In the United States, hate speech sits at the intersection of ethical and legal debates and has a complex relationship with journalism. The First Amendment provides broad legal protections for hate...

Humans’ indigenous microbes strongly influence organ functions in an age‐ and diet‐dependent manner, adding an important dimension to aging biology that remains poorly understood. Although age‐related differences in the gut microbiota composition correlate with age‐related loss of organ function and diseases, including inflammation and frailty, variation exists among the elderly, especially centenarians and people living in areas of extreme longevity. Studies using short‐lived as well as nonsenescent model organisms provide surprising functional insights into factors affecting aging and implicate attenuating effects (...) of microbes as well as a crucial role for certain transcription factors like forkhead box O. The unexpected beneficial effects of microbes on aged animals imply an even more complex interplay between the gut microbiome and the host. The microbiome constitutes the major interface between humans and the environment, is influenced by biosocial stressors and behaviors, and mediates effects on health and aging processes, while being moderated by sex and developmental stages. (shrink)

Hobbes's relation to the later Aristotelian tradition, in both its scholastic and its humanists variants, has been increasingly explored by scholars. However, on two fundamental points (the naturalness of the city and the use of the matter/form distinction in the political works), there is more to be said in this connection. A close examination of a range of late Renaissance commentaries on Aristotle's Politics shows that they elucidate a picture of pre-civic human nature that had (contrary to Hobbes's implication) much (...) in common with that of Hobbes. Moreover, they deployed the matter-form distinction in their analysis of the city or civitas in ways that are in important respects similar to Hobbes's procedure in De cive and Leviathan . The paper concludes that Hobbes drew on this tradition in multiple ways while at the same time undermining some of its principal conclusions; Hobbes was in no sense an 'Aristotelian' even if his philosophy has substantial debts to Aristotelianism. (shrink)

It would be difficult to find a major figure in the history of European political thought who would not have attempted to say something about how authority emerges, or is justified and critiqued, in the world beyond the single polity. Quite frequently, that effort would have involved some idea about a legal order, or at least a set of rules or regularities applicable in that world. Thomas Hobbes was neither the first nor the last major thinker who believed that (...) the 'international' realm was characterised by the independence of states existing 'in the state and posture of gladiators', thus apparently denying that legal rules or practices or legal thinking could have much relevance therein. Yet others believed, as Immanuel Kant did, that without a constitutional vocabulary not much that was meaningful could be said about the human pursuit of freedom, and that silence about the latter would not only constitute a moral failure but an intellectual and perhaps political mistake. For a long time, the idiom of natural law claimed to offer a universally valid frame for thinking about the nature of the political, as well as providing authority for lawyers' speculations about the rules and principles governing the conduct of individuals and corporate bodies wherever they might move. The name of the relevant discipline at German universities from the late seventeenth century onwards-ius naturae et gentium, the law of nature and of nations-revealed the full scope of its ambition. That discipline may have died away (although that is a debatable proposition) but any political thinking worth its salt will today (perhaps especially in the twenty-first century) aim to say something about how authority emerges, is maintained or critiqued not only within but also outside the single state. The world of 'nations' or even 'humanity' is established as an important theme of political and legal speculation. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

According to Thomas Kelly, traditional skeptical arguments can be conceived in terms of bias. The main aim of this paper is not to challenge Kelly’s conclusions, but rather to draw some interesting consequences from them. Specifically, in addition to cases of biased judgments, which draw the ire of the skeptic, there are also cases of biased suspension of judgment. By examining cases of racially biased suspension of judgment and comparing them to cases of skepticism, I argue that we can (...) help to uncover the mechanism that underlies the skeptic’s accusation of bias. In particular, I aim to show that it is the conclusiveness of one’s evidence, rather than the likelihood of the possibility at issue, that matters to the skeptic. (shrink)

