Certain nonwords, like maluma and takete, are associated with roundness and sharpness, respectively. However, this has typically been demonstrated using explicit tasks. We investigated whether this association would be detectable using a more implicit measure—a sequential priming task. We began with a replication of the standard Maluma/Takete effect before examining whether round and sharp nonword primes facilitated the categorization of congruent shapes. We found modest evidence of a priming effect in response accuracy. We next examined whether nonword primes affected categorization (...) of ambiguous shapes, using visual and auditory primes. We found that ambiguous shapes were categorized as round more often following the presentation of a round nonword. This suggests that phonemes may activate related shape information which then affects the processing of shapes, and that this association emerges even when participants are not explicitly searching for it. (shrink)

There are considerable gaps in our knowledge of how children develop abstract language. In this paper, we tested the Affective Embodiment Account, which proposes that emotional information is more essential for abstract than concrete conceptual development. We tested the recognition memory of 7- and 8-year-old children, as well as a group of adults, for abstract and concrete words which differed categorically in valence. Word valence significantly interacted with concreteness in hit rates of both children and adults, such that effects of (...) valence were only found in memory for abstract words. The pattern of valence effects differed for children and adults: children remembered negative words more accurately than neutral and positive words, whereas adults remembered negative and positive words more accurately than neutral words. In addition, signal detection analysis revealed that children were better able to discriminate negative than positive words, regardless of concreteness. The findings suggest that the memory accuracy of 7- and 8-year-old children is influenced by emotional information, particularly for abstract words. The results are in agreement with the Affective Embodiment Account and with multimodal accounts of children’s lexical development. (shrink)

Research suggests that typically developing children begin to understand verbal irony around 5 or 6 years of age. Children's production of verbal irony, however, has not previously been examined. This study was a preliminary investigation of children's irony production, including both verbal and gestural (nonverbal) forms. We coded instances of irony in interactions within 118 family triads, each consisting of 1 parent and 2 children, aged 3 to 15 years. Triads performed an 8-min cooperative task with dominos. In this context, (...) gestural irony was used more frequently than verbal irony: 80% of the families used gestural irony at least once and 32% used verbal irony at least once. Children produced gestural irony as early as 4 years of age, and verbal irony as early as 5 years of age. Children's use of irony was not related to their general cognitive ability or vocabulary, but was related to use of irony by other members of the triad. Results suggest that social context is important to the emergence of irony production. (shrink)

This article examined the effects of body–object interaction (BOI) on semantic processing. BOI measures perceptions of the ease with which a human body can physically interact with a word's referent. In Experiment 1, BOI effects were examined in 2 semantic categorization tasks (SCT) in which participants decided if words are easily imageable. Responses were faster and more accurate for high BOI words (e.g., mask) than for low BOI words (e.g., ship). In Experiment 2, BOI effects were examined in a semantic (...) lexical decision task (SLDT), which taps both semantic feedback and semantic processing. The BOI effect was larger in the SLDT than in the SCT, suggesting that BOI facilitates both semantic feedback and semantic processing. The findings are consistent with the embodied cognition perspective (e.g.,, Perceptual Symbols Theory), which proposes that sensorimotor interactions with the environment are incorporated in semantic knowledge. (shrink)

The Body–Object Interaction (BOI) variable measures how easily a human body can physically interact with a word's referent (Siakaluk, Pexman, Aguilera, Owen, & Sears, ). A facilitory BOI effect has been observed with adults in language tasks, with faster and more accurate responses for high BOI words (e.g., mask) than for low BOI words (e.g., ship; Wellsby, Siakaluk, Owen, & Pexman, ). We examined the development of this effect in children. Fifty children (aged 6–9 years) and a group (...) of 21 adults completed a word naming task with high and low BOI words. Younger children (aged 6–7 years) did not show a BOI effect, but older children (aged 8–9 years) showed a significant facilitory BOI effect, as did adults. Magnitude of children's BOI effect was related to age as well as reading skills. These results suggest that bodily experience (as measured by the BOI variable) begins to influence visual word recognition behavior by about 8 years of age. (shrink)

