raised by Ross overlap in compelling ways with recent research in performance studies and labour history, bringing the question of work and workers, animal and human, to the fore. These studies point towards a potentially more useful framework than that of Adams for understanding the human violence suffered by different species, including those destined to be eaten by people. (shrink)

This chapter contains sections titled: The Problem with the Problem What is Pornography? The Wrongness of Pornography The Victims of Pornography A Different Tack Notes.

Images That Move is concerned with how images take place in wider worlds: how they move around, via processes of transmission and uptake, but, equally importantly, how they move their audiences affectively. Images play a significant part in projects of "poetic world-making" and political transformation. They participate in the production of commensuration or of incommensurability, enact moments of prophecy or exposure, and attract or repel spectators' attention. Images move, then, but not just as they wish, and any examination of images (...) in motion must also recognise the blockages and breakdowns that prevent their movement as well as the enframings or "stickinesses" that trap them in particular places, prevent them from reaching others, or hedge their arrival in specific ways. The contributors explore topics ranging from high art to mass media, religious iconography to pornography, and popular photography to political cartoons in a range of contexts and media including photography in early twentieth century China, art and literature in contemporary South Africa, upscale real estate development in India, occult media images and the aesthetic of appearance in urban Indonesia, and film censorship in Nigeria. All of these instances of the visual continuum require different ways of highlighting and addressing the problematics of images in motion. Images That Move traces some of the tangled paths of images' travels and returns, unfolding their effects and aftereffects and scanning the diverse and variable publics-fixed or ephemeral, situated or dispersed-that these moving images call into being. Contributors: Ernst van Alphen, Christiane Brosius, Steven C. Caton, Finbarr Barry Flood, Brian Larkin, Oliver Moore, Rosalind C. Morris, Christopher Pinney, Patricia Spyer, Mary Margaret Steedly. (shrink)

John Finnis proposes that practical reason finds the basic meaning of all human choice and action in a set of self-evident ends. Finnis terms these ends, "basic goods." He suggests that "integral human fulfillment" is attained by honoring a set of equally self-evident requirements governing consistent respect for these same "basic goods." Such requirements have the character of moral obligation. In this view, the civil law exists to advance the observance of one such requirement: "that one foster (...) and favour the common good." The normative evaluation of law follows from this same requirement. Finnis considers Aquinas his precursor. Thomas does indeed assume the existence of self-evident goods of choice and action, but, in contrast to Finnis's goods, which are not based in ontology, Thomas's represent modes of becoming fully a human being according to a conception of human nature. H. L. A. Hart is a liberal thinker who was Finnis's contemporary and teacher at Oxford. A comparison of Finnis and Hart shows that Hart's characteristically modern perspective interprets the data of moral consciousness in a way which rejects not only Aquinas's ontology, as does Finnis, but goes further and rejects Finnis's cognitive interpretation of "basic goods." Comparison also shows that Hart shares Finnis's concept of law as technique, but unlike Finnis, who still grasps law in relation to a moral purpose, Hart's considers such a technique to be morally neutral. These patterns of similarity and difference between the natural law jurisprudence of John Finnis and the theories, respectively pre-modern and liberal, of Aquinas and Hart point to the distinctive character of Finnis's "basic goods" reasoning and highlight some of its salient strengths and weaknesses. (shrink)

