Photography is valued as a medium for recording and visually reproducing features of the world. I seek to challenge the view that photography is fundamentally a recording process and that every photograph is a record—a view that I claim is based on a ‘single-stage’ misconception of the process. I propose an alternative, ‘multi-stage’ account in which I argue that causal registration of light is not equivalent to recording and reproducing an image. Intervention or non-intervention by photographers is more sophisticated than (...) the traditional view allows. Using the multi-stage account, I describe four models for producing photographic images and pictures. (shrink)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that is (...) radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture. (shrink)

The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not a defining (...) feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

My thesis is that the say-show distinction is the basis of Ludwig Wittgenstein's conception of philosophy in both the Tractatus Logico-Philosophicus (1921) and the Philosophical Investigations (1953). -/- Wittgenstein said that the Investigations should be read in conjunction with the Tractatus. To understand the Tractatus we must understand the say-show distinction: the principle that "what can be shown, cannot be said". A correct interpretation of Wittgenstein's philosophy will explain the significance of the say-show distinction for the Investigations. I evaluate three (...) available readings of the say-show distinction which fail to meet this challenge. I argue that Wittgenstein's main purpose throughout his career was to replace traditional philosophy with an alternative conception of philosophy, which can only be understood through the say-show distinction. The Tractatus and the Investigations are different attempts to present the same conception of philosophy. I describe how, in both cases, they present a distinctive account of the nature of philosophical problems, the appropriate methods of philosophy, the end result of a philosophical task and the overall aim of philosophy. -/- I argue that my interpretation provides a correct view of the significant continuities and discontinuities between the Tractatus and the Investigations. The failure of the Tractatus was not a flaw in the conception of philosophy presented in it, nor a flaw in the say-show distinction. In the Tractatus, Wittgenstein failed properly to implement his proposed conception of philosophy, as he remained in the grip of traditional philosophical presuppositions. The Investigations presents the same conception of philosophy, but freed from the presuppositions of the Tractatus. The say-show distinction remains the basis of Wittgenstein's conception of philosophy in the Investigations. (shrink)

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different (...) production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology. (shrink)

Like his contemporary, Edward Weston, Ansel Adams claimed that visualization is essential for creating fine art photography. But, unlike Weston, he believed that a print from a negative is like a performance from a score. In his analogy, a photographer’s visualization is like a musician’s composition: once it has been set down in a ‘score’, it can be expressively rendered by different performers, making it possible to create and critically appreciate ‘performances’ with different qualities. I argue that this music-photography analogy (...) makes Adams’s conception of photographic visualization more fruitful than Weston’s alternative. However, while I agree with Adams that a print is analogous to a performance, I criticize his idea that a negative is like a score. I argue that he holds a traditional, single-stage conception of photography, which led him to overlook a key distinction between undeveloped film and the developed negative. The multi-stage account of photography that I defend not only remedies this problem but also shows how Adams’s proposal can be fully realized in digital photography. Most significantly, it invites theorists and practitioners to expand the music-photography analogy by considering wider varieties of music—not only performances from a score. (shrink)

This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed in defending (...) a single-stage account of photography and I reconfirm that a multi-stage account is correct. (shrink)

Excerpt from The New Dispensation at the Dawn of the Twentieth Century When a man has completed the allotted term of three score years and ten, it would seem that, if he were ever to know anything reliable, -or if he were ever to be re garded as a witness competent to testify on the affairs of life, he has reached that period already. The author of this work has been a student of nature and an ob server of (...) the ways of men for sixty years; he began his studies much earlier in life than is customary among men; and would it be strange if during all this time he had learned something that it would be of advantage for the world to know? About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In March 2004 the French parliament controversially adopted legislation regulating the wearing of symbols indicating religious affiliation in public educational establishments. This note discusses several features of the new law indicating its origins, its rationale and its position within French constitutional discourse on religious freedom and secularity. It is based on a panel discussion held in April 2004 within the Gender Studies Programme at the Robert Schuman Centre for Advanced Studies, European University Institute, Florence. Placing the French legislative initiative (...) in the context of recent developments in national and European case law (suggesting clear limitations to freedom of religion), the note explores the complexity of issues of gender, identity and difference in the present debate, especially when considered in the light of reactions to the law in Islamic countries. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S12-S17, March‐April 2022.

Business Ethics, the Environment & Responsibility, Volume 31, Issue 2, Page 546-561, April 2022.

The theme of the third annual Spring workshop of the HUPO-PSI was proteomics and beyond and its underlying goal was to reach beyond the boundaries of the proteomics community to interact with groups working on the similar issues of developing interchange standards and minimal reporting requirements. Significant developments in many of the HUPO-PSI XML interchange formats, minimal reporting requirements and accompanying controlled vocabularies were reported, with many of these now feeding into the broader efforts of the Functional Genomics Experiment data (...) model and Functional Genomics Ontology ontologies. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S83-S88, March‐April 2022.