In this study, we examined the effects of emotional experience, a relatively new dimension of emotional knowledge that gauges the ease with which words evoke emotional experience, on abstract word processing in the Stroop task. In order to test the context-dependency of these effects, we accentuated the saliency of this dimension in Experiment 1A by blocking the stimuli such that one block consisted of the stimuli with the highest emotional experience ratings and the other block consisted of the stimuli with (...) the lowest emotional experience ratings. We attenuated the saliency of this dimension in Experiment 1B by intermixing the stimuli. We observed slower color naming performance for words with higher emotional experience ratings only in Experiment 1A, suggesting that the dimension of emotional experience is an aspect of semantic representation for abstract words but that its influence can be modulated by context. We interpret these results more generally using Vigliocco, Meteyard, Andrews, and Kousta's framework of semantic representation, and more specifically using Cohen, Dunbar, and McClelland's model of Stroop task performance. (shrink)

ObjectiveParenting sensitivity and mutual parent-child attunement are key features of environments that support children’s learning and development. To-date, observational measures of these constructs have focused on children aged 2–6 years and are less relevant to the more sophisticated developmental skills of children aged 7–8 years, despite parenting being equally important at these ages. We undertook a rigorous process to adapt an existing observational measure for 7–8-year-old children and their parents. This paper aimed to: describe a protocol for adapting an existing (...) framework for rating parent-child interactions, determine variations in parents’ sensitive responding and parent-child mutual attunement by family demographics, and evaluate the psychometric properties of the newly developed measure.MethodParent-child dyads completed one home visit, including a free-play observation and parent questionnaire. Dyads were provided with three toy sets: LEGO® Classic Box, Classic Jenga®, and animal cards. The Coding of Attachment-Related Parenting was adapted for use with 7–8-year-old children, and rating procedures were streamlined for reliable use by non-clinician/student raters, producing the SCARP:7–8 Years. Trained staff rated video-recorded observations on 11 behaviors across two domains.ResultsData were available for 596 dyads. Consistently strong inter-rater agreement on the 11 observed behaviors was achieved across the 10-week rating period. Average ICCs were 0.77 for sensitive responding and 0.84 for positive mutuality. These domains were found to be related but distinct constructs. For both domains, average ratings were strongly associated with the main toy used during the observation. Adjusted multivariate linear regression models revealed that less sensitive responding was associated with younger parent, male parent, non-English speaking background, and greater neighborhood disadvantage. Construct validity was demonstrated using six parent-reported psychosocial and parenting measures.ConclusionThe SCARP: 7–8 Years shows promise as a reliable and valid measure of parent-child interaction in the early school years. Toy selection for direct observation should be considered carefully in research and practice settings. (shrink)

Softlifting (software piracy by individuals) is an unethical behavior that pervades today''s computer dependent society. Since a better understanding of underlying considerations of the behavior may provide a basis for remedy, a model of potential determinants of softlifting behavior is developed and tested. The analysis provides some support for the hypothesized model, specifically situational variables, such as delayed acquisition times, and personal gain variables, such as the challenge of copying, affect softlifting behavior. Most importantly, the analysis indicated that ethical perception (...) of softlifting has no significant affect on softlifting behavior. These findings suggest major implications for both software manufacturers and academicians attempting to reduce piracy behavior through ethics instruction. (shrink)

Human genomics is a translational field spanning research, clinical care, public health, and direct-to-consumer testing. However, law differs across these domains on issues including liability, consent, promoting quality of analysis and interpretation, and safeguarding privacy. Genomic activities crossing domains can thus encounter confusion and conflicts among these approaches. This paper suggests how to resolve these conflicts while protecting the rights and interests of individuals sequenced. Translational genomics requires this more translational approach to law.

Numerous scenarios explain the origin of the eukaryote cell by fusion or endosymbiosis between an archaeon and a bacterium (and sometimes a third partner). We evaluate these hypotheses using the following three criteria. Can the data be explained by the null hypothesis that new features arise sequentially along a stem lineage? Second, hypotheses involving an archaeon and a bacterium should undergo standard phylogenetic tests of gene distribution. Third, accounting for past events by processes observed in modern cells is preferable to (...) postulating unknown processes that have never been observed. For example, there are many eukaryote examples of bacteria as endosymbionts or endoparasites, but none known in archaea. Strictly post‐hoc hypotheses that ignore this third criterion should be avoided. Applying these three criteria significantly narrows the number of plausible hypotheses. Given current knowledge, our conclusion is that the eukaryote lineage must have diverged from an ancestor of archaea well prior to the origin of the mitochondrion. Significantly, the absence of ancestrally amitochondriate eukaryotes (archezoa) among extant eukaryotes is neither evidence for an archaeal host for the ancestor of mitochondria, nor evidence against a eukaryotic host. BioEssays 29: 74–84, 2007. © 2006 Wiley Periodicals, Inc. (shrink)