In this paper, I clarify and defend some of the central ideas of Bias in response to commentators, with a special focus on the theme of skepticism. In response to Michael Veber, I defend the project of offering a modest as opposed to an ambitious response to the skeptic. In response to Jonathan Matheson, I defend my account of the way in which bias attributions function in contexts of interpersonal disagreement, as well as the claim that an unbiased believer will (...) generally be in a stronger position to resist skeptical pressure from disagreement than a biased believer. In response to Brett Sherman, I clarify the way in which my account of bias accommodates the phenomenon of biased suspension of judgment, and I explore some of the connections between bias, suspension of judgment, and skepticism. In response to Jared Celinker and Nathan Ballantyne, I defend the possibility of emergent biases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Weight of Rhetoric: Studies in Cultural DeliriumThomas B. FarrellThere is something of this anachronistic doggedness in all importance, and to use it as a criterion of thought is to impose on thought a spellbound fixity, and a loss of self-reflection. The great themes are nothing other than primeval rumblings which cause the animal to pause and try to bring them forth once again. This does not mean that (...) the hierarchy of importance should be ignored. Just as its narrow- mindedness reflects that of the system, so it is saturated with all the latter’s force and stringency. Thought ought not, however, to repeat this hierarchy, but by completing, end it. The division of the world into important and unimportant matters, which has always served to neutralize the key phenomena of social injustice as mere exceptions, should be followed up to the point where it is convicted of its own untruth. The division which makes everything objects must itself become an object of thought, instead of guiding it. The large themes will then make their appearance, though hardly in the traditional “thematic” sense, but refractedly and eccentrically.—Theodor Adorno, Minima MoraliaBoy, you’re going to carry that weight, carry that weight a long time.—The Beatles [End Page 467]Preface: on Attachments—Flowers and the InfinitesimalThe number of adjustments it takes to make a square into a circle, the number of times any real number may be subdivided before reaching zero, the grainy inflections differentiating snowflakes, the differences among petals in a tulip—these are the sort of qualitative distinctions some of us might call minute and other cynical souls might consider trivial. But if the attachment of real human interest to objects of longing is any measure of worth, then they are far from insignificant.Imagine the following sequence of events. A young kid, fourteen or so, is out with some friends one summer evening and decides—on a whimsical adolescent impulse—to pick some tulips from a neighbor’s garden to leave at a girlfriend’s front porch. What follows?The neighbors, one of whom turns out to be a self-professed horticulturist and gardening aficionado, call the police and file a criminal complaint. The girlfriend’s parents give the alleged offender’s name to the same authorities. When the kid comes to the door of the neighbors to apologize, he is verbally threatened. When he writes a letter of contrition and remorse to the neighbors, they turn the letter over to the police as evidence. One day later, the neighbors angrily phone local school officials to complain of his behavior. Two days later, when two of the kid’s accomplices are summarily removed from eighth grade, taken to the police station, fingerprinted, and booked (without being informed of their rights), the parents reluctantly secure the services of an attorney (two attorneys, actually). When an outof- court settlement is finally agreed to, it is discovered that the city police have already passed the case on to the State’s Attorney’s Office. A criminal hearing will now need to be held in juvenile court. When the hearing is held, the charges are summarily dismissed. The cost? Several hundred dollars a tulip (with side effects including migraines, despondency, two trips to the emergency room, not to mention rather hefty attorneys’ fees).As the reader has probably surmised by now, this thinly disguised episode did not occur to Gregor Samsa but to someone near and dear to your author. It did not occur in Singapore but in Evanston, Illinois. All of us can probably recall occasions when things seemed to careen wildly out of control and apparently minor matters took on disproportionately inflated significance. We struggle to “make sense” of these episodes, for ourselves and others. In the above example, two allegories about magnitude surfaced. One, relayed to me by our grizzled Chicago attorney, addressed the question [End Page 468] of how to explain these events to our son. “Tell him,” he said, “that there are a lot of jerks in the world” (except he didn’t use the word “jerks”). A second allegory emerged rather belatedly. There was more than one nonrational attachment in... (shrink)

It is very significant that Heidegger chose Die Grundprobleme der Phänomenologie, the lecture course he gave in the summer semester of 1927, to be the first publication in his monumental Gesamtausgabe.1 The text is rich in many ways, but one of its major claims to fame may rest in a footnote, taken from Heidegger's own manuscript of the course, that appears on page 1 of the published version. This elliptical footnote, which in fact functions like a subtitle for the whole (...) volume, asserts that the lecture course represents a "New elaboration of Sein und Zeit, Part One, Division Three.". (shrink)

Linear Logic is a branch of proof theory which provides refined tools for the study of the computational aspects of proofs. These tools include a duality-based categorical semantics, an intrinsic graphical representation of proofs, the introduction of well-behaved non-commutative logical connectives, and the concepts of polarity and focalisation. These various aspects are illustrated here through introductory tutorials as well as more specialised contributions, with a particular emphasis on applications to computer science: denotational semantics, lambda-calculus, logic programming and concurrency theory. The (...) volume is rounded-off by two invited contributions on new topics rooted in recent developments of linear logic. The book derives from a summer school that was the climax of the EU Training and Mobility of Researchers project 'Linear Logic in Computer Science'. It is an excellent introduction to some of the most active research topics in the area. (shrink)

This collection of essays came from an NEH Summer Seminar in 1995 at the University of Chicago.

