In lieu of an abstract, here is a brief excerpt of the content:Confessions of an American PsychoJames Hogg’s and Bret Easton Ellis’s Anti-Heroes’ Journey from Vulnerability to ViolenceDaniel Cojocaru (bio)My vitals have all been torn, and every faculty and feeling of my soul racked, and tormented into callous insensibility.... I could perceive no bottom, and then—not till then, did I repeat the tremendous prayer!—I was instantly at liberty; and what I now am, the Almighty knows! Amen.—James Hogg, (...) The Private Memoirs and Confessions of a Justified Sinner1My conscience, my pity, my hopes disappeared a long time ago (probably at Harvard) if they ever did exist.... My pain is constant and sharp.... But even after admitting this... and coming face-to-face with these truths, there is no catharsis. I gain no deeper knowledge about myself.... This confession has meant nothing.—Bret Easton Ellis, American Psycho2A hundred and sixty-seven years lie between the publication of James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) (henceforth referred to as Confessions) and Bret Easton Ellis’s American Psycho (1991). Yet one cannot but be amazed at the striking similarities of the main [End Page 185] protagonists’s insights at the end of these two novels. Although connections between works of Gothic Romanticism and postmodern narratives have been duly noted, the possible reasons for the analogies remain largely unexplored.3It will be argued here that both novels are representations of worlds immersed in what René Girard, in Deceit, Desire, and the Novel (henceforth referred to as Deceit), has termed “deviated transcendency,” resulting in similar stages of narrative progression, which in turn can be analyzed in terms of Girard’s mimetic cycle of violence.At a first glance, the two pieces seem to be concerned with themes that to a secularized age must appear most disparate. But as Girard has noted: “The very idea of mediation encourages literary comparisons at a level which is no longer that of genre criticism or thematic criticism.... It may illuminate the works through each other.”4 Hogg’s narrative deals with the problem of antinomianism and the resulting spiritual pride. The anti-hero of the narrative, Robert Wringhim, relies on his belief that he is one of the elect and cannot fall from grace and consequently is convinced by his elusive friend Gil-Martin to become a murderer without having to fear punishment. American Psycho on the other hand is concerned with the consequences of the crass materialism of the U.S. yuppie generation, culminating at the end of the 1980s, as experienced by the serial-killing first-person narrator Patrick Bateman. However, one could argue that in its very first pages, American Psycho presents the reader with a secularized version of antinomianism. Michael Steig has fleetingly noted that the egocentric doctrines of antinomianism psychologically resemble the “I’m alright tenets” of yuppie pseudo-psychology.5 Timothy Price, one of Bateman’s colleagues on Wall Street, expresses this in the following words: “In essence what I’m saying is that society cannot afford to lose me. I’m an asset.”6 Translated into antinomian terms, one could say that he is one of the elect, one of the privileged enjoying a capitalist heaven on earth; and by saying that society cannot afford to lose him, he, like Robert Wringhim, is showing that he believes he cannot fall from grace—or at least he tries to believe it.“I was well aware that the devilish powers of his mother would finally prevail; and either the dread of this, or the inward consciousness of having wronged him, certainly unnerved my arm.”7 If, in this reference to a quarrel with a fellow pupil at school, Robert gives away the fact that he doubts his own words, through the rhetorical device of correctio, so does Timothy Price by his choice of words. In fact, it is exactly because he is an asset that society can afford to lose him. As he is literally transformed into a commodity, society can discard him and in the novel indeed does so. It is one of the many ironies of the narrative that Price disappears soon after the above... (shrink)

Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at (...) one time may become less so at a later date through the combination of a paradigm shift in theory, new powers of perception, new tests with refined instruments, and changes in natural processes such as species evolution. But the emergence of new theories and tests does not reduce objectivity to subjective opinion. Facts are real. Objectivity is important. But as you move up the scale of complexity with respect to facts and objectivity, it becomes clear that what was objective at one time may become subjective at another. Not because of Fake News or postmodernism. But because the complex relationships between theory, evidence and conduct periodically open up new thresholds. Colin Lang in turn rhetorically asks if »fake news« or »alternative facts« are a new carnival and Trump its dog and pony show? The idea of »fake news« and »alternative facts« as a carnival could not only help to see the constructedness of the media spectacle, but also provides a new perspective on Trump as an actor who is playing a particular role in this carnival, and that role is not one that any of us would describe as presidential. Many in the popular press have assumed it is just what it looks like, an infantilized narcissist, a parody of some Regan-era New York real estate tycoon straight out of a Bret Easton Ellis novel. The problem is that this description is all too obvious, and misses something fundamental about alternative facts, and the part that Trump is playing. A central assumption is, then, that the creation of alternative facts is one symptom of a more structural, paradigmatic shift in the persona of a president, one which has few correlates in the annals of political history. The closest analogy for his kind of performance is actually hinted at in the title of Trump’s greatest literary achievement: The Art of the Deal. Trump is playing the part of an artist, pilfering from the tactics of the avant-garde and putting them to very different ends. (shrink)

Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at (...) one time may become less so at a later date through the combination of a paradigm shift in theory, new powers of perception, new tests with refined instruments, and changes in natural processes such as species evolution. But the emergence of new theories and tests does not reduce objectivity to subjective opinion. Facts are real. Objectivity is important. But as you move up the scale of complexity with respect to facts and objectivity, it becomes clear that what was objective at one time may become subjective at another. Not because of Fake News or postmodernism. But because the complex relationships between theory, evidence and conduct periodically open up new thresholds. Colin Lang in turn rhetorically asks if »fake news« or »alternative facts« are a new carnival and Trump its dog and pony show? The idea of »fake news« and »alternative facts« as a carnival could not only help to see the constructedness of the media spectacle, but also provides a new perspective on Trump as an actor who is playing a particular role in this carnival, and that role is not one that any of us would describe as presidential. Many in the popular press have assumed it is just what it looks like, an infantilized narcissist, a parody of some Regan-era New York real estate tycoon straight out of a Bret Easton Ellis novel. The problem is that this description is all too obvious, and misses something fundamental about alternative facts, and the part that Trump is playing. A central assumption is, then, that the creation of alternative facts is one symptom of a more structural, paradigmatic shift in the persona of a president, one which has few correlates in the annals of political history. The closest analogy for his kind of performance is actually hinted at in the title of Trump’s greatest literary achievement: The Art of the Deal. Trump is playing the part of an artist, pilfering from the tactics of the avant-garde and putting them to very different ends. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idiot Patrick BatemanA New Configuration of Caricatural "Ultra-Christianity"Fabrizio Arcuri (bio)INTRODUCTIONThis paper1 aims to analyze the figure of Patrick Bateman, the protagonist of the novel American Psycho,2 through René Girard's mimetic theory. It links the character created by Bret Easton Ellis to the concept of caricatural "ultra-Christianity," meaning the degeneration of Christian-based concern for innocent victims.Methodologically, it adopts the approach of the sociology of the imaginary, (...) which is characterized by the division between invisible levels of signification and visible elements of culture. The latter, as a set of representations, narratives, and products, both material and ideal, are influenced by the former, which represent their condition of possibility.3 When considering caricatural "ultra-Christianity" as a phenomenon traceable to the "Regimes of the Imaginary" of the sacred,4 it can be regarded as the deep substratum from which Patrick [End Page 177] Bateman's particular idiocy emerges as a paranoid and victimistic intensification of mimetic desire.For this reason, this paper is subdivided into three sections. In the first, the focus is on the conception of caricatural "ultra-Christianity" that derives from Girard's work, identifying its origin in the revelation of Christ Paraclete. The second examines "idiotism," one of the types of "ultra-Christianity" present in contemporary society. "Idiotism" is understood as a paranoid reaction due to the traumatic split, psychiatrically based, between one's idios kosmos (own-world) and koinos kosmos (common world). Finally, in the third, I concentrate on the peculiarities of American Psycho via the theoretical framework delineated in the previous parts.FROM PARACLETE TO CARICATURAL "ULTRA-CHRISTIANITY"To provide a definition of the nature and function of caricatural "ultra-Christianity," we must first refer to the main concepts of mimetic theory, specifically, the revelation of Christianity in Girard's work. According to René Girard, desire is never authentically spontaneous or individual. Rather, it is influenced by the mutual fascination of subjects. These, often unconsciously, regard their fellow human beings as entities endowed with the fullness of being that they irretrievably lack.5Desire is a form of ontological contagion perpetuated by the continuous activity of imitation. The individual aspires to resolve metaphysical contradictions by emulating the physical, moral, symbolic, and social features of all those he/she prefers as his/her models.6 Nevertheless, within a mimetic relationship, the mediator will defend his/her own position, denying the imitating disciple the chance to match his/her status. Due to the "viral" characteristics of mimesis, the result is a situation of vindication and rivalry that is likely to spread throughout the community, fomenting a vicious cycle of fratricidal violence.7In Girard's view, that form of generalized conflict can lead society to collapse. A community needs to find an object or, better, an individual, always in a mimetic way, on whom to discharge the growing tension. The identification of the collective nemesis occurs through the scapegoat mechanism.8 Although the epidemic of violence plaguing the community is due to the desires and rivalries of all its members, the construction of the collective nemesis designates a single culprit for the mimetic crisis and results in both the disavowal of blame and the enfranchisement of the majority from responsibility. The enemy must be immolated, as only his sacrifice can save the collective. The violence of lynching [End Page 178] becomes the only means of restraining the previous violence of the mimetic escalation. Once the antagonist is killed, the destructive effects of fratricidal mimesis are appeased, at least temporarily.For Girard, the handling of salvific violence represents the essence of the sacred.9 This is a type of managing that, in its regenerative and foundational aspects, constitutes the value system that regulates the circulation of mimesis and the desires of each member of the community. It ensures, albeit precariously, the compactness of the group structure. It could be argued that the construction of meaning that emerges from the lynching of the scapegoat structures the representation of the social order,10 that is, the collective imaginary, understanding it as an instituting narrative of meanings: "This narrative resides in the shared imagination of the group that constructed it and encompasses... (shrink)