Walter Kendrick traces the relatively recent concept of pornography—the word was not coined until the late 18th century—which became a public issue once the printing press gave ordinary people access to the erotica of the Greeks and Romans, the art and literature of the French enlightenment, and the poems of the Earl of Rochester and John Cleland's _Fanny Hill_. From the secret museums to the pornography trials of _Madame Bovary_ and _Lady Chatterly's Lover_, to Mapplethorpe, cable TV, (...) and the Internet, Kendrick explores how conceptions of pornography relate to issues of freedom of expression and censorship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Some Pornography May Be ArtMimi VasilakiIn "Why Pornography Can't Be Art,"1 Christy Mag Uidhir argues, as the title declares, that pornography cannot be art and thus that pornography is not art. According to Uidhir, this is because of the different ways in which pornography and art relate to contents and purposes. His argument for the impossibility of something being both art and (...) class='Hi'>pornography at the same time runs roughly as follows. If something is pornography, then it has the purpose of sexually arousing (some audience) and that purpose is manner-inspecific. If something is art, then if it has a purpose, then that purpose is manner-specific. So when the purpose is sexual arousal, then it is manner-specific. Thus sexual arousal by art is manner-specific and sexual arousal by pornography is manner-inspecific. Therefore, Uidhir concludes, something cannot be both art and pornography.Here I argue that although this conclusion seems plausible, Uidhir fails to make a strong case for it because he does not establish that the purposes of art are necessarily "manner-specific" as opposed to the purpose of pornography, which is necessarily "manner-inspecific." That is, the paper does not make it plausible either that pornography has manner-inspecific purposes or that art has a manner-specific purpose.IUidhir's exclusivity doctrine is intrinsically implausible. Let us take for example a work mentioned in the article, Red Butt from Jeff Koons's [End Page 228] kitsch photo series of "Made in Heaven." Uidhir writes, "part and parcel of understanding Red Butt is recognizing that it depicts a sexual act involving Jeff Koons and Cicciolina.... Failure to do so precludes satisfaction of the purpose of the work" (p. 198). Here he rightly says that the audience cannot interpret the work without the prior knowledge of who is depicted in Red Butt: the audience must recognize the sexual act and the subjects of the photo as the artist and his wife. In other words, the role of knowledge of context in understanding art is connected with the claim that manner-specificity is essential to the purpose of art. In the case of Red Butt, the appeal to extra-visual and contextual information enables fuller understanding of the artwork. However, in fact, the wider audience (rather than the art critics) perceives the trash aesthetics of Red Butt while being ignorant of Koons's biography and this aesthetic irony might precisely be one of the purposes of the work. Even if it is true that the audience's recognition of the artist's intentional self-parody requires knowledge of who is depicted in the photos, we don't know if Koons intends his work to be understood (solely) in reference to or through this knowledge. It is plausible that Koons intended to blur the distinction between art and pornography by attempting to create art that is pornography. If we accept that pornography can never be art then if Koons intends to create art that is also pornography then he attempts the impossible; if we, on the other hand, allow for the possibility for an artwork to be both art and pornography and if we accept that Koons has succeeded in creating art that is pornography, then we can interpret Red Butt in the most natural way and say he has succeeded in creating both art and pornography. It seems therefore that regardless of the context, it is left to the audience to negotiate and finally decide, if they wish to, whether to appreciate Koons as pornography or as art (or both) despite the lines between these being unclear. This very ambiguity is part of the purpose of the work, which is lost on Uidhir's account.His exclusive model cannot account for artists whose explicit intention is to defy dichotomies by doing art and pornography at the same time. For example Annie Sprinkle, in reply to the question of whether she is doing art or pornography, insists against critics and defenders alike that she is "both an artist and a whore."2 Uidhir's position must be that, in effect, contrary to what she intends and believes, Sprinkle by definition cannot do both... (shrink)

What is erotic art? Do all paintings with a sexual theme qualify as erotic? How to distinguish between erotica and erotic art? In what way are aesthetic experiences related to, or different from, erotic experiences and are they at all compatible? Both people and works of art can be sensually appealing, but is the beauty in each case substantially the same? How helpful is the distinction between the nude and the naked? Can we draw a strict line between erotic (...) art and pornography? We tend to think of art as complex and of pornography as one-dimensional, but how compelling is that differentiation? Pornography is often considered harmful, objectifying, and exploitative, but to what extent is erotic art immune to moral criticism of this sort? In addressing such questions this entry will provide an overview of current philosophical debates on erotic art. It will also place those debates in historical perspective and, in the closing section, explore some important avenues for future research. (shrink)

ABSTRACT The role of philosophy in the problem of sexual differences is considered, in the light of what sexual differences can be seen as (i) purely contingent or (ii) logically tied to (non‐negotiable) sexual features. Some candidates for causes of sexual difference are reviewed, including evolution, physical make‐up, and social conditioning. The problem of initial descriptions of sexual interaction is highlighted, and the need for a clearer set of categories for possible causes demonstrated. The argument in general is (...) that, because of lack of clarity about which issues are empirical and which conceptual, and because of uncertainty about what evidence is relevant, we cannot as yet be clear about what apparent differences are (even in principle) alterable, and what are given. (shrink)