The article “Is Google Making Us Stupid?” in last Summer’s Atlantic Monthly, raised a number of provocative, and indeed worrisome, questions about computer usage and cognitive development. For instance, persons with considerable experience of reading for the sake of pleasure report that, after a couple of years using computers a great deal, they have experienced a loss of interest in pleasure-reading, even feeling impatient when written sources do not supply the information they seek quickly and conveniently. One suggestion is that (...) these effects are somehow related to the mathematical basis of computing provided in the work of Alan Turing. Since, however, Turing's work is based on earlier work by Kurt Gödel, the question may be referred to Gödel's results and it is argued that the mathematical architecture underlying computer operation and applications in no way limits the creativity or even the cognitive activity of its users. (shrink)

What I have to present before you today will be more in the form of work in progress than a finished paper on the subject of reasoning in children. This work grew out of an NEH Summer Seminar 1988 at the University of Massachusetts, directed by Gareth Matthews. I had a number of motivations for attending this seminar, but the primary one was to have the opportunity to look at the work of Piaget on children's reasoning. The primary reason why (...) this interests me is a very pragmatic one. Often, in the course of introducing the Philosophy for Children program to teachers I am confronted with one or more "Piagetians" or "constructivists," as they sometimes seem to like to call themselves. (shrink)

In the summer of 1893, following the first publication of F.H. Bradley’s Appearance and Reality, Edward Caird and Sir Henry Jones exchanged letters, with Caird bringing criticism to bear on Bradley’s work analogous to one of Hegel’s objections to Spinoza’s theory of the attributes of substance. Spinoza’s attributes of his one reality, or substance — i.e., extension and thought and infinitely many other attributes not directly known to us — each contain this reality, and they are each a way for (...) us to know it. Hegel objected that they each failed in this owing to the abstractness of Spinoza’s ideas of the attributes. Caird held that Bradley’s metaphysics also makes the idea of reality in this way opposed to its object. The idea fails to contain reality as concrete experience. (shrink)

After completing his first degree with first class honors in philosophy and classics at Edinburgh in 1878, Pringle-Pattison was awarded a Hibbert Travelling Scholarship which he used to travel to Germany to study the work of Kant and Hegel. Interest in Hegel in Germany had waned at this time, however, and Pringle-Pattison commented that Germany was the worst place to study Hegel. In Berlin he boarded with the Stropp family whose daughter he would later marry. From Berlin he went to (...) Jena where he found John Haldane, brother of his friend and fellow student, R. B. Haldane, along with a group of Scottish students, with whom he met weekly to study Hegel's Rechtsphilosophie. In the summer of 1880 he went to Göttingen with the aim of studying with Hermann Lotze. Pringle-Pattison respected Lotze for his reassertion of the fundamental truth of the world implied in moral and spiritual experience. J. H. Muirhead says that he "was born by the Lotzean reaction to suspect the whole idea of the Absolute as a menace to individual reality in general and human personality in particular." Lotze, however, was lecturing only to beginning students that summer and Pringle-Pattison set to work on his essay for the Hibbert Trust which was published in 1882 under the title The Development From Kant to Hegel. Pringle-Pattison returned to Edinburgh in 1880 where he succeeded Sorley as Campbell Fraser's assistant. In 1883, as was mentioned above, Pringle-Pattison and R. B. Haldane edited a volume of essays written by younger Hegelians which was intended to show dissatisfaction with the content of the journal, Mind, which was dominated by English empiricism. One year later he moved to Cardiff where he took the foundation chair of philosophy. (shrink)

‘Liberty’, as a word, is thrown about contemporary society as casually as a ball is on a summer’s day, and yet, does anyone have a grasp on what it is? If it is freedom from limitation, then liberty must represent nothing less than consciousness without restraint. But though this straightforward definition implies its acquisition to be equally straightforward, the full spectrum of liberty would certainly prove to be one of the most elusive concepts imaginable. As a result, what we have, (...) and what we throw about so indifferently, is a Substitute - a poor kind of replica of the real thing. True liberty - Omniversal liberty - is much less tangible however, and represents the equilibrium that occurs when anything is possible, but where the capacity to ever allow one possibility to dominate over another becomes impossible to maintain. (shrink)

The essays in this book began as a contributions to a Summer Workshop arranged by the Calgary Institute for the Humanities, and haled at the University of Calgary from July 7 to 14, 1978. The Institute, which was founded by the University in 1976 for the encouragement of humanistic studies, has held such conferences each summer as a part of its programme of research.