Judie Newman's Utopia and Terror in Contemporary American Fiction offers an illuminating analysis of the ways in which twenty-first-century U.S. writing has begun to turn its back on what Kathryn Hume has called the "Aggressive Fictions" by prominent postmodern writers in the final decades of the twentieth century: texts designed to "repel" their readers by the likes of William Burroughs, Philip Roth, Katherine Dunn, and Bret Easton Ellis that Hume identifies in various ways with "the politics of (...) political despair". In contrast, Newman traces a more recent trend toward emotional immersion, or a focus on narratives that actively draw the reader in. In this way, her book complements work on the topics of... (shrink)

This essay reads Deleuze and Guattari's Anti‐Oedipus, somewhat perversely, as a radical Lacanian means of conceptualizing hypermodern capitalism. If, as Deleuze and Guattari argue, it is psychoanalysis that rediscovers and retraces the death instinct in classical, nineteenth‐century capitalism, Deleuze and Guattari's schizoanalysis better exemplifies the ways in which the deterritorializing flows of twenty‐frrst‐century global capitalism have overcoded and overwritten that classical, nineteenth‐century order of things. Taking Bret Easton Ellis's novel, American Psycho as its symptomatic text, this essay (...) discusses the implications, raised hysterically in the novel, of an unrestricted economy in which the ‘subject’ is no longer held in place by a governing (master or paternal) signifier in relation to a traditional symbolic order. The essay shows how Lacan's notion of ‘the Other’ has been reconfigured, in relation to consumer capitalism, such that it takes the form of a purely machinic imperative that turns the subject into an economically dividuated producing/product. The subject has become a little machine hooked up to the big machine that maintains it in debt in a continual process of consumption‐production of commodities, brands and identities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Violence, Censorship, and the Serial Killer: The Case of American PsychoCarla Freccero (bio)R.L.: Do you believe in God?B.E.E.: Are you asking me if I was raised in a religious family or if I go to church? I was raised an agnostic. I don’t know—I hate to fly, I have a fear of flying. That means either that I have no faith in air traffic controllers or that I’ve (...) done something really bad, and this is God’s way of getting at me. Maybe I’m caught in the middle.... But no, I don’t believe in God. That’s such a strange thing to admit in an interview.—Robert Love, “Psycho Analysis,” Rolling Stone interview with Bret Easton EllisBefore Capitol Hill acts on these dimwitted proposals, we should remember what the writer Bret Easton Ellis might have said, but didn’t: “Doing bad stuff is wrong.”—Ted Rall, “Meet the Cusp Kids”US mass media has become a much-publicized target of censorious commentary within American public culture in recent years. Censorship, as E. S. Burt notes, may take at least two forms: philosophical censorship, such as that discussed by Leo Strauss’s Persecution and the Art of Writing, and the more commonly applied form of US censorship enacted against “pornography” or “obscenity.” Philosophical censorship, in this reading, entails the state’s persecution of message-bearing texts or utterances that counter the doxa and threaten to disrupt the state, while the second form of censorship involves “a language use that falls outside the interpretive scheme defining the work as the intentional act of a moral being” [Burt 25]. In the United States, state censorship of the first kind may perhaps be practiced through the “incitement to riot” escape clause provision in the First Amendment, while obscenity censorship—in certain forms—is explicitly written into legislation as excluded from speech protection.Extending Strauss’s argument to the liberal state, Burt suggests in effect that these two forms of censorship become related insofar as the state’s censorious intent is directed not so much at the content of the expression as at the degree to which it confirms the axiom, what Burt calls the “very fundamental, convening assumption of the... liberal state” [25] that “virtue is knowledge” [see Strauss 25]. Thus obscenity is a form of expression that cannot be interpreted as productive knowledge but instead as a certain repetitive excess, “dirt for dirt’s sake” [Burt, quoting Judge Woolsey 28]. The problem here, of course, is that such distinctions do not apply comfortably to that category of utterance termed the literary, and especially to the use of figurative language, where “art for art’s sake” can be [End Page 44] seen precisely to resemble the nonproductivity of obscenity. The text I am going to discuss in depth here, Bret Easton Ellis’s American Psycho, has been attacked on both grounds—as an active (and violent) disruption of the doxa that is also obscenely nonproductive of knowledge—and as such, it serves as an illustrative, and I will argue, noncoincidental, case of “censorship” in the liberal state.It may be useful here to begin by surveying and making distinctions among the various popular and popularized censorships in recent US media: Ice-T’s “Cop Killer” was probably the most authentic case of “philosophical” censorship, even though its silencing did not derive directly from the state (the liberal state often does not function in some of the ways supposed when the definition of censorship is restricted to state censorship). “Cop Killer” is a song about killing policemen, and thus came closest—in the list I am going to propose of silenced works—to tempting the state’s retaliation. It was written and sung by a black man (a black man who often plays a gangster and a cop in popular films), in a genre already regarded as threateningly disruptive to the state: rap. The result is that the CD containing this song was pulled from the shelves of music stores and can no longer be purchased. There was no trial. The author withdrew his work from public circulation in the face of... (shrink)

In his original paper of 1905, "On the Electrodynamics of Moving Bodies", Einstein described a procedure for synchronizing distant clocks at rest in any inertial system K. Clocks thus synchronized may be said to be in standard signal synchrony in K. It has often been claimed that there are no logical or physical reasons for preferring standard signal synchronizations to any of a range of possible non-standard ones. In this paper, the range of consistent non-standard signal synchronizations, first for any (...) one inertial system, and second for any set of such systems, is investigated, and it is shown that the requirement of consistency leaves much less room for choice than is commonly supposed. Nevertheless consistent non-standard signal synchronizations appear to be possible. However, it is also shown that good physical reasons for preferring standard signal synchronizations exist, if the Special Theory of Relativity yields correct predictions. The thesis of the conventionality of distant simultaneity espoused particularly by Reichenbach and Grunbaum is thus either trivialized or refuted. (shrink)

Who gets to use force and when? How are we supposed to justify the use of violence in achieving political goals and establishing and maintaining political communities and structures? With Anthony Ellis , David Garren , and Scott Hibbard.