Novelty seeking is regarded as a core feature in substance use disorders. However, few studies thus far have investigated this feature in problematic Internet pornography use. The main aim of the present study was to examine group differences in electrophysiological activity associated with novelty processing in participants with high tendencies toward PIPU vs. low tendencies using event-related potentials. Twenty-seven participants with high tendencies toward PIPU and 25 with low tendencies toward PIPU completed a modified three-stimulus oddball task while (...) electroencephalogram was recorded. Participants were instructed to detect neutral target stimuli from distracting stimuli. The distracting stimuli contained a familiar sexual stimulus and a set of novel sexual stimuli. The novel-familiar difference waves were calculated to identify specific group difference in novelty effect. While both groups demonstrated a sustained novelty effect in the late positive potential within the 500–800 ms time windows, the novelty effect was greater in the high tendencies toward PIPU group than in the low tendencies toward PIPU group. This result suggests that individuals with high tendencies toward PIPU allocate more attentional resources for novelty processing. Enhanced brain responding to novel sexual stimuli may facilitate pornographic consumption and play an essential role in the development and maintenance of PIPU. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Augustinian Is Aquinas's Basic Account of Free Decision?Jamie Anne SpieringIntroductionQuestions about Augustine's influence on Thomas Aquinas are always interesting. In the previous century, leading Thomists such as Marie Dominic Chenu, Jean-Pierre Torrell, and Étienne Gilson wrote about the influence of one great master on the other. However, no one thinks the investigation is complete: the contributions of the new century have begun and are expected to continue.1 (...) In this article, I would like to consider how Augustine influenced Aquinas's account of something known to both authors as liberum arbitrium: free choice, or free decision.2 When we speak of grace and [End Page 435] human freedom, Aquinas's debt to Augustine and the extent of his fidelity to the master have been frequently explored.3 The same is true with regard to the fairly advanced question of the relation between human freedom and divine foreknowledge.4 But in this article I would like to consider Thomas's treatment of what we might call the basic questions surrounding man's ability to choose freely—questions about its essence and its existence. What is this liberum arbitrium, which Augustine repeatedly calls "a gift of nature"? How should we understand its activity? How should we understand its origin? Thomas Aquinas deals with liberum arbitrium as a power of the soul in question 83 of Summa theologiae [ST] I, in question 24 of De veritate, and in chapter 48 of Summa contra gentiles [SCG] II. These texts are not about the role of grace or the causality of God—though they prepare for the discussion—but simply about the powers of an intellectual nature. How Augustinian is Aquinas's account in these texts?5 [End Page 436] I will try to explore the question with reasonable thoroughness in this paper.6It will surprise no one to hear that my answer to "was Aquinas an Augustinian in his basic treatment of free decision?" is "in a way, no, and in a way, yes." It is both surprising and notable how significantly Aquinas departs from the Augustinian path. The first part of this paper will discuss three major ways in which Aquinas's account of liberum arbitrium breaks openly (by medieval standards) from the type of careful loyalty we see in earlier authors. In the second part of the paper, I will argue that Aquinas's account follows Augustine in distinctive ways: instead of prioritizing Augustine's context and preferred evidence for free decision, Aquinas does more to locate free decision within the quest for happiness which provided the ultimate pattern for Augustine's thought. He is an Augustinian, but of a very different kind.Aquinas's Treatment of Liberum Arbitrium Represents a Significant Break with the Augustinian TraditionIt simply was not Thomas's practice to write statements such as: "I am going to treat this topic in a way different from that of Augustine, and I plan to make significant improvements." How, then, can we understand whether, and to what extent, he made a break with Augustine's ideas? Direct comparison of the authors' works is the obvious strategy, but such comparison is complicated by our ignorance of whether Aquinas had actually seen the work in question or was only familiar with quotations from it. So I will employ an additional strategy to reveal Aquinas's breaks with Augustine: I will compare Thomas's work to that of Peter Lombard and Anselm of Canterbury. We know Aquinas had read Peter's work thoroughly, because [End Page 437] he wrote a commentary on it, and citations in De veritate reveal that Thomas knew at least the highlights of Anselm's work on free decision. Both Peter and Anselm are faithful to many aspects of Augustine's treatment: they follow him in the way they contextualize the topic, and they are careful to use Augustinian language in defining it. Aquinas does not. He radically shifts the context for the liberum arbitrium discussion and rejects definitions that use Augustine's formulations. He uses a boldly Aristotelian framework to replace a number of elements in Augustine's treatment. Finally, unlike Augustine, Peter, or Anselm, he asks about the... (shrink)

Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art (...) are fundamentally incompatible. Section 3 considers those definitions of pornography that make an a priori distinction between pornographic and artistic representations. The difference between the ‘merely’ erotic and the pornographic is also discussed in this context. Section 4 provides a critical assessment of the most recent and elaborate arguments against the compatibility of pornography and art. Finally, in Section 5, a case is made for the existence of pornographic art, as a subcategory of erotic art. (shrink)

Recent ‘new materialist’ readings of evolution by such feminists as Elizabeth Grosz, Claire Colebrook, Luciana Parisi, Susan Oyama and Myra Hird have provided important insights on the openness of evolutionary processes and the emergence of difference by focusing on evolution as a temporal dynamic. Building on Darwin's observations on geographical variation, this article highlights the importance of viewing evolution as not only temporal but also spatial. For this purpose, the article turns to population genetics and its practice of mapping the (...) early human diaspora. The article identifies a spatiotemporal dynamic of evolutionary emergence that posits gender, sexuality and race as ontologically mutually constitutive, as well as shows that such ontology is inseparable from the techniques and technologies that study it. The article argues that this mutual embeddedness of ontology and epistemology provides a site where both the limits and potential of evolutionary emergence may be examined and negotiated. (shrink)

The present research investigates gender gaps in the results of secondary school exit exams in mathematics in Poland in 2015. The analysis shows that, in the basic level exam, males are highly overrepresented at the upper end of the score distribution. The same pattern did not exist in the extended-level Matura. Two explanations are offered here. The differences are driven by gender self-selection in high school programs. Students who decide on maths-related tracks have more maths lessons than other (...) students. Secondly, a student who takes the extended Matura also has to take the basic Matura exam. As a result, the population of students taking the basic Matura is highly differentiated in terms of maths competence and motivation. Additionally, the analysis of differential item functioning shows that only a few items were flagged as having DIF. (shrink)