In this paper, I address a question in social epistemology about the unity of a scientic community to- wards its inner groups (teams, labs...). I investigate the reasons why these groups might want to \go it alone", working among themselves and hiding their discoveries from other groups. I concentrate on the intermediate results of a longer project, where the first steps can help to achieve a more advanced result. I study to what extent the isolation of research groups might be (...) damaging to the epistemic progress of the whole community. In order to get an idea of the reason why scientists might not share their intermediate results with others, consider for example Schawlow and Townes in the summer of 1958 (the historical material is drawn from Broberg, 1991, chap. 3): together they had just designed the principle of functioning of what would be known as the laser, with the intention of constructing the rst laser, relying on their theoretical ideas. Should they have published their theoretical discovery, or rather taken advantage of their advance on possible oppo- nents and start the experimental work? They chose to publish their theoretical ideas in a scientic journal, and they also led a patent application. On the one hand, it was a valuable choice: the patent was granted and their paper was published, making them soon famous. Further- more, another scientist called Gould was to le a simi- lar patent application a few months later, in March 1959; it was refused, because of the priority of Schawlow and Townes. If the latter had not submitted their idea in 1958, the patent would certainly have been acknowl- edged to Gould. In this sense, publishing their intermediate result was a worthy strategy. On the other hand, history showed that their publication had also some drawbacks for them. Schawlow and Townes' publication triggered a race among many American laboratories for the rst experimental construction of the laser. In addition to bringing them competitors, their publication helped these competitors in crucial ways; so much so that it was another scientist, Maiman, and not Schawlow and Townes, who was able to build the rst working laser, in May 1960, and to publish the result. If Schawlow and Townes had not published their theoretical idea, there are chances that they would have been the first ones to build a laser. Their publication of the first theoretical result certainly prevented them from getting the second experimental one. In short, the best publishing strategy about an intermediate result is no easy question for a scientist. Consider now the whole community, concerned with the results available to all and with the pace of the epistemic progress. Schawlow and Townes' publication enabled the rst laser to be built quicker, as other teams could rely on their theoretical work. More generally, being able to reuse other's works seems to be a rm basis of scientic progress. Thus, for the whole community, it seems that there are only benets if intermediate results are published. As this is not necessarily the best strategy for those who reach these intermediate results, there might be a conflict between the interests of individuals and those of the whole community. The question Schawlow and Townes faced was whether they should make their discovery publicly known, or keep it for themselves to progress alone. This alternative can also arise for an entire lab, when competing with other labs on some long-run project: should it make its discoveries known to its opponents, or only share them internally among its members? At a higher level still, this question arises for what can be called scientic schools, which are groups of labs sharing some particular approach|methodological, experimental or interpre- tational, for example. At each level within the scientic community, there are competitive groups of scientists which may decide to go it alone and to prevent their results from being accessible to others. If they had good reasons for doing so, there would be dramatic consequences for the whole community: other groups would not be able to reuse their results, labour force would be wasted in achieving them again, and the progress of the eld would be slowered. 9 The aim of this paper is to investigate this risk of division: to assess the conditions under which it may oc- cur, its damage for the community, and to draw the limit of an acceptable pluralism. The reasoning with benets and drawbacks which has been sketched for Schawlow and Townes seems to be implicitly an informal economic argument. In order to clarify and to rene such an argument, I will investigate it in a rational decision framework, supposing some utility or preferences for the groups of scientists, and I will propose a formal model, in game theory. In social epistemology of science, formal models have been proposed for various questions (for example, Kitcher 1990, 1993, Goldman 2009, Strevens 2003, 2006, Weisberg and Muldoon, forthcoming, Zollman 2007, 2008, 2009, 2010), but not for the question of the division of the scientic community. I will concentrate on the normative aspect of the question, ignoring the descriptive and historical question of whether groups do go it alone or not. The model I propose is sequential: two groups are competing on a research program, which consists of several results which have to be obtained in order. The groups always carry out some research for the next result, which they reach with some probability per unit of time. When a group, say A, reaches a result, it can either make it public for the other group, or continue its research. After a result is made public, the competitor B can start from it so as to continue its own research. Thus, when A publishes it loses its lead, and its competitor will be able to compete with it in the near future. But it is also recognized as the rst to reach this step. I consider two dierent cases, one in which the number of steps is limited, another where the limit concerns the number of temporal intervals. In both cases, assuming that all steps are equally dicult and equally rewarding, it turns out that the best strategy for a group concerned with its own reward is to make public every step it takes. Thus, there is no risk that groups might separate: a scientist, whatever its group, will publish for all. Finally, I turn to more complex situations, where results have varying size or diculty: there, groups can indeed be better o going it alone. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:On NietzscheThomas ReinertOn Nietzsche, by Georges Bataille; translated by Bruce Boone; xxxiv & 199 pp. New York: Paragon House, 1994, $12.95 paper.Dating from 1944, On Nietzsche has the feel of a transitional work. Its themes of excess, risk, and self-loss had dominated Bataille’s writing since the late 1920s and do not seem freshly imagined here. They are, rather, brought together in a large, compendious argument, suggesting that at (...) this point Bataille was interested in systematizing his thoughts and ascertaining their deepest philosophical implications. A couple of years later he was to publish his major work, La part maudite, and it is tempting to see On Nietzsche as a kind of preparation for it.The book’s substantial preface lays out the vast cultural context in which Bataille sets his argument. He is concerned with experiencing “humanness” in its “entirety.” Since entirety involves an openness to all possible states, he argues, any undertaking or discipline that focuses desire—any orientation towards a goal—should be seen as a debilitating constraint. Earlier cultures seemed to indulge the free play of desire in their religious rituals; but in fact their mysticism was only a disguise for a kind of utilitarianism. The modern era’s secularism has done away with this obfuscation, and as a result the perplexing problem of human wholeness has now acutely posed itself.Generally, it is a problem of going “beyond” oneself. Bataille thinks of the self intuitively as a tender, vulnerable, delicately protected enclosure, something like an egg or a jelly. When it follows the dictates of goal-oriented thinking and the rationale of self-preservation, it pays the price of remaining single and isolated. Human “entirety” requires going beyond oneself; but this implies, in Bataille’s conceptualization, receiving a wound, being broken open and spilling out. The classical model of self-surpassing, in his view, is the wounded, crucified figure of Christ, who enables humanity to unite with divinity by subjecting his divinity to defilement.The conundrum of “going beyond oneself” is that one cannot set that activity itself as a goal for oneself. According to Bataille, even defining it theoretically, as his book tries to do, blocks the approach to it. It happens, when it happens, by chance; at most, one brings it on by taking risks, and so exposing oneself to chance. When the risk is real, it necessarily induces anxiety and distress, both because it raises the possibility of disaster, and because it neutralizes one’s powers of acting and leaves one helpless. Self-surpassing is agonizing, though it can be exuberant.More specifically, Bataille writes here about communication with other people; and, above all, about sex. Much of the book is a journal recorded between February and August 1944, at which time he was pursuing an affair with a woman he refers to as “K.” The distress of taking risks and of passively enduring chance figures here primarily in his relation with K. He felt with her [End Page 169] the impossibility of determining his fortune by his actions. Perhaps she was peculiarly unpredictable: at one point, Bataille compares her to Brett in The Sun Also Rises. But the account of their affair, like the book as a whole, unfolds at such a high level of abstraction that Bataille seems in it to expose himself to chance in general, as if the affair had been metaphysical rather than interpersonal.The book’s evocation of sex overall leaves one wondering how much Bataille’s metaphysical vocabulary gave rise to his anguish. In his terms, what is “not the self” is “nothingness”; when we make love, we go down from “transcendence” into “immanence” by “risking” ourselves in the “nothingness” of “woman’s nakedness.” The extremity of such language, the spareness of such categories, seems to generate a dire scenario that neither “communication” nor “humanness” is obliged, perhaps, to support.Thomas ReinertWellesley CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:On NietzscheThomas ReinertOn Nietzsche, by Georges Bataille; translated by Bruce Boone; xxxiv & 199 pp. New York: Paragon House, 1994, $12.95 paper.Dating from 1944, On Nietzsche has the feel of a transitional work. Its themes of excess, risk, and self-loss had dominated Bataille’s writing since the late 1920s and do not seem freshly imagined here. They are, rather, brought together in a large, compendious argument, suggesting that at (...) this point Bataille was interested in systematizing his thoughts and ascertaining their deepest philosophical implications. A couple of years later he was to publish his major work, La part maudite, and it is tempting to see On Nietzsche as a kind of preparation for it.The book’s substantial preface lays out the vast cultural context in which Bataille sets his argument. He is concerned with experiencing “humanness” in its “entirety.” Since entirety involves an openness to all possible states, he argues, any undertaking or discipline that focuses desire—any orientation towards a goal—should be seen as a debilitating constraint. Earlier cultures seemed to indulge the free play of desire in their religious rituals; but in fact their mysticism was only a disguise for a kind of utilitarianism. The modern era’s secularism has done away with this obfuscation, and as a result the perplexing problem of human wholeness has now acutely posed itself.Generally, it is a problem of going “beyond” oneself. Bataille thinks of the self intuitively as a tender, vulnerable, delicately protected enclosure, something like an egg or a jelly. When it follows the dictates of goal-oriented thinking and the rationale of self-preservation, it pays the price of remaining single and isolated. Human “entirety” requires going beyond oneself; but this implies, in Bataille’s conceptualization, receiving a wound, being broken open and spilling out. The classical model of self-surpassing, in his view, is the wounded, crucified figure of Christ, who enables humanity to unite with divinity by subjecting his divinity to defilement.The conundrum of “going beyond oneself” is that one cannot set that activity itself as a goal for oneself. According to Bataille, even defining it theoretically, as his book tries to do, blocks the approach to it. It happens, when it happens, by chance; at most, one brings it on by taking risks, and so exposing oneself to chance. When the risk is real, it necessarily induces anxiety and distress, both because it raises the possibility of disaster, and because it neutralizes one’s powers of acting and leaves one helpless. Self-surpassing is agonizing, though it can be exuberant.More specifically, Bataille writes here about communication with other people; and, above all, about sex. Much of the book is a journal recorded between February and August 1944, at which time he was pursuing an affair with a woman he refers to as “K.” The distress of taking risks and of passively enduring chance figures here primarily in his relation with K. He felt with her [End Page 169] the impossibility of determining his fortune by his actions. Perhaps she was peculiarly unpredictable: at one point, Bataille compares her to Brett in The Sun Also Rises. But the account of their affair, like the book as a whole, unfolds at such a high level of abstraction that Bataille seems in it to expose himself to chance in general, as if the affair had been metaphysical rather than interpersonal.The book’s evocation of sex overall leaves one wondering how much Bataille’s metaphysical vocabulary gave rise to his anguish. In his terms, what is “not the self” is “nothingness”; when we make love, we go down from “transcendence” into “immanence” by “risking” ourselves in the “nothingness” of “woman’s nakedness.” The extremity of such language, the spareness of such categories, seems to generate a dire scenario that neither “communication” nor “humanness” is obliged, perhaps, to support.Thomas ReinertWellesley CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