The aim of this paper is to argue that there are categorical properties as well as causal powers, and that the world would not exist as we know it without them. For categorical properties are needed to define the powers—to locate them, and to specify their laws of action. These categorical properties, I shall argue, are not dispositional. For their identities do not depend on what they dispose their bearers to do. They are, as Alexander Bird would say, ’quiddities’. But (...) there is nothing wrong with quiddities. And, in the second half of this paper, I shall defend the thesis that all categorical properties are quiddities. (shrink)

Rather than being concerned with questions of aesthetic standards, Ingarden focuses on the question of where a musical work exists. Thus he attempts to draw clear distinctions between musical works, scores, and performances. Yet, while these distinctions seem questionable even from the standpoint of classical music, in jazz, which operates under a paradigm in which improvisation is primary, they prove far more problematic. A crucial assumption behind Ingarden's view of music is that musical performance is essentially a kind of faithful (...) reproduction. But the question is: why does Ingarden assume this musical model? The only way to answer this question is by examining some of the basic presuppositions by which classical music functions and which Ingarden simply takes over. Although Ingarden's investigation of the musical work is usually seen as a phenomenology of music in general, precisely because Ingarden restricts his analysis to works of classical music, his conception of music turns out to be a highly limited one. In the end, the issue of aesthetic value — which Ingarden claims should come after a phenomenology of music — turns out to be what his investigation of music assumes. (shrink)

Cover -- Half Title -- Title -- Copyright -- Original Title -- Original Copyright -- Contents -- Acknowledgments -- 1 The philosophical context -- 2 Structuralism -- 3 Semiology as a science of signs -- 4 S/Z -- 5 Marxism, language, and ideology -- 6 On the subject of Lacan -- 7 The critique of the sign -- 8 Conclusion -- Bibliography -- Index.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Background: Neonatal nurse practitioners have become the frontline staff exposed to a myriad of ethical issues that arise in the day-to-day environment of the neonatal intensive care unit. However, ethics competency at the time of graduation and after years of practice has not been described. Research aim: To examine the ethics knowledge base of neonatal nurse practitioners as this knowledge relates to decision making in the neonatal intensive care unit and to determine whether this knowledge is reflected in attitudes toward (...) ethical dilemmas in the neonatal intensive care unit. Research design: This was a prospective cohort study that examined decision making at the threshold of viability, life-sustaining therapies for sick neonates, and a ranking of the five most impactful ethical issues. Participants and research context: All 47 neonatal nurse practitioners who had an active license in the State of Mississippi were contacted via e-mail. Surveys were completed online using Survey Monkey software. Ethical considerations: The study was approved by the University of Mississippi Medical Center Institutional Review Board (IRB; #2015-0189). Findings: Of the neonatal nurse practitioners who completed the survey, 87.5% stated that their religious practices affected their ethical decision making and 76% felt that decisions regarding life-sustaining treatment for a neonate should not involve consultation with the hospital’s legal team or risk management. Only 11% indicated that the consent process involved patient understanding of possible procedures. Participating in the continuation or escalation of care for infants at the threshold of viability was the top ethical issue encountered by neonatal nurse practitioners. Discussion: Our findings reflect deficiencies in the neonatal nurse practitioner knowledge base concerning ethical decision making, informed consent/permission, and the continuation/escalation of care. Conclusion: In addition to continuing education highlighting ethics concepts, exploring the influence of religion in making decisions and knowing the most prominent dilemmas faced by neonatal nurse practitioners in the neonatal intensive care unit may lead to insights into potential solutions. (shrink)