The literature on human and animal learning suggests that individuals attend to and act on cues differently based on the order in which they were learned. Recent studies have proposed that one specific type of learning outcome, the highlighting effect, can serve as a framework for understanding a number of early cognitive milestones. However, little is known how this learning effect itself emerges among children, whose memory and attention are much more limited compared to adults. Two experiments were conducted (...) using different versions of the general highlighting paradigm: Experiment 1 tested 3 to 6 year olds with a newly developed image-based version of the paradigm, which was designed specifically to test young children. Experiment 2 tested the validity of an image-based implementation of the highlighting paradigm with adult participants. The results from Experiment 1 provide evidence for the highlighting effect among children 3–6 years old, and they suggest age-related differences in dividing attention among multiple cues during learning. Experiment 2 replicated results from previous studies by showing robust biases for both image-based and text-based versions of the highlighting task. This study suggests that sensitivity to learning order emerges early through the process of cued attention, and the role of the highlighting effect in early language learning is discussed. (shrink)

Purpose This article aims to describe the personal experience and ethical dilemmas that the author encountered when conducting qualitative research on a highly sensitive topic, i.e. interviews with offenders convicted of child pornography. Design/methodology/approach This study uses an autoethnographic approach to describe and reflect on my personal experience, emotions and ethical dilemmas when undertaking sensitive research that examines illegal acts. Findings Ethical dilemmas and emotional challenges highlighted refer to the issue of access to useful empirical material, conducting interviews with (...) convicted offenders in prison environments, the complexity surrounding confidentiality when interviewing offenders about their criminal activities, vulnerability and insecurity for the researcher and emotional challenges for the researcher when listening to the offenders’ stories describing serious crimes against children. Originality/value This article contributes with insights and reflections on conducting qualitative research with a marginalized and stigmatized group in prison environments. (shrink)

This paper examines the normative constraints that mass society places on movies and artistic animation. Benjamin’s ideas on audience control in relation to technical media products are used to highlight the specific limitation of animations. Because they are entirely created by the artist (without employing preexistent elements, such as in movies), they can more easily simplify the scheme of representation-intention, and be bearers of politically or morally acceptable messages.

Much research in the last two decades has demonstrated that human responses deviate from the performance deemed normative according to various models of decision making and rational judgment (e.g., the basic axioms of utility theory). This gap between the normative and the descriptive can be interpreted as indicating systematic irrationalities in human cognition. However, four alternative interpretations preserve the assumption that human behavior and cognition is largely rational. These posit that the gap is due to (1) performance errors, (2) (...) computational limitations, (3) the wrong norm being applied by the experimenter, and (4) a different construal of the task by the subject. In the debates about the viability of these alternative explanations, attention has been focused too narrowly on the modal response. In a series of experiments involving most of the classic tasks in the heuristics and biases literature, we have examined the implications of individual differences in performance for each of the four explanations of the normative/descriptive gap. Performance errors are a minor factor in the gap; computational limitations underlie non-normative responding on several tasks, particularly those that involve some type of cognitive decontextualization. Unexpected patterns of covariance can suggest when the wrong norm is being applied to a task or when an alternative construal of the task should be considered appropriate. Key Words: biases; descriptive models; heuristics; individual differences; normative models; rationality; reasoning. (shrink)

The article gives a detailed view of the existential psychoanalysis of Swiss philosopher and psychologist Medard Boss. Based on the fundamental ontology of M. Heidegger, M. Boss criticizes the psychodynamic theories of the human psyche and turns to the analysis of the problem of human nature. A person, from the Boss's point of view, can only be understood as a person in the world (being-in-the-world). Through human existence, being can manifest itself as such. This is the destination of man. The (...) basic existential category of M. Boss is the concept of "openness". The openness of existence allows us to get to know other people and respond to their own call to us. Existence is characterized by the Boss as joint, complicit, endowed with "presence", which is an ensemble of possibilities. M. Boss defines human existence through the existentials of spatiality, temporality, corporeality, eventfulness in the shared world, mood, historicity, and mortality. The realization of existence, according to the Boss, is possible only in the free choice that a person is initially endowed with, but which he may lose in the process of socialization. Blocking openness and freedom leads a person to neuroticism and illness. The article also analyzes the essence of the psychotherapeutic approach of M. Boss, which is based on the desire to understand a person through "highlighting" and openness. The article shows the opposition of existential analysis of the classical psychoanalytic tradition. (shrink)