John Macquarrie's Hensley Henson Lectures for 1993-94 delivered at the University of Oxford may serve two different but not mutually exclusive audiences. First, as a brief, concise, reliable, and yet not uncritical survey of Heidegger's thought from Being and Time through his later meditative thinking of Being, this book stands at the top of my list. Following a discussion of Heidegger's career and early writings, Macquarrie devotes two chapters to his major work, Being and Time. He makes it clear that (...) Heidegger was primarily concerned with developing a general ontology, not philosophical anthropology as many persons initially thought. The fourth chapter, entitled "Theology and Metaphysics," focuses in particular on the essay "What Is Metaphysics?" including the later postscript and introduction, Introduction to Metaphysics, and A Letter on Humanism. These works take up some of the issues unfinished in Heidegger's major work and point the way towards a more direct focus on the question of Being itself. Chapter 5 is concerned with Heidegger's reflections on thinghood, technology, and art showing his development beyond the primarily instrumental world of work in his early writings to a much richer, perhaps even spiritual conception of world. In chapter 6 Macquarrie discusses three closely related topics in Heidegger's later work, thinking, language, and poetry. Here we see Heidegger's progression beyond traditional philosophical and metaphysical thinking of Being to what he calls meditative thinking, a kind of thinking and speaking of Being that has much in common with poetic thinking and speaking and an understanding of Being that finds parallels in some western and eastern mystical traditions. For the title of his seventh chapter, Macquarrie chooses the title of the well-known interview with Heidegger, "Only A God Can Save Us," published in Der Spiegel after his death. He is primarily concerned in this chapter with the understanding of Being, theology, and God. Macquarrie delays until his final chapter the discussion of Heidegger's relation to National Socialism which comprises half of the Der Spiegel article. With characteristic balance Macquarrie argues that although Heidegger's conduct at the time should not be excused or glossed over it needs to be seen in the particular historical and political context which he outlines. To this he adds two personal notes based on his experiences with German prisoners following the cessation of hostilities in 1945 and a conversation with Hannah Arendt. The conversation with Hannah Arendt took place at Heathrow Airport on May 19, 1973 where Dr. Arendt was on her way to Europe for her summer holiday. Heidegger had suggested that Edward Robinson and Macquarrie consult with Arendt if they had any special difficulties translating Being and Time, and Macquarrie and she continued to have contacts following the completion of the translation. Their conversation turned to the sales of the translation of Being and Time which had been quite large, and Macquarrie commented that Heidegger must be making a good bit of money from the translation. Arendt replied that Heidegger was not much of a business man and that most of the money went to the publisher. Macquarrie then asked, "Would you say then that it was because he is not a man of affairs that he became so involved with the Nazis in 1933?" "Yes," she said, "quite so.". (shrink)