BackgroundThe Patient-Centered Outcomes Research Institute is obligated to peer review and to post publicly “Final Research Reports” of all funded projects. PCORI peer review emphasizes adherence to PCORI’s Methodology Standards and principles of ethical scientific communication. During the peer review process, reviewers and editors seek to ensure that results are presented objectively and interpreted appropriately, e.g., free of spin.MethodsTwo independent raters assessed PCORI peer review feedback sent to authors. We calculated the proportion of reports in which spin was identified during (...) peer review, and the types of spin identified. We included reports submitted by April 2018 with at least one associated journal article. The same raters then assessed whether authors addressed reviewers’ comments about spin. The raters also assessed whether spin identified during PCORI peer review was present in related journal articles.ResultsWe included 64 PCORI-funded projects. Peer reviewers or editors identified spin in 55/64 submitted research reports. Types of spin included reporting bias, inappropriate interpretation, inappropriate extrapolation of results, and inappropriate attribution of causality. Authors addressed comments about spin related to 47/55 of the reports.Of 110 associated journal articles, PCORI comments about spin were potentially applicable to 44/110 articles, of which 27/44 contained the same spin that was identified in the PCORI research report. The proportion of articles with spin was similar for articles accepted before and after PCORI peer review.DiscussionJust as spin is common in journal articles and press releases, we found that most reports submitted to PCORI included spin. While most spin was mitigated during the funder’s peer review process, we found no evidence that review of PCORI reports influenced spin in journal articles. Funders could explore interventions aimed at reducing spin in published articles of studies they support. (shrink)

AimThe neurocognitive basis of Developmental Coordination Disorder remains an issue of continued debate. This combined systematic review and meta-analysis provides a synthesis of recent experimental studies on the motor control, cognitive, and neural underpinnings of DCD.MethodsThe review included all published work conducted since September 2016 and up to April 2021. One-hundred papers with a DCD-Control comparison were included, with 1,374 effect sizes entered into a multi-level meta-analysis.ResultsThe most profound deficits were shown in: voluntary gaze control during movement; cognitive-motor integration; (...) practice-/context-dependent motor learning; internal modeling; more variable movement kinematics/kinetics; larger safety margins when locomoting, and atypical neural structure and function across sensori-motor and prefrontal regions.InterpretationTaken together, these results on DCD suggest fundamental deficits in visual-motor mapping and cognitive-motor integration, and abnormal maturation of motor networks, but also areas of pragmatic compensation for motor control deficits. Implications for current theory, future research, and evidence-based practice are discussed.Systematic Review RegistrationPROSPERO, identifier: CRD42020185444. (shrink)

In a recent article, Dawn Wilson (2021) has argued against single-stage accounts of photography by arguing against the latent photographic images upon which those accounts depend. Concomitantly, she argues that the only viable account of photography is multi-stage. Unlike single-stage accounts, multi-stage accounts do not postulate the existence of photographic images of any kind prior to development. Rather, according to multi-stage accounts, photographs are produced from “photographic registers.” In this Discussion Piece, I defend single-stage accounts by arguing that (...) Wilson’s rejection of latent photographic images is premised on an implausible view of what a latent photographic image is. Given a reasonable interpretation, the latent images described in single-stage accounts just are the photographic registers described in multi-stage accounts. (shrink)

This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. (...) New theory emerges as a response to skeptical orthodoxy in particular. I divide new theory in turn between “restrictive” and “permissive” responses to skeptical orthodoxy and raise challenges for both. The restrictive version arguably divides what does and does not count as strictly photographic in arbitrary ways; the permissive version rules in images that are not obviously photographs and faces two difficulties individuating photographs. I conclude by noting several questions that need to be addressed before new theory clearly has the upper hand over orthodoxy. These concern its ability to account for photography's epistemic capacities, the extent to which it constitutes an advance over “nonskeptical” orthodoxy, and whether new theorists have yet to be new enough when it comes to photographic agency. (shrink)