In contrast to Bernstein's emphasis on the common ground shared by Rorty and Habermas, this paper stresses the basic differences between them, particularly their diverse assessments of rationalism, universalism, foundationalism and developmentalism, as well as their opposed evaluations of systematic thought and critical social theory. Several difficulties with Rorty's views on reason, truth and objectivity, as with his historicism and physicalism are suggested. It is concluded that Bernstein's emphasis on the common elements in their "moral-political vision", in the (...) face of these striking theoretical differences, overestimates the extent to which normative ideals can survive being cut off from larger contexts of ideas. (shrink)

The relationship between exposure to prosocial media content and prosocial behavior has been extensively explored. However, previous studies mainly explore the effect of prosocial media content exposure by comparing an individual’s exposure to the different types of content, and generally focus on traditional media and video games, with less attention given to the increasingly popular new media platforms. In this study, we explored new dimensions by considering individuals’ exposure to different consequences of the same prosocial behavior in the context of (...) short videos. Drawing upon Social Cognitive Theory and the General Learning Model, this experimental study identified the effect of such exposure on subsequent prosocial behavior among adolescents. We found that compared to the no consequences group, exposure to the reward consequence did not significantly predict moral elevation and subsequent prosocial behavior. Meanwhile, exposure to the punishment consequence had a significantly negative effect on subsequent prosocial behavior via moral elevation. Furthermore, the results revealed that empathy moderated the relationship between moral elevation and prosocial behavior, and moral elevation only positively predicted prosocial behavior among those with low empathy. Theoretically, this study deepens our understanding of the impact of exposure to different consequences of prosocial behavior on adolescents’ subsequent prosocial behavior, and highlights the importance of moral elevation and empathy to understand the underlying mechanism. The study also provides some practical implications for parents and practitioners to nurture prosocial behavior among adolescents. (shrink)

I argue that there has been inadequate attention to and questioning of the dominance and normativity of whiteness in the cultural construction of bioethics in the United States. Therefore we risk reproducing white privilege and white supremacy in its theory, method, and practices. To make my argument, I define whiteness and trace its broader social and legal history in the United States. I then begin to mark whiteness in U.S. bioethics, recasting Renee Fox's sociological marking of its American-ness as an (...) important initial marking of its whiteness/WASP ethos. Furthermore, I consider the attempts of social scientists to highlight sociocultural diversity as a corrective in U.S. bioethics. I argue that because they fail to problematize white dominance and normativity and the white-other dualism when they describe the standpoints of African-American, Asian-American, and Native-American others, their work merely inoculates difference and creates or maintains minoritized spaces. Accordingly, the dominant white center of mainstream U.S. bioethics must be problematized and displaced for diversity research to make a difference. In conclusion, I give several examples of how we might advance the recommended endeavor of exploring our own ethnicity, class, and other social positioning and norms operating in U.S. bioethics, briefly highlighting "white talk" as one challenge. (shrink)

Is Big Data science a whole new way of doing research? And what difference does data quantity make to knowledge production strategies and their outputs? I argue that the novelty of Big Data science does not lie in the sheer quantity of data involved, but rather in the prominence and status acquired by data as commodity and recognised output, both within and outside of the scientific community and the methods, infrastructures, technologies, skills and knowledge developed to handle data. These developments (...) generate the impression that data-intensive research is a new mode of doing science, with its own epistemology and norms. To assess this claim, one needs to consider the ways in which data are actually disseminated and used to generate knowledge. Accordingly, this article reviews the development of sophisticated ways to disseminate, integrate and re-use data acquired on model organisms over the last three decades of work in experimental biology. I focus on online databases as prominent infrastructures set up to organise and interpret such data and examine the wealth and diversity of expertise, resources and conceptual scaffolding that such databases draw upon. This illuminates some of the conditions under which Big Data needs to be curated to support processes of discovery across biological subfields, which in turn highlights the difficulties caused by the lack of adequate curation for the vast majority of data in the life sciences. In closing, I reflect on the difference that data quantity is making to contemporary biology, the methodological and epistemic challenges of identifying and analysing data given these developments, and the opportunities and worries associated with Big Data discourse and methods. (shrink)

1.1.1 In a recent series of papers, G.A. Cohen has presented an egalitarian interpretation of the Difference Principle (hereafter, DP).1 According to this principle—first introduced by Rawls in A Theory of Justice2—inequalities in the distribution of primary goods3 are legitimate only to the extent that they maximize the prospects of the least advantaged members of society. Cohen argues that, once it is properly applied, DP does not legitimate any departure from equality. According to him, the distribution that maximizes the prospects (...) of the least advantaged is the equal distribution. Cohen has offered two kinds of argument in support of the egalitarian conclusion. According to the first argument, differential incentives are not necessary in order to maximize efficiency. According to the second argument, principles of distributive justice apply not only to the basic structure of society but also to the choices made by individuals within those rules. Therefore, talented people should not seek to maximize the gains they can get on the market, thereby making more social product available for the less well off. 4 In this paper, I focus only on Cohen’s first argument. The interesting feature of this argument is that it is presented as an internal criticism of Rawls’ theory of justice. My present concern is to understand to what extent the DP embodies an idea of equality and it is thus amenable to the egalitarian interpretation. I will argue that the first argument fails and that DP allows for the inequalities generated by the use of incentives. The assessment of the second argument merits a separate discussion that I intend to take up in a sequel to this paper. For the time being, I take not stance on the effect of the refutation of the first egalitarian argument on the success of the second one. In this work, I am rather concerned with articulating a novel.. (shrink)