Psychiatric disorders share an excess of seasonal birth in winter and spring, suggesting an increase of neurodevelopmental risks. Evidence suggests season of birth can serve as a proxy of harmful environmental factors. Given that prenatal exposure of these factors may trigger pathologic processes in the neurodevelopment, they may consequently lead to brain volume alterations. Here we tested the effects of season of birth on gray matter volume in a transdiagnostic sample of patients with schizophrenia and depression compared to healthy controls. (...) We found a significant effect of season of birth on gray matter volume with reduced right hippocampal volume in summer-born compared to winter-born patients with depression. In addition, the volume of the right hippocampus was reduced independent from season of birth in schizophrenia. Our results support the potential impact of season of birth on hippocampal volume in depression. (shrink)

The following text, which is now published for the first time, comes from Husserl’s manuscript A III 1 and was probably written in 1914. The text belongs to a bundle of pages which Husserl wrote down during the presentation and examination of the “Staatsexamensarbeit” of his student Jean Hering. The work “Die Lehre vom Apriori bei Lotze” was done by Hering in the summer semester 1914 in order to receive a degree that would qualify him as a secondary school teacher. (...) Although this “Staatsexamensarbeit” was never published, Hering used parts of it for his article which appeared in the Jahrbuch, “Bemerkungen über das Wesen, die Wesenheit und die Idee. Edmund Husserl zum 60. Geburtstag gewidmet”. Husserl characterized pages 5 to 8 of the manuscript A III 1 as his “own reflections” on Hering’s work. These pages are published as “Text Nr. 5” in Husserliana XLI. What follows here are pages 9 to 16 of this manuscript, which Husserl called “free excerpts”. (shrink)

Job crafting has been established as a bottom-up work design instrument for promoting health and well-being in the workplace. In recent years, the concepts of job crafting have been applied to the university student context, proving to be positively related to student well-being. Building on person-centered analyses from the employment context, we assessed approach study crafting strategy combinations and the relationships to students’ exhaustion, study engagement, and general well-being. Data from 2,882 German university students were examined, collected online during the (...) summer term in 2020. Using latent profile analysis, we found five distinct crafting groups, which showed discriminate validity with regard to emotional exhaustion, engagement, and well-being. The results underscore the positive role of study crafting for students’ health and well-being. They further indicate a less important role of increasing social resources for emotional exhaustion when combined with a moderate increase in structural resources and a moderate increase in challenging demands. Our findings imply that interventions to promote study crafting should be considered to promote student health and well-being. (shrink)

Some philosophers, like Alex Rosenberg, claim that natural science delivers epistemic values such as knowledge and understanding, whereas, say, literature and, according to some, literary studies, merely have aesthetic value. Many of those working in the field of literary studies oppose this idea. But it is not clear exactly how works of literary art embody knowledge and understanding and how literary studies can bring these to the light. After all, literary works of art are pieces of fiction, which suggests that (...) they are not meant to represent the actual world. How then can they deliver knowledge and understanding? I argue that literature and literary studies confer knowledge and understanding in at least five ways: they give us insight into the work and the world of the work of art in question, they shape our intellectual virtues, they invite us to apply various hypotheses, they deliver moral propositional knowledge, and they increase or bring about full understanding with respect to meaning, virtue, and significance. In the course of my argument, I refer at several junctures to Thomas Hardy’s Tess of the D’Urbervilles and Edith Wharton’s Summer, in order to illustrate each of these claims. (shrink)

In 1905 William James wrote an essay in McClure's Magazine recalling the importance to his own work of the Scottish-born philosopher Thomas Davidson. In the essay, James states that Davidson was "essentially a teacher." What is interesting when one looks at Davidson's life and work is that, for Davidson, teaching does seem to be an essential feature of what it means to be a philosopher. Here, I develop how Davidson construes this linking of philosophy and teaching with a concluding (...) emphasis on the two schools he established: Glenmore, a summer philosophy program in the Adirondacks and the "Breadwinners' College," an open school he began for working persons in New York City. I offer this as a discussion paper so that James's recollection of Davidson's importance to his own work may provoke us to consider how we presently understand the linking of teaching and philosophy. This seems especially appropriate for an academic culture such as ours in which much of our time is spent teaching and in which we are often primarily evaluated by a separate category of professional "research." The American tradition has "lost" any number of its important.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is to (...) improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eleventh General Meeting of the International Thomas Merton SocietyNazareth College, Rochester, New York, USA, 11–14 June 2009Christine BochenThe Eleventh General Meeting of the International Thomas Merton Society was held 11–14 June 2009 at Nazareth College, Rochester, New York. The theme, “Bearing Witness to the Light: Merton’s Challenge to a Fragmented World,” invited presenters and participants to explore ways in which Thomas Merton serves as a model (...) of creative interreligious dialogue and witnesses to its importance in building a world in which the dignity of every person is respected and nurtured.General session speakers explored Buddhist, Christian, Muslim, and Hindu dimensions of Merton’s life and writings. They included Judith Simmer-Brown; James Connor, OCSO; Herbert Mason; and Rachel Fell McDermott. In addition to Judith Simmer-Brown’s presentation, “Profile of a Trappist Yogi: A Tibetan Buddhist Perspective,” and Rachel Fell McDermott’s presentation, “Why Zen Buddhism and Not Hinduism? The Asias of Thomas Merton’s Voyage East,” concurrent sessions focused on Merton and Buddhism, Merton and Zen Buddhism, and Merton and Thich Nhat Hanh.An exhibit of Merton’s photographs, “A Hidden Wholeness: The Zen Photography of Thomas Merton,” on loan from the Thomas Merton Center and Archives at Bellarmine University in Louisville, Kentucky, was on display during the meeting and through the summer in the Nazareth College library. [End Page 195]Christine BochenNazareth CollegeCopyright © 2010 University of Hawai‘i Press... (shrink)