International Archives of the History of Ideas Archives internationales d'histoire des idées, Vol. 196. -/- Introduction, S. Hutton; Nicholas of Cusa : Platonism at the Dawn of Modernity, D. Moran; At Variance: Marsilio Ficino Platonism And Heresy, M.J.B. Allen; Going Naked into the Shrine:Herbert, Plotinus and the Consructive Metaphor, S.R.L.Clark; Commenius, Light Metaphysics and Educational Reform, J. Rohls ; Robert Fludd’s Kabbalistic Cosmos, W. Schmidt-Biggeman; Reconciling Theory and Fact:The Problem of ‘Other Faiths’ in Lord Herbert and the Cambridge Platonists, (...) D. Pailin; Trinity, Community and Love: Cudworth’s Platonism and the Idea of God, L. Armour; Chaos and Order in Cudworth’s Thought, J-L. Breteau; Cudworth, Prior and Passmore on the Autonomy of Ethics, R. Attfield; Substituting Aristotle: Platonic Themes In Dutch Cartesianism, H. van Ruler; Soul, Body, And World: Plato’s Timaeus And Descartes’ Meditations, C. Wilson ; Locke, Plato and Platonism, G.A.J. Rogers; Reflections on Locke’s Platonism, V. Nuovo; The Platonism at the Core of Leibniz’s Philosophy, C. Mercer; Leibniz and Berkeley: Platonic Metaphysics and ‘The Mechanical Philosophy’, S. Brown; Which Platonism for which Modernity? A Note on Shaftesbury’s Socratic Sea-Cards, L. Jaffro; Platonism, Aesthetics and the Sublime at the Origins Of Modernity, D. Hedley. (shrink)

In a pair of very important papers, namely “Space, Time and Individuals” in the Journal of Philosophy for October 1955 and “The Indestructibility and Immutability of Substances” in Philosophical Studies for April 1956, Professor N. L. Wilson began something which badly needed beginning, namely the construction of a logically rigorous “substance-language” in which we talk about enduring and changing individuals as we do in common speech, as opposed to the “space-time” language favoured by very many mathematical logicians, perhaps (...) most notably by Quine. This enterprise of Wilson's is one with which I could hardly sympathize more heartily than I do; and one wishes for this logically rigorous “substance-language” not only when one is reading Quine but also when one is reading many other people. How fantastic it is, for instance, that Kotarbinski1 should call his metaphysics “Reism” when the very last kind of entity it has room for is things —instead of them it just has the world-lines or life-histories of things; “fourdimensional worms”, as Wilson says. Wilson, moreover, has at least one point of superiority to another rebel against space-time talk, P. F. Strawson; namely he does seriously attempt to meet formalism with formalism—to show that logical rigour is not a monopoly of the other side. At another point, however, Strawson seems to me to see further than Wilson; he is aware that substance-talk cannot be carried on without tenses, whereas Wilson tries to do without them. Wilson, in short, has indeed brought us out of Egypt; but as yet has us still wandering about the Sinai Peninsula; the Promised Land is a little further on than he has taken us. (shrink)

The text of Parmenides 8. 4 is unusually corrupt. Most recent critics, however, agree that Plutarch's printed in the later editions of DielsKranz, Die Fragmente der Vorsokratiker, should be excluded in favour of As G. E. L. Owen remarks , ‘[Plutarch's] is inappropriate since is to be proved from and not vice versa’.