Poetry holds an important place as part of our cultural heritage.1 However, despite poetry’s apparent cultural value, there have been surprisingly few attempts to articulate clearly how this should be reflected in the teaching curriculum in our schools and universities. As a consequence of this lack of clarity, the cultural value of poetry gives way to the increasing emphasis on providing instrumental justification for the teaching curriculum; including poetry in the curriculum is often justified in terms of promoting transferable skills (...) and knowledge such as problem solving, understanding and interpreting language, general creativity, widening vocabulary, identifying or “spotting” techniques, and learning... (shrink)

Murdoch and Levinas both believe that our humanity requires us to suppress our natural egoism and to be morally responsive to others. Murdoch insists that while such a morality presupposes a ’transcendent background’, God should be kept out of the picture altogether. By contrast, Levinas argues that, in responding morally to others, we make contact with God (though not the God of traditional Christianity) and that in doing so we become more God-like. I attempt to clarify their agreements and differences, (...) and I offer some criticisms of their conception of humanity, God, and the relationship between them. (shrink)

HUMAN IMMORTALITY AND PRE-EXISTENCE PART I HUMAN IMMORTALITY I do not propose to offer here any arguments in support of the positive assertion that men are ...

Francis Bacon, the English philosopher, statesman and jurist, is best known for developing the empiricist method which forms the basis of modern science. Bacon's writings concentrated on philosophy and judicial reform. His most significant work is the Instauratio Magna comprising two parts - The Advancement of Learning and the Novum Organum. The first part is noteworthy as the first major philosophical work published in English. James Spedding and his co-editors arranged this fourteen-volume edition, published in London between 1857 and 1874, (...) not in chronological order but by subject matter, so that different volumes would appeal to different audiences. The material is divided into three parts: philosophy and general literature; legal works; and letters, speeches and tracts relating to politics. Volume 7, published in 1859, continues Bacon's literary works including his writings on religion, and contains his professional works on the law. (shrink)

Francis Bacon, the English philosopher, statesman and jurist, is best known for developing the empiricist method which forms the basis of modern science. Bacon's writings concentrated on philosophy and judicial reform. His most significant work is the Instauratio Magna comprising two parts - The Advancement of Learning and the Novum Organum. The first part is noteworthy as the first major philosophical work published in English. James Spedding and his co-editors arranged this fourteen-volume edition, published in London between 1857 and 1874, (...) not in chronological order but by subject matter, so that different volumes would appeal to different audiences. The material is divided into three parts: philosophy and general literature; legal works; and letters, speeches and tracts relating to politics. Volume 8, published in 1862, contains letters, and miscellaneous writings relating to Bacon's political duties from 1561 to 1594, offering a valuable insight into Elizabethan statecraft. (shrink)

"In the same period Wagner was deeply inspired by the works of Shakespeare, an influence that runs throughout this volume. The title essay, "Actors and Singers," is one of Wagner's most deliberate and philosophical writings. He wrote, "Art ceases, strictly speaking, to be Art from the moment it presents itself as Art to our reflecting consciousness. " He described how the unconsciousness of art, and thus art's power, connected natural genius to cultivate traditions.

I defend a form of naturalism which has much in common with Iris Murdoch's ‘true naturalism’, but I argue that it can accommodate God. I consider what it could mean for naturalism to be theistic in this sense, and respond to the charge that it leaves no room for the transcendent.

Transhumance is a form of extensive livestock production that involves seasonal movements among ecological zones or landscape types. Rangeland-based transhumance constitutes an important social and economic relationship to nature in many regions of the world, including across the Western US. However, social and ecological drivers of change are reshaping transhumant practices, and managers must adapt to increased demands for public rangeland use. Specifically, concerns for wildlife conservation have led to reduced access to seasonal public lands grazing for western US livestock (...) producers. To understand how managers adapt to loss of grazing areas (called “seasonal ranges”) we create agroecological calendars from manager records spanning 35 years (1986–2021) at the US Sheep Experiment Station in Idaho and Montana, US. The calendars illustrate how a loss of winter and summer ranges after 2013 coincided with shifts in the operation’s adaptive strategies, leading to more grazing of fall crop residue and purchased winter feed, and reducing flexibility to move livestock to cope with variable forage conditions. These changes shifted the job duties and experiences of farm workers and managers, and raised several new questions related to sheep production and vegetation management outcomes that merit future research. Transhumant system transformation has implications for human relationships with nature, rural communities, sheep genetics, production, and vegetation communities. For livestock operations that rely on government-managed lands to sustain transhumant traditions, innovative forms of collaboration and social adaptation that help secure access to seasonal ranges will be as important as technological innovations to address biodiversity conservation, climate change adaptation, and food system sustainability issues that are reshaping access to grazing lands. (shrink)