Setting optimal significance levels that minimize Type I and Type II errors allows for more transparent and well‐considered statistical decision making compared to the traditional α = 0.05 significance level. We use the optimal α approach to re‐assess conclusions reached by three recently published tests of the pace‐of‐life syndrome hypothesis, which attempts to unify occurrences of different physiological, behavioral, and life history characteristics under one theory, over different scales of biological organization. While some of the conclusions reached using optimal α (...) were consistent to those previously reported using the traditional α = 0.05 threshold, opposing conclusions were also frequently reached. The optimal α approach reduced probabilities of Type I and Type II errors, and ensured statistical significance was associated with biological relevance. Biologists should seriously consider their choice of α when conducting null hypothesis significance tests, as there are serious disadvantages with consistent reliance on the traditional but arbitrary α = 0.05 significance level. (shrink)

Bullying often results in negative coping in victims, including an increased consumption of alcohol. Recently, however, an increase in alcohol use has also been reported among perpetrators of bullying. The factors triggering this pattern are still unclear. We investigated the role of empathy in the interaction between bullying and alcohol use in an adolescent sample (IMAGEN) at age 13.97 (±0.53) years (baseline (BL), N = 2165, 50.9% female) and age 16.51 (±0.61) years (follow-up 1 (FU1), N = 1185, 54.9% female). (...) General empathic distress served as a significant moderator of alcohol use in perpetrators (F9, 493 = 17.978, p < 0.01), which was specific for males and FU1. Male perpetrators, who are generally less sensitive to distress, might thus be more vulnerable to alcohol abuse. (shrink)

Within the popular consciousness, Emma Goldman has become something of an icon, a symbol for rebellion and women’s rights. But there has been surprisingly little substantive analysis of her influence on social, political, and feminist theory. In _Feminist Interpretations of Emma Goldman,_ Weiss and Kensinger present essays that resist a simplistic understanding of Goldman and instead attempt to examine her thinking in its proper social, historical, and philosophical context. Only by considering the sources, influences, and specific significance of Goldman’s ideas (...) can her proper place in feminist theory be truly understood. In addition to the editors, the contributors are Martha A. Ackelsberg, Kathryn Pyne Addelson, Lynne M. Adrian, Berenice A. Carroll, Voltairine de Cleyre, Janet E. Day, Candace Falk, Kathy E. Ferguson, Marsha Aileen Hewitt, Lori Jo Marso, Jonathan McKenzie, Alix Kates Shulman, Craig Stalbaum, Jason Wehling, and Alice Wexler. (shrink)

The development of the mind follows the path of biological evolution towards the accumulation and transmission of information with increasing efficiency. In addition to the cognitive constants of speech (Solntsev, 1974), which greatly improved the transmission of information, people have created computing devices, from the abacus to the quantum computer. The capabilities of computers classified as artificial intelligence are developing at a rapid pace. However, at the present stage, artificial intelligence (AI) lacks an emotion module, and this makes AI fundamentally (...) different from human intelligence, since the life of the mind in humans cannot be separated from their feelings (Damasio, 2010; Panksepp, 1997). Consciousness itself is formed through the sensory and motor systems, that is, it is embodied (Foglia & Wilson, 2013), which means that our mental life is inseparable from our sensory motor experience (Wellsby & Pexman, 2014). Evolutionarily, our minds rely on ancient survival mechanisms that influence our decisions and choices. Hence, for example, the question whether the choice of Artificial Intelligence will always be favorable for humanity. (shrink)

The functioning of a subject in a changing environment is most effective from the point of view of survival if the subject can form, maintain and use internal representations of the external world for decision-making. These representations are also called reflection in a broad sense. Using it, one can win in reflexive games since an internal representation of the enemy allows predicting their future moves. The goal is to assess the reflexive potential of heuristic model objects – artificial neural networks (...) – in the reflexive games “Even-Odd” (or “Matching pennies”) and “Rock-Paper-Scissors”. We used homogeneous fully connected neural networks of small sizes (from 8 to 45 neurons). Games were played between neural networks with different configurations and parameters (size, step size for modifying weight coefficients). A set of reflexivity criteria is presented, corresponding to different levels of consideration: neuronal, behavioral, formal. The transitivity of formal success in the game is shown. The most successful configurations, however, may not meet other criteria of reflexivity. We hypothesize that the best compliance with the criteria and, as a consequence, universal success in reflection tasks is achievable for heterogeneous configurations with a structure in which the formation of hierarchical systems of attractors is possible. (shrink)