In lieu of an abstract, here is a brief excerpt of the content:Principles and Theory in BioethicsPat Milmoe McCarrick (bio)The following citations were selected from BIOETHICSLINE, the online database prepared at the Kennedy Institute of Ethics for the National Library of Medicine's MEDLARS system. Searching the keywords autonomy, beneficence, casuistry, justice, and virtues, as well as the text word principlism produced more than 400 citations. Only the citations concerned with theory and principle in the practice of bioethics are included here—e.g., (...) works about justice in resource allocation have been deleted.Arkes, Hadley V. When Bungling Practice Is Joined to Absurd Theory: Doctors, Philosophers, and the Right to Die. In Set No Limits: A Rebuttal to Daniel Callahan's Proposal to Limit Health Care for the Elderly, ed. Robert L. Barry and Gerard V. Bradley, pp. 31-44. Urbana: University of Illinois Press, 1991.Arnason, Vilhjalmur. Towards Authentic Conversations: Authenticity in the Patient-Professional Relationship. Theoretical Medicine 15 (3): 227-42, September 1994.Arras, John D. Getting Down to Cases: The Revival of Casuistry in Bioethics. Journal of Medicine and Philosophy 16 (1): 29-51, February 1991.Arras, John D. Principles and Particularity: The Role of Cases in Bioethics. Indiana Law Journal 69 (4): 983-1014, Fall 1994.Beauchamp, Tom L. Principles and Other Emerging Paradigms in Bioethics. Indiana Law Journal 69 (4): 955-71, Fall 1994.Beauchamp, Tom L. The Principles Approach. Hastings Center Report 23 (6): S9, November-December 1993.Beauchamp, Tom L., and Childress, [End Page 279] James F. Principles of Biomedical Ethics. 4th ed. New York: Oxford University Press, 1994. 752 p.Beauchamp, Tom L., and Walters, LeRoy. Ethical Theory and Bioethics. In their Contemporary Issues in Bioethics. 4th ed., pp. 1-38. Belmont, CA: Wadsworth, 1994.Beldecos, Athena, and Arnold, Robert M. Gathering Information and Casuistic Analysis. [Commentary]. Journal of Clinical Ethics 4 (3): 241-45, Fall 1993.Bole, Thomas J. The Rhetoric of Rights and Justice in Health Care. In Rights to Health Care, ed. Thomas J. Bole and William B. Bondeson, pp. 1-19. Boston: Kluwer Academic, 1991.Broome, John. Fairness Versus Doing the Most Good. [Commentary]. Hastings Center Report 24 (4): 36-39, July-August 1994.Campbell, Courtney S. Gifts and Caring Duties in Medicine. In Duties to Others, ed. Courtney S. Campbell and B. Andrew Lustig, pp. 181-97. Boston: Kluwer Academic, 1994.Carson, Ronald A.; Callahan, Sidney; Ross, Judith Wilson; and May, William F. Spirit, Emotion, and Meaning: The Many Voices of Bioethics. Hastings Center Report 24 (3): 26-27, May-June 1994.Charlesworth, Max. Bioethics in a Liberal Society. New York: Cambridge University Press, 1993. 172 p.Cherbas, Peter. Paradigms and Our Shrinking Bioethics. Indiana Law Journal 69 (4): 1105-13, Fall 1994.Childress, James F. Ethical Theories, Principles, and Casuistry in Bioethics: An Interpretation and Defense of Principlism. In Religious Methods and Resources in Bioethics, ed. Paul F. Camenisch, pp. 181-201. Boston: Kluwer Academic, 1994.Childress, James F., and Fletcher, John C. Individualism and Community: The Contested Terrain of Respect for Autonomy. Hastings Center Report 24 (3): 34-35, May-June 1994.Clouser, K. Danner, and Gert, Bernard. A Critique of Principlism. Journal of Medicine and Philosophy 15 (2): 219-36, April 1990.Devettere, Raymond J. Clinical Ethics and Happiness. Journal of Medicine and Philosophy 18 (1): 71-89, February 1993.DeGrazia, David. Moving Forward in Bioethical Theory: Theories, Cases, and Specified Principlism. Journal of Medicine and Philosophy 17 (5): 511-39, October 1992.Donnelly, William J. From Principles to Principals: The New Direction in Medical Ethics. [Commentary]. Theoretical Medicine 15 (2): 141-48, June 1994.Downie, Robin. Health Care Ethics and Casuistry. [Editorial]. Journal of Medical Ethics 18 (2): 61-62, 66, June 1992. [End Page 280]DuBose, Edwin R.; Hamel, Ronald P.; and O'Connell, Laurence J., eds. A Matter of Principles? Ferment in U.S. Bioethics. Valley Forge, PA: Trinity Press International, 1994. 381 p.Fox, Renée C. The Entry of U.S. Bioethics into the 1990s: A Sociological Analysis, pp. 21-71.Gudorf, Christine E. A Feminist Critique of Biomedical Principlism, pp.164-81.Campbell, Courtney S. Principlism and Religion: The Law and the Prophets, pp. 182-208.Charon, Rita. Narrative Contributions to Medical Ethics: Recognition, Formulation, Interpretation, and Validation... (shrink)