Kant holds that the whole “higher faculty of knowledge” (‘reason’ or ‘understanding’ in a broad sense), is a spontaneous faculty. But what could this mean? It seems that it could either be a perfectly innocent claim or a very dangerous one. The innocent thought is that reason is spontaneous because it is not wholly passive, not just a slave to what bombards the senses. If so, then the rejection of Hume’s radical empiricism would suffice for Kant’s claim. But the dangerous (...) thought is that reason, and the ‘I think’ which expresses it, is free, having the power to produce something entirely from itself. While this freedom is characteristic of practical reason, could it be characteristic of reason in general, even in its theoretical employment? Some contemporary interpreters have admirably defended the ‘dangerous’ conception by stripping it of the implication that it makes reason in general entirely self-sufficient. I attempt to add to this effort. However, what I contend is that this weightier conception of spontaneity (‘absolute’ or ‘non-relative’ spontaneity) requires abandoning a certain approach to the question that has been assumed by virtually everyone in the debate—namely, that the question can be answered by siding with either the so-called ‘metaphysical’ or the ‘epistemic’ interpreters of Kant. My goal is to suggest that the proper perspective on reason’s spontaneity resists such characterizations all together, and thereby resists any of the conditions under which it could be understood as ‘relative’ to anything. (shrink)

Mack and Rock show evidence that no consciousperception occurs without a prior attentiveact. Subjects already executing attention taskstend to neglect visible elements extraneous tothe attentional task, apparently lacking evenbetter-than-chance ``implicit perception,''except in certain cases where the unattendedstimulus is a meaningful word or has uniquepre-tuned salience similar to that ofmeaningful words. This is highly consistentwith ``enactive'' notions that consciousnessrequires selective attention via emotional subcortical and limbic motivationalactivation as it influences anterior attentionmechanisms. Occipital activation withoutconsciousness suggests that motivated search,enacted through the organism's (...) subcorticalmotivational functions, is needed beforevisual stimulation engenders consciousness.This enactive view – that searching for,rather than receiving or processing input isthe basis of consciousness – was slow ingaining acceptance lacking empirical evidenceof this kind, combined with thestimulus-response assumption that brain eventssubserving perceptual consciousness must resultfrom transformation of perceptual input ratherthan from the organism's self-regulatedactivity as manifested through subcorticalactivity. Implicit perception occurring withword priming is ``paradoxical'' according to Mackand Rock, suggesting late selection forattention after extensive unconsciousprocessing, while most trials involvingnonverbal rather than verbal images mightsuggest earlier selection, sinceunattended objects are unseen, apparently evenimplicitly. This paper argues that anteriorand subcortical motivational mechanisms play animportant role in early selection; posteriormechanisms then unconsciously enhance signals;if data survive early gating andcorticothalamic enhancement, then still further anterior-limbic loops motivatedlyactivate ``image schemas'' resonating withposterior nonconscious processing; at thatpoint, consciousness occurs. (shrink)

Problems in peer review, the backbone of maintaining high standards in scientific publishing, have led to wide spread discontent within the scientific community. Training in the peer review process and a simpler format to assist in decision making are possible courses to improve and expedite the process of peer review and scientific publishing. The authors discuss problems in the peer review process focusing on challenges related to major revisions and reviewer's wish list of experiments; this leads to the loss of (...) time and money. Major revisions rarely lead to significant improvements, while simultaneously delay the dissemination of knowledge. The authors propose simple solutions including training peer reviewers to improve the peer review system. (shrink)