Purpose. To determine whether highlights are rapidly identified at early levels of vision. -/- Methods. Visual search experiments were carried out using simple black and white figures corresponding to shiny objects lit from various directions. These included, for example, depictions of cylinders with highlights positioned at various heights (see figure). Targets and distractors differed only in the arrangement of their constituent regions, allowing them to be distinguished by the position of the highlights on the corresponding objects. -/- Results. Three observers (...) were tested. Search is rapid when the target corresponds to a shiny black object with a bottom highlight among objects with top highlights (view figure from rightside up). However, search slows down when the target corresponds to an object with a top highlight among objects with bottom highlights (view figure from upside down). This asymmetry in search speeds is destroyed when the contrast of the figures is reversed. -/- Conclusions. These results indicate that regions in the image can be rapidly identified as highlights at early levels of vision. They also suggest--as for several other rapid recovery processes--that an assumption of lighting from above is used as a simplifying constraint. (shrink)

The purpose of this article is to explain the differences between neo-Aristotelian virtue and positive organizational virtuousness from the virtue ethics perspective. Most studies use virtues and virtuousness interchangeably. A few others try to explain their differences from the positive organizational science perspective. Although closely related, we believe that these two notions are not identical. If we understand neo-Aristotelian virtue correctly, then it cannot be judged exclusively on what is externally verifiable, as is the case with virtuousness. For (...) these reasons, we attempt our own differentiation, highlighting the gains and losses realized in the migration from neo-Aristotelian virtue to positive organizational virtuousness, and establishing guideposts to meaningfully combine the strengths of both concepts. (shrink)

This paper begins with a discussion of the scientia sexualis/ars erotica distinction, which Foucault first advances in History of Sexuality Vol. 1, and which has been employed by many scholars to do a variety of analytical work. Though Foucault has expressed his doubts regarding his conceptualization of the differences between Western and Eastern discourses of desire, he never entirely disowns the distinction. In fact, Foucault remains convinced that China must have an ars erotica. I will explore Foucault’s (...) sources of authority. To this end, I introduce the work of famous Dutch sinologist Robert Hans van Gulik, who published the tremendously influential Sexual Life in Ancient China in 1961, and also explore Joseph Needham’s view on Chinese sex. I argue that, Foucault, in his fierce polemic against the “Repressive Hypothesis”, himself imagined a utopian Other where pleasure and desire were organised differently. I end on a discuss on Orientalism and the project of “Sinography” of comparative literature scholars Haun Saussy, Eric Hayot and others. (shrink)

Nuestro ensayo La erótica platónica busca ampliar la comprensión del concepto de Eros en Platón a partir del diálogo del Banquete. Buscamos presentar una visión genealógica sobre el origen, la aparición e importancia del concepto y su emoción sentimental en el contexto de la cultura griega en general y del mundo socrático, en lo particular, que nos presenta la visión platónica de la filosofía. A partir de los distintos personajes que conforman la obra, su autor nos va presentando distintas significaciones (...) del eros o amor para cada uno de ellos. Podemos comprender la visión del significado del tema en cuestión desde las vertientes poética, pedagógica, médica, mítica, sexual y filosófica. Esta última desplegada en la postura de Sócrates al referir la importancia que tuvo una mujer, Diotima de Mantinea, en su formación y comprensión del hecho erótico, tanto para su vida como para su visión de la filosofía. Al final del diálogo notaremos una descripción algo desbordada que da el discípulo socrático, Alcibíades, de su maestro y llegamos a comprender que la filosofía es un ejercicio amoroso por el deseo (carencia) del saber en el hombre y que el filósofo, a diferencia del hombre sabio que no busca ningún saber porque ya lo posee, será un entusiasta y enamorado permanente de la filosofía por sentir que su ser requiere una permanente búsqueda del conocimiento de sí gracias al lema socrático del conócete a ti mismo . On Plato`s erotic. An interpretationOur Platonic Er otic essay seeks to broaden the understanding of the concept of Eros in Plato's dialogue Banquet . We seek to present a genealogy of the origin, occurrence and importance of the concept and its sentimental emotion in the context of Greek culture in general and the Socratic world, in particular, that presents the Platonic view of philosophy. From the various characters that make up the work its author presents different meanings of Eros or love for each of them. We can understand the vision of the meaning of the subject matter from different perspectives: poetic, educational, medical, mythical, sexual and philosophical. The latter displayed in the position of Socrates in reference to the importance that a woman, Diotima of Mantinea, had in his training and understanding of the erotic fact, both for her life and her vision of philosophy. At the end of the dialogue there is a description -somewhat overwhelmed- of his teacher given by Alcibiades, the Socratic disciple. We then understand that philosophy is a loving exercise by desire of knowledge in man (lack of); thus the philosopher, unlike the wise man, who seeks no further knowledge because it already has it, will be an enthusiastic and permanent lover of philosophy since he feels that his being requires an ongoing search of self-knowledge by means of following the Socratic motto know thyself. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Foundationalism, the idea that there is a basic kind of knowledge which is ground-level and hence beyond proof or justification, is one of the oldest themes in philosophy. It has been held by such great philosophers as Plato, Aristotle, Descartes, Locke, Wittgenstein and Moore inter alia\ but exactly what they mean by "foundationalism" is seldom carefully or fully articulated. This paper attempts to give such an explication. It holds that a foundationalist theory must satisfy at least nine conditions, vagueness, (...) stratification, nondependence, particularism or methodism, publicity, negational absurdity, absorption, certitude, and the concept of 'standing fast', the last idea deriving from Wittgenstein's On Certainty. (shrink)