"Lest one think that the focus on aspect-seeing in Wittgenstein is only a means to more contemporary philosophical ends, one ought to read Day’s remarkable 'Wanting to Say Something: Aspect-Blindness and Language'. Day considers the issue of aspect-blindness, arguing that universal aspect-blindness is impossible for beings with language. Specifically, he shows that a child’s first attempt at language, at trying “bloh” for “ball,” is neither an indication that the child sees the ball for the first time, nor an indication that (...) the child is giving a first label for an object seen all along. Rather, he shows that this attempt is an indication of the dawning of an aspect. The dawning of aspects, so common during the phase of language acquisition, becomes supplanted by language itself. Universal aspect-blindness is not humanly possible, then. Day argues that the acquisition of language results in a loss of desire for aspects (which it is possible to regain through art). Localized aspect-blindness is familiar because as language-users, we have lost our desire for aspects. Day then turns to questions about the deep purpose behind Wittgenstein’s style. Why are those doubting voices prominent? Why does Wittgenstein demand so often that the reader answer his questions? Day shows that these elements of Wittgenstein’s style arise from a motivation to regain his own desire for aspects, and he wants to re-awaken our own desire for aspects. Day motivates us to consider aspect-seeing in order to see Wittgenstein himself anew." --Chris Weigel, Book Review of Seeing Wittgenstein Anew, Journal of the History of Philosophy 49:2 (April 2011): 263. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 188-195 [Access article in PDF] Wittgenstein and Poetic Language B. R. Tilghman ACCORDING TO RICHARD KUHNS there are certain important parallels between symbolist poetic theory, especially that of Paul Valéry, and Wittgenstein's picture of language developed in the Tractatus Logico-Philosophicus. 1 It strikes me that these parallels are strained and certainly unhelpful in illuminating either what Valéry says about poetry or his poetic practice. (...) In fact, I find certain things in Valéry that are closer in spirit to Wittgenstein's view of language in the Philosophical Investigations. 2 My concern here is not to criticize Kuhns's thesis nor to provide a systematic exposition of Valéry's thoughts about poetry so much as it is to use some of what they say as stepping stones to show the relevance of Wittgenstein's work for understanding at least some of what goes on in poetry.Kuhn says that "Linguistic forms fascinated both Valéry and Wittgenstein, and the possibility that language might achieve necessity in that it produced sentences held together by bonds of absolute security and irrevocability operates in the logical forms of the Tractatus as it does in Valéry's art. A poem, Valéry believed, must be wrought with such necessity of part to part, such fastness of interior design, that the reader be compelled by his reading to recognize all the implications of the sentences." 3 I set aside trying to make sense of the idea of language achieving necessity and assume that the analogue of the "bonds of absolute security and irrevocability" in the Tractatus is that a perspicuous [End Page 188] symbolism should immediately make clear all the logical implications of any proposition. The analogy between whatever it is that counts as poetic implications and logical implication, however, seems impossibly lame. The word "implication" applied to the sentences of poetry is not a technical term as is the word when used in logic and its meaning may not be altogether clear. Nevertheless, some of what it may mean can be brought out, I believe, in terms of examples. Consider T. S. Eliot's line that "April is the cruelest month, breeding lilacs out of the dead land...," the full sense—implications—of the words are not realized until they are seen in the context of the rest of the poem where we can understand them as making a point about the constrained and empty lives of the dwellers in the waste land. The description of the spring as cruel will help to serve as the poem develops to reveal to us the resistance of people to open themselves to human emotion and reaction. There are too many differences between this kind of thing and logical implication to make the analogy helpful.At one point Valéry says that "A poem is really a kind of machine for producing the poetic state of mind by means of words." 4 To that statement Kuhns comments that "Valéry's idea that a poem is a machine for producing poetic states is analogous to Wittgenstein's idea that logic is a machine for making sense, that there exists a structure which is the structure of possible meanings." 5 Valéry apparently wanted a poetry in which there is something akin to a necessary connection between the images and tropes within a poem so that there is only one way to read it. Although it is by no means clear what success in such an enterprise would be, some sense can be made of the idea of a poem as a structure of meanings held together by a kind of necessity. I shall try to make this clear. A poem invites us to move in various directions as the force of some figure of speech comes home to us or various associations dawn on us. In music a certain chord progression seems to demand a resolution into the tonic as its completion. This could be described as a kind of necessity, but, of course, not a logical one. Given our... (shrink)

“I often said before starting, that I had no doubt I should frequently repent of the whole undertaking.” So wrote Charles Darwin aboard The Beagle , bound for the Galapagos Islands and what would arguably become the greatest and most controversial discovery in scientific history. But the theory of evolution did not spring full-blown from the head of Darwin. Since the dawn of humanity, priests, philosophers, and scientists have debated the origin and development of life on earth, and with (...) modern science, that debate shifted into high gear. In this lively, deeply erudite work, Pulitzer Prize–winning science historian Edward J. Larson takes us on a guided tour of Darwin’s “dangerous idea,” from its theoretical antecedents in the early nineteenth century to the brilliant breakthroughs of Darwin and Wallace, to Watson and Crick’s stunning discovery of the DNA double helix, and to the triumphant neo-Darwinian synthesis and rising sociobiology today. Along the way, Larson expertly places the scientific upheaval of evolution in cultural perspective: the social and philosophical earthquake that was the French Revolution; the development, in England, of a laissez-faire capitalism in tune with a Darwinian ethos of “survival of the fittest”; the emergence of Social Darwinism and the dark science of eugenics against a backdrop of industrial revolution; the American Christian backlash against evolutionism that culminated in the famous Scopes trial; and on to today’s world, where religious fundamentalists litigate for the right to teach “creation science” alongside evolution in U.S. public schools, even as the theory itself continues to evolve in new and surprising directions. Throughout, Larson trains his spotlight on the lives and careers of the scientists, explorers, and eccentrics whose collaborations and competitions have driven the theory of evolution forward. Here are portraits of Cuvier, Lamarck, Darwin, Wallace, Haeckel, Galton, Huxley, Mendel, Morgan, Fisher, Dobzhansky, Watson and Crick, W. D. Hamilton, E. O. Wilson, and many others. Celebrated as one of mankind’s crowning scientific achievements and reviled as a threat to our deepest values, the theory of evolution has utterly transformed our view of life, religion, origins, and the theory itself, and remains controversial, especially in the United States (where 90% of adults do not subscribe to the full Darwinian vision). Replete with fresh material and new insights, Evolution will educate and inform while taking readers on a fascinating journey of discovery. (shrink)