Book reviewed in this article: The Philosophical Assessment of Theology: Essays in Honour of Frederick C. Copleston. Edited by Gerard J. Hughes. Language, Meaning and God: Essays in Honour of Herbert McCabe OP. Edited by Brian Davies. God Matters. By Herbert McCabe. Philosophies of History: A Critical Essay. By Rolf Gruner. The ‘Phaedo’: A Platonic Labyrinth. By Ronna Burger. Lessing's ‘Ugly Ditch’: A Study of Theology and History. By Gordon E. Michalson, Jr. Peirce. By Christopher Hookway. Frege: Tradition and Influence. (...) Edited by Crispin Wright. The Private World. Selections from the Diario Íntimo and Selected Letters 1890–1936. By Miguel de Unamuno, translated by Anthony Kerrigan, Allen Lacy, Martin Nozick. A Third Collection: Papers by Bernard J.F. Lonergan, S.J. Edited by Frederick E. Crowe. Philosophical Papers. By Charles Taylor. 2 vols. Principles of Language and the Mind. By T.P. Waldron. The Principle of Double Effect: A Critical Appraisal of its Traditional Understanding and its Modern Reinterpretation. By L.I. Ugorji. Human Rights: Fact or Fancy By Henry B. Veatch. Enlightenment and Alienation: An Essay towards a Trinitarian Theology. By Colin Gunton. Only Human. By Don Cupitt. The Roots of the Modern Christian Tradition. Edited by E. Rpzanne Elder. ‘Africanische Theologie’: Darstellung und Dialog.. By Heribert Rücker. African Religions in Western Conceptual Schemes. By Emefie Ikenga Metuh. The Destiny of Man: Dagaare Beliefs in Dialogue with Christian Eschatology. By Edward Kuukure. The World in Between: Christian Healing and the Struggle for Spiritual Survival. By E. Milingo. Theology in Africa. By Kwesi A. Dickson. The Future of Anglican Theology. Edited by M. Darrol Bryant. Reconciling. By John Coventry. The Genesis of Faith: The Depth Theology of Abraham Joshua Heschel. By John C. Merkle. Anthropology in Theological Perspective. By Wolfhart Pannenberg. Contemporary Approaches to the Study of Religion. Volume II: The Social Sciences. Edited by Frank Whaling. American Sociology: Worldly Rejections of Religion and Their Directions. By Arthur J. Vidich and Stanford M. Lyman. A Critical Theory of Religion: The Frankfurt School. By Rudolf J. Siebert. The Anthropology of Evil. Edited by David Parkin. The Wealth of Christians. By Redmond Mullin. Biblical Interpretation in Ancient Israel. By Michael Fishbane. Reading the Old Testament: An Introduction. By Lawrence Boadt. Old Testament Theology: Its History and Development. By John H. Hayes and Frederick C. Prussner. God's Conflict with the Dragon and the Sea: Echoes of a Canaanite Myth in the Old Testament. By John Day. Law and Wisdom from Ben Sira to Paul. By Eckhard J. Schnabel. The Order of the Synoptics: Why Three Synoptic Gospels? By Bernard Orchard and Harold Riley. The Making of Mark. By J. Duncan M. Derrett. Argumentation bei Paulus. By Folker Siegert. Christians and the Military: The Early Experience. Edited by Robert J. Daly. Origienes' Eucharistielehre im Streit der Konfessionen; Die Auslegungsgeschichte seit der Reformation. By Lothar Lies. L'église de Cappadoce au IVe siècle d'après la correspondance de Basile de Césarée. By Benpit Gain Cave Monasteries of Byzantine Cappadocia. By Lyn Rodley. Augustine of Hippo, Selected Writings. Translated with an Introduction by Mary T. Clark. Wisdom from St Augustine. By Vernon J. Bourke. A History of Religious Ideas, Vol. 3: From Muhammad to the Age of Reforms. By Mircea Eliade. Les Lectionnaires Copies Annuels: Basse‐Egypte. By Ugo Zanetti. Humanism and Scholasticism in Late Medieval Germany. By James H. Overfield. Wyclif. By Anthony Kenny. The Lady and the Virgin: Image, Attitude and Experience in Twelfth Century France. By Penny Shine Gold. Unquiet Souls: Fourteenth‐Century Saints and Their Religious Milieu. By Richard Kieckhefer. Luther: Theologian for Catholics and Protestants. Edited by George Yule. La Réforme Catholique: Le Combat de Maldonat. By Paul Schmitt. Roman Catholicism in England: From the Elizabethan Settlement to the Second Vatican Council. By Edward Norman. The Life of David Brainerd. Edited by Norman Pettit. Nineteenth Century Religious Thought in the West. Edited by Ninian Smart, John Clayton, Patrick Sherry and Steven T. Katz The Significance of Jesus Christ in Asia. By Hans Staffner. Is the Virgin Mary Appearing at Medjugorje? By René Laurentin and Ljudevit Rupčić. Mary Queen of Peace: Is the Mother of God Appearing in Medjugorje? By Lucy Rooney and Robert Fancy. (shrink)