ObjectiveBasic combat training is a kind of necessary high-intensity training to help each military recruit convert into a qualified soldier. In China, both the physical fatigue and passive psychological state have been observed in new recruits during BCT. However, after same-intensity training, the degree of fatigue and passive mood vary among recruits. Therefore, this study aimed to explore the effect of BCT on mood state of recruits with different physical fitness levels from a perspective of fatigue.Materials and methodsBefore and after (...) BCT, the degree of fatigue and mood state of participants were evaluated via the Borg Rating of Perceived Exertion Scale and Profile of Mood States Questionnaire immediately after 20 push-ups as RPE and POMS scores [total mood disturbance, passive mood and positive mood ]. The participants were divided into two groups according to the RPE score measured after BCT: group 1: RPE score after BCT < 13 and group 2: RPE score after BCT ≥ 13.ResultA total of 564 recruits were included. After BCT, in group 1, TMD and passive mood Ttension, Tfatigue, Tdepression, Tconfusion declined significantly, but positive mood both increased significantly ; while in group 2, only Tanger and Testeem increased significantly.ConclusionBCT could alleviate passive mood and add to positive mood for recruits with better physical fitness, while had no ameliorative effects on or even deteriorate most of the passive mood for recruits with worse physical fitness. (shrink)

In her recent work, Nancy Folbre undertakes an ambitious effort: constructing an intersectional political economy that aims to identify the common mechanisms and logic underpinning the many wrongs that characterise capitalism. In this paper, we focus on what we deem the three fundamental theoretical pillars of her approach. First, she challenges the oppression/exploitation distinction within Marxian political economy and proposes a broader definition of exploitation that can take manifold forms. Second, she questions the Marxian concept of class, and emphasises the (...) variety of forms of subordination and exploitation related to social identities that cannot be reduced to Marxian classes. Finally, she advocates a more comprehensive notion of the economy beyond a focus on capitalist relations of production. It is difficult to understate the theoretical relevance of these claims, which highlight the importance of various contemporary forms of injustice—of which the exploitation of workers by capitalists is only one. As a complement to the Marxian theory of exploitation and class, Folbre’s approach would broaden our understanding of oppressive social relations. Yet as an alternative to Marxian political economy, it is ultimately unconvincing: a shift of emphasis to ‘manifold exploitations’, social groups, and the economy does not yield a gain in analytical insight but rather an impoverishment of our conceptual toolbox. The struggle against capitalism is different from the struggle against patriarchy and racism, even if the ultimate aim should be the removal of all structures of oppression and domination. (shrink)