In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. STAGE NOTES AND/AS/OR TRACK CHANGES: INTRODUCTORY REMARKS AND MAGICAL THINKING ON PRINTING: AN ELECTION AND A PROVOCATION Isaac Linder “Of course most people don’t think of editing/publishing as theatre but as something boring or parasitical (vis-à-vis a ‘source’ text), a textual backwater populated by people with glasses. But I think publishing a book today is theatre, socially networked theatre…. Facebook and Flickr are our era’s administered and generic version of sixties happenings!” — Tan Lin 1 ELECTING A MASCOT: THE BARNACLE GOOSE After pitching the idea for this panel with the editorial help of my continental cohorts I became fascinated with the image of the goose—dead and roasted as it may be—and its relationship to the space of the printing press. For a long while after proposing this gathering I was seriously under the sway of delusions of grandeur, imagining that we might roast a goose (or goosefu) and, preparing a meal as one prepares a text for publication, feast in something approaching a warm and well-nourished revelry. I should note, by way of introduction, that a substantial part of my undergraduate experience involved learning to typeset and work as a devil, as typesetters mischievously call it, in a letterpress studio. This accounts in part for my fascination and helps to explain the fact that, when I began to leaf around in medieval beastiaries in lieu of being able to procure a goose, I was almost immediately struck by a fantastic monster that I hereby elect to be the mascot for our so-called para-academic practice(s) the relatively famed, but no less fabulous for it, barnacle goose. The barnacle goose is a creature that first makes its way into 12th century manuscripts with Giraldus Cambrensis in 1186. Phenomenologically speaking the monster is a tree, a tree which, when approached closer is seen to be birthing geese budding from the buds that hang like ripe fruit from its branches. As the story goes these trees were found over water; the fledgling geese, once wrested from their pods would take off in flight or fall to their watery death, where they would be transformed into driftwood. In retrospect we presume the barnacle goose was posited as a consequence of the fact that geese born in more northern regions, migrating to Ireland and western Europe at large, were never seen to give birth. And I should note that this is far from the only other animal posited to be born from trees at around this time, my other favorite being medieval accounts of Moroccan tree-climbing goats. 2 In particular I’ve thrown up the mascot of the barnacle goose and singled it out from the quires of its beatiaries because its thoroughly hybrid origins lead us to name two very real creatures we can find point to in abundance; discrete materialities of the world cobbled together in textual fancy: on the one hand, the modern day barnacle goose , a common species of goose and, on the other, goose barnacles , a particular type of crustacean with incredible feathery tendrils and—I can't help but mention—one of the largest body mass to penis size ratios of all of the animals in the kingdom. Why is this bit of genital trivia relevant? Because they’re all hermaphroditic and in rare cases have been found to reproduce just with themselves—to inseminate themselves and give birth to their kin. So I think it must be stressed, as a symbol for what we’re really here to talk about, it's not a boy’s club thing so much as a very queer thing and, I contend, para - in every perfect sense of the word... Alongside the natural world, a monstrous imaginary concatenation; Alongside the hulls of so many institutional structures, funding sources and resources, Serresian parasites in all manner of mutualist, symbiotic, or properly parasitic positions; migratory and adrift; The tree, center stage in the 21st century adaptation of Waiting for Godot that is unraveling in ateliers across the world, is a barnacle goose birthing a flurry of miscegenous texts beyond medium and genre. PROVOCATION 1: CHAOSMOSIS “Genre is obsolete.” — Ray Brassier 3 And so, here I was getting carried away in daydreams about this generative and genealogical symbol under which to think all of the diverse projects we are all involved in as architects of the dressed word, (well dressed, bespoke, mansy, butch, careless, or roguishly punk attired as those words may be), when it also dawned on me, mid-flight here from Denver, that we are, even in lieu of being able to roast geese together, very much so literalizing what was never just the metaphor of the wayzgoose—a tradition, as you know, celebrated to mark the crepuscular turn into fall—as we are poised here, tomorrow being the first official day of fall on our calendars in the US marking the seasonal change from at which point it will no longer be possible to print without the aid of candlelight. A beautiful thought, that tipped into magical thinking on account of a little quick math I was able to do to come to the conclusion that we can all be delighted to know that as we proceed into the autumn with our printing projects always ahead of us and still to be set, we will tonight be bathed not only by the artificial candlelight of our screens, but also in part by photons raining down on us at 186,282 miles per second—photons from an aspect of 9 cyg, a stereoscopic binary deep within Cygnus, the swan but not-so-distant-relative of the goose, with a distance of 572 Light years away; photons that are raining down on us, will rain down on us all winter, have been raining down on us all year, and which had their origin in the combustion cores at a center of 9 cyg 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type to the western world, inaugurating an era that stretches farther into the past and future than McLuhan could justify; the proliferation of so much ambient text; insurrectionary coups on (and re-crystallizations of) genre—perceived amidst so much ambient light—enveloping this campus, just now. So, with that thought, and perhaps a new mascot, Nico Jenkins... NOTES “ Writing as Metadata Container, An Interview with Tan Lin ,” Chris Alexander, Kristen Gallagher, Danny Snelson, Gordon Tapper, Tan Lin, Jacket 2. January 20, 2012. To explore Lin’s notion of ambient textuality, plagiarism, and parallel, cross­platform publication in the 21st century, also see Lin’s sampled novel, “ The Patio and the Index ,” Triple Canopy 14, October 24, 2011, as well as the Edit event, organized at the Kelly Writers House at the University of Pennsylvania, April, 2010 . For a fascinating and fecund exploration of medieval plant­animal hybrids in relation to media ecology, see Whitney Trettien, “ Becoming Plant: Magnifying a Microhistory of Media Circuits in Nehemiah Grew’s Anatomy of Plants (1682) .” postmedieval 3.1 (2012):97. See also the crowd­review version of the essay. “ Genre Is Obsolete .” Compléments de Multitudes . 28 (2007). (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