Thomas Aquinas based on things "management" for the existence of God made ​​two different arguments, one found in the philosophy of Guinness, the other found in the Summa Theologica, which is the so-called "fifth way." First, the metaphysics, the fifth way is considered more important, so it is selected into the Summa Theologica. Secondly, I deal with this issue of the validity of the argument, stressing that this argument is based on absolute basis of experience. Thomas Aquinas presents (...) two different argument for the existence of a God based on the "government" of things, one in the Summer contra Gentiles and one in the Summa Theologiae, the latter the so-called "Fifth way". First, I argue that the Fifth way is metaphysically more fundmental, for which reason it is selected for use in the later Summa. Secondly, I address the question of the argument's validity, alling attention to its foundation in absolutely fundamental experience. (shrink)

This article uses behavioral theories to develop an ethical decision-making model that describes how psychological factors affect the development of unethical intentions to commit fraud. We evaluate the effects of the dark triad of personality traits on fraud intentions and behaviors. We use a combination of survey results, an experiment, and structural equation modeling to empirically test our model. The theoretical insights demonstrate that psychopathy, Machiavellianism, and narcissism affect different parts of the unethical decision-making process. Narcissism motivates individuals to act (...) unethically for their personal benefit and changes their perceptions of their abilities to successfully commit fraud. Machiavellianism motivates individuals not only to act unethically, but also alters perceptions about the opportunities that exist to deceive others. Psychopathy has a prominent effect on how individuals rationalize their fraudulent behaviors. Accordingly, we find that the dark triad elements act in concert as powerful psychological antecedents to fraud behaviors. (shrink)

In the year 1842, Thomas Cole (1801-1848) painted a set of four oil paintings entitled THE VOYAGE OF LIFE. As the title indicates, the artist likened life to a voyage. This voyage begins with man emerging as a child from a dark cave into the river of life in a spring setting. As this voyage through the river of life continues, man is seen passing through the stages of youth, manhood, & then finally old age. Likewise, the setting of (...) nature is seen correspondingly passing through the stages of summer, autumn, & then finally winter. Any voyage must have a starting point, destination & duration. Also any voyage is a continuation of some sort of existence, & there is a continuity of existence after the voyage is complete. What is this voyage? Why does it have to exist? What existed before this voyage? What will happen after the destination is reached? Why is it short for some, long for others? Why is it easier for some, harder for others? Daheshism deals with these issues & many others. Daheshism is a revolution in the human approach to philosophy, life & religion. It is a new garment for the body of traditional thought & belief. The aim of Daheshism is to provide a universal belief that encompasses all other beliefs. It accomplishes synthesis rather than fragmentation of religious beliefs & expansion rather than contraction of philosophical thought. To order: P.O. Box 16680-8680, Alexandria, VA 22302. Telephone: 703-845-8223, FAX 703-845-8224 or Baker & Taylor Books. (shrink)

Building on existing studies suggesting that corporate social performance (CSP) is important in the job choice process, the authors investigate job seekers’perceptions of importance of CSP and explore effects of CSP dimensions on organizational attractiveness. Job seekers consider CSP important to assessment of firms and rate five specific CSP dimensions (environment, community relations, employee relations, diversity, and product issues) as more important than six other CSP dimensions. Using signaling theory and social identity theory, the authors hypothesize differences in effects of (...) CSP data on ratings of employer attractiveness and find that environment, community relations, and diversity dimensions have the largest affect on attractiveness ratings. (shrink)