Numerous studies argue that perceived group deprivation is a risk factor for radicalization and violent extremism. Yet, the vast majority of individuals, who experience such circumstances do not become radicalized. By utilizing models with several interacting risk and protective factors, the present analysis specifies this relationship more concretely. In a large United Kingdom nationally representative survey (n= 1,500), we examine the effects of group-based relative deprivation on violent extremist attitudes and violent extremist intentions, and we test whether this relationship is (...) contingent upon several individual differences in personality. The results show that stronger group-based injustices lead to increased support for and intentions to engage in violent extremism. However, some of the effects are much stronger for individuals who exhibit a stronger need for uniqueness and for status and who demonstrate higher levels of trait entitlement. Conversely, several effects are lessened for those individuals high in trait forgiveness, demonstrating a strong capacity for self-control and for those who are exerting critical as well as open-minded thinking styles, thus constituting buffering protective factors, which dampen the adverse effects of perceived group injustice on violent extremism. The results highlight the importance of considering (a) the interaction between individual dispositions and perceptions of contextual factors (b) the conditional and cumulative effects of various risk and protective factors and (c) the functional role of protective factors when risk factors are present. Collectively, these findings bring us one step closer to understanding who might be more vulnerable to violent extremism as well as how. Overall, the study suggests that preventing and countering violent extremism (P/CVE) programs must take account of the constellation of multiple factors that interact with (and sometimes enable or disable) one another and which can be targeted in preventions strategies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Difference Divine Mercy Makes in Aquinas’s ExegesisMichael DauphinaisIN THEIR ESSAY, “Mercy in Aquinas: Help from the Commentatorial Tradition,”1 Romanus Cessario and Cajetan Cuddy have masterfully performed the task of presenting the rich and voluminous commentatorial tradition on Aquinas, distilled into central philosophical and theological themes. In particular they identify the “real distinction between act and potency (form and matter)” as “the key philosophical principle” that created the “essential (...) unity of their theological project.” This principle expresses the fundamental distinction between God and creation. Yet the prominence of this philosophical principle in Aquinas and his commentators raises a question: To what extent can a philosophical principle be prior to a theological project?2 Would not it be more faithful to the witness of Scripture and the creeds to begin with revealed theological principles and then adopt philosophical principles that fit within that theological worldview? [End Page 341]This way of approaching the problem reveals both a profound misunderstanding and a profound concern. First, nervousness over philosophical principles reveals a profound misunderstanding since human beings always remain within language and the world and thus the meaning of that language and its references to the world around us must necessarily be part of the reception and transmission of divine revelation. To avoid philosophical principles would be tantamount to adopting a philosophical principle of pluralism or eclecticism.3 Second, there is a legitimate concern that some philosophical principles or understandings of God and human beings could constrain the newness of divine revelation along the lines of a rationalistic deism as was attempted by Locke and others. This concern also takes the form of the desire to bring theology back to its central relationship with sacred Scripture, with the concern that a philosophically determined theological hermeneutics would distance theology from the world of biblical revelation.Aquinas’s presentation of theology, or sacra doctrina, as a scientia helps here by distinguishing between philosophical truths about God and human beings and philosophical principles by which human beings receive theological truths about God and human beings.4 Aquinas shows that the principles of the scientia of sacra doctrina are taken properly from divine revelation received by the faith.5 Thus, the principled understandings of God and the human creature come from revelation, not from natural reason or philosophy, by which only a few could come to know some truths, after a long time, with an admixture of error.6 Nonetheless, the human creature cannot but receive this revelation as true. As Aquinas says, the virtue of faith attains to God as the prima veritas. The judgment that something is true and not false presupposes the application [End Page 342] of philosophical principles about the nature of the human intellect and the nature of the intelligibility of that which the intellect apprehends. The key philosophical principles here would be, first, the principle of non-contradiction and, second, the real distinction between act and potency. The first is necessary for the human intellect to reach a true judgment; the second is necessary for that judgment to be a trustworthy judgment about a constantly changing world.7 By making this distinction between philosophical truths about God and human beings and philosophical principles by which human beings receive theological truths about God and human beings, the Thomistic tradition avoids the deistic rationalism that occludes the biblical revelation.Even if philosophical principles are necessary for the human reception of revelation, there remains the concern that emphasizing the philosophically laden superstructure of the theological project obscures or weakens the ability of the theological project to attend to the biblical witness and the existential situation of human beings. To address this concern, I want to examine Aquinas’s own practice of biblical interpretation as it applies to questions of God’s mercy. This examination will also consider how the philosophical principle of the distinction between God and his creation, highlighted by Cessario and Cuddy, illumines the biblical revelation. I will examine three occasions on which Aquinas speaks about mercy in its biblical context: first, his commentary on Ephesians 2:4, which describes God as “rich in mercy”; second, his commentary on Matthew 5:7, which speaks of “Blessed are the... (shrink)

At Symposium No. 14, which took place as part of the 7th International Symposium on Education, a round table discussion was held with five speakers from the field of education at different levels of teaching. This round table was an opportunity to discuss the issues associated with the link between beliefs and pedagogical practices among teachers at different levels of teaching, as identified by the various papers, and to review experiences or training systems implemented to help support teachers in this (...) regard. The participants shared their experience of accompaniment future and beginning teachers, highlighting the discomforts felt by future and beginning teachers that corresponds to elements often raised in the literature. There were also processes put in place, depending on the different situations, to promote professional integration and integration into a school team, both through co-development processes and group or individual reflections on the knowledge and conceptions of these teachers who were coached. The analysis of their professional practice is a focal point reported by all the participants. (shrink)

We put forth an analysis of causation. The analysis centers on the notion of a causal model that provides only partial information as to which events occur, but complete information about the dependences between the events. The basic idea is this: an event causes another just in case there is a causal model that is uninformative on both events and in which the first event makes a difference as to the occurrence of the other. We show that our analysis (...) captures more causal scenarios than the other counterfactual accounts to date. (shrink)