At M. Bernard's I saw several magnificent paintings on porcelain by Monsieur Constantin. In two hundred years, Raphael's frescoes will be known only through Monsieur Constantin.Stendhal, Voyage en France, 1837If we compare the forms that the act of copying has assumed in various civilizations, we cannot fail to notice that a certain number of phenomena are specific to European culture since the Renaissance. Perhaps one of the most singular of these phenomena is the will to create and to possess imperishable (...) reproductions of works that have been singled out, at a given moment, as the brightest jewels of Western art. The history of the fortune of Graeco-Roman sculptures has been masterfully related by Francis Haskell and Nicholas Penny in Taste and the Antique: The Lure of Classical Sculpture 1500-1900, even if it would no doubt be worthwhile to give further consideration to the critical fortune of materials used for reproduction, and particularly to the particular prestige attached to bronze—from the Mantuan works of Antico to the reconstitutions of Greek Urbilder in bronze, instead of the plaster used earlier, which were executed at the beginning of the twentieth century, such as the two Doryphoros that Georg Römer realized from various ancient marble copies of Polyclitus's athlete. But, in fact, it was not only in modern Europe that copies were made in bronze. The production of copies using this alloy was particularly prevalent in imperial China after the rediscovery, in the second half of the eleventh century of our era, of a collection of archaic bronzes from the Shang era. This is why I prefer to call attention to a practice that appears to me, in contrast, to be unique to the Western world: the copying of renowned paintings in materials that are supposed to defy time. (shrink)

At M. Bernard's I saw several magnificent paintings on porcelain by Monsieur Constantin. In two hundred years, Raphael's frescoes will be known only through Monsieur Constantin.Stendhal, Voyage en France, 1837If we compare the forms that the act of copying has assumed in various civilizations, we cannot fail to notice that a certain number of phenomena are specific to European culture since the Renaissance. Perhaps one of the most singular of these phenomena is the will to create and to possess imperishable (...) reproductions of works that have been singled out, at a given moment, as the brightest jewels of Western art. The history of the fortune of Graeco-Roman sculptures has been masterfully related by Francis Haskell and Nicholas Penny in Taste and the Antique: The Lure of Classical Sculpture 1500-1900, even if it would no doubt be worthwhile to give further consideration to the critical fortune of materials used for reproduction, and particularly to the particular prestige attached to bronze—from the Mantuan works of Antico to the reconstitutions of Greek Urbilder in bronze, instead of the plaster used earlier, which were executed at the beginning of the twentieth century, such as the two Doryphoros that Georg Römer realized from various ancient marble copies of Polyclitus's athlete. But, in fact, it was not only in modern Europe that copies were made in bronze. The production of copies using this alloy was particularly prevalent in imperial China after the rediscovery, in the second half of the eleventh century of our era, of a collection of archaic bronzes from the Shang era. This is why I prefer to call attention to a practice that appears to me, in contrast, to be unique to the Western world: the copying of renowned paintings in materials that are supposed to defy time. (shrink)

Does a penny viewed at an angle in some sense look elliptical, as though projected on a two-dimensional surface? Many philosophers have said such things, from Malebranche (1674/1997) and Hume (1739/1978), through early 20th-century sense-data theorists, to Tye