Several recent systematic and targeted reviews have highlighted limitations in our understanding of talent in sport. However, a comprehensive profile of where the scientific research has focused would help identify gaps in current knowledge. Our goal in this scoping review was to better understand what others have done in the field of research, to summarize the constituent areas of research in a meaningful way, to help identify gaps in the research, and to encourage future research to address these gaps. Peer-reviewed (...) articles written in English that met several inclusion criteria were analyzed. A total of 1,899 articles were identified, and the descriptive findings revealed a relatively narrow focus of research on talent in sport. Specifically, the majority of examined articles focused on males only, the sport of soccer, perceptual cognitive variables, developing athletes, adult samples, and cross-sectional designs. For better or worse, the concept of talent remains a central element of how coaches, practitioners, and scientists think about athlete development. Findings from this scoping review highlight the continued need to explore issues related to talent identification, selection, and development in more diverse samples and contexts. There is also a clear necessity to focus on under-researched areas using alternative methodologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:460 HISTORY OF PHILOSOPHY accurate understanding of the mind of Aristotle. Nifo's shift on the question of Aristotle and immortality thus represents a noteworthy chapter in the history of Renaissance Aristotelianism.6x EDWAKDP. MAHONEY Duke University 6x I should like to thank the United States Government for a Fulbright fellowship during 1962-1963; the National Foundation for the Humanities for a fellowship during 1968-1969; and the Duke UniversityResearch Council for grants (...) for microfilms. BIBLIOGRAPHY OF THE WRITINGS OF JACOB LOEWENBERG Compiled by Edwin S. Budge It is hoped that all of Professor Loewenberg's published writings, exclusive of his many book reviews, are listed herein. His unpublished doctoral dissertation, "The Genesis of Hegel's Dialectical Method" (1911), is available on loan from Harvard University, although the "gist" of this, as Dr. Loewenberg has indicated, may be found in the introduction to the first item cited in the bibliography. Dr. Loewenberg, it might be added, also translated a short work by Gilbert Chinard, France for the Soldier (Berkeley: University of California, 1918), and quite likely was consulted by his wife Kate in the course of her translation of Emile Meyerson's Identity and Reality (New York: Macmillan Company, 1930; reprinted by Dover, 1962, and Peter Smith, 1963). Jacob Loewenberg's personal papers are in the possession of his daughter, Mrs. Jeannot Nyles, of Berkeley, California. 1912 1916 BIBLIOGRAPHYOF THE WRITINGSOF JACOBLOEWENBERG "Vorwort," pp. v-vi; "Einleitung: 'Die jugendlichen Denkversuche Hegels'," pp. vii-xxii; in Hegels Entwiir/e zur Enzyklopiidie und Propiideutik nach den Handschri/ten der Harvard-Universitiit. Mit einer Handschri[tprobe. By Georg Wilhelm Friedrich Hegel. Herausgegeben yon Dr. J. Ltwenberg. Leipzig: Verlag von Felix Meiner, I912. xxiv, 59 pp. (Hegel-Archiv. Herausgegeben von Georg Lasson. Band I, Heft 1.) "Interpretation as a Self-Representative Process," The Philosophical Review, Vol. XXV, No. 3 (May, 1916), 420-423. "Mysticism and Idealism," University o/ California Chronicle, Vol. XVIII, No. 1 (January, 1916), 72-91. "An address before the Philosophical Union of the University of California, December 10, 1915." 1917 1918 1919 1920 1921 1922 1923 NOTES AND DISCUSSIONS 461 "The Spirit of Hegel's Philosophy," University of California Chronicle, Vol. XVIII, No. 3 (July, 1916), 373-393. "The Teachings of Royce," The California Alumni Fortnightly, Vol. IX, No. 14 (September 30, 1916), 216-217. "Classic and Romantic Trends in Plato," The Harvard Theological Review, Vol. X, No. 3 (July, 1917), 215-236. "An address before the Philosophical Union of the University of California, February 23, 1917." "Josiah Royce: Interpreter of American Problems," University of California Chronicle, Vol. XIX, No. 1 (January, 1917), 39-47. "The Prophetic Songs of Swinburne," University of California Chronicle, Vol. XX, No. 10anuary, 1918), 106-115. "Preface," pp. vii-xii in Lectures on Modern Idealism. By Josiah Royce. New Haven: Yale University Press, 1919. Pp. 259. (Semicentennial Publications of the University of California, 1868-1918.) "Ethics and the War," Mills Quarterly, Vol. I, No. 4 0anuary, 1919), 6-9. "An address delivered at Mills College, October 18, 1918." "Multiplicity and the Social Order," The Harvard Theological Review, Vol. XII, No. 2 (April, 1919), 137-164. "President Wilson's Americanism," University of California Chronicle, Vol. XXI, No. 1 (January, 1919), 1-15. "Introduction," pp. 3-37 in Fugitive Essays; with an Introduction by Dr. J. Loewenberg. By Josiah Royce. Cambridge: Harvard University Press, 1920. Pp. 429. (Semicentennial Publications of the University of California, 1868-1918.) "Philosophy and Humanism," University of California Chronicle, Vol. XXIH, No. 3 (July, 1921), 298-318. "Read before the Kosmos Club of the University of California, April 4, 1921." "The Apotheosis of Mind in Modern Idealism," The Philosophical Reviewj Vol. XXXI, No. 3 (May, 1922), 215-236. "A fragment of a larger essay." "The Idea of Mutability in Literature," University of California Chronicle, Vol. XXIV, No. 2 (April, 1922), 129-151. "The Metaphysics of Critical Realism," pp. 167-194 in Issues and Tendencies in Contemporary Philosophy. Edited by George P. Adams and J. Loewenberg. 462 HISTORY OF PHILOSOPHY Berkeley: University of California, 1923, Pp. 224. (University of California Publieations in Philosophy, VoL IV.) Read before the Philosophical Union of the University of California, March 30, 1923. "'The Metaphysics of Modern Scepticism," The Philosophical... (shrink)

Bertrand Russell: The Colours of Pacifism analyzes the tenacious commitment of one of the twentieth century's most extraordinary intellectuals to the cause of civilization, progress, and human rights. Through his active and pragmatic pacifism, Russell sought to confront the problems stemming from the unstable and dramatic political conditions of his age: the beginning of the Great War, the establishment of the League of Nations, the rise of totalitarian regimes, the outbreak of the Second World War, the dawn of the (...) Atomic Age, the escalation of the Cold War, the weakness of the United Nations, and the need for world government. His reflections on the subject of peace, which constitute the main focus of this book, led Russell into dialogue with some of the greatest figures of his time, including Romain Rolland, Albert Einstein, Woodrow Wilson, Leon Trotsky, Franklin Delano Roosevelt, Nikita Khrushchev, and J. F. Kennedy. Shining new light on a lifelong preoccupation in Russell's work and thinking, The Colours of Pacifism is a landmark study that will appeal to students, scholars and anyone curious about the philosopher's engagement with the world around him. (shrink)

This article by Curtis Wilson is an account of the origin of Hansen’s powerful systematic method for finding contributions of higher order perturbations in celestial mechanics. Hansen’s method was developed in the course of improving on Laplace’s treatment of the mutual perturbations of Jupiter and Saturn. This method, an entirely new way of doing celestial mechanics when it first appeared, later made possible the successful treatment of the complicated motions of our moon (see Wilson 2010). In this paper (...) Wilson gives a brief historical introduction followed by an account of relevant technical details of the Laplacian background, an account illustrating technical details in Hansen’s initial development in his Disquisitions of 1829, and a treatment illustrating details contributing to the achievement of Hansen’s more refined development in his Untersuchung of 1831. These details include conditional equations Hansen provides for checking the accuracy of calculations. Wilson also includes a detailed assessment showing the extraordinary improvement in empirical accuracy of Hansen’s treatment over the best earlier treatment of the Jupiter-Saturn interactions. (shrink)

This paper examines the ethical issues that arise when healthcare providers act as gatekeepers to research involving vulnerable populations. Traumatised refugees serve as an example of this subset of research participants. Highlighting the particular vulnerabilities of this group, we argue that specific ethical considerations are required that go beyond the conventional research approaches. While gatekeeping responds to some of those vulnerabilities, it risks wronging through unwarranted paternalism. Instead, we will propose that a relational ethics of justice and care serves as (...) a more appropriate framework for responding to the challenges of research involving traumatised refugees. Specifically, such a framework allows us to reflect more deeply on the role of the gatekeeper. In conclusion, we recommend that clinicians and researchers collaborate with survivors’ advisory groups in the development of specific research ethical guidelines. (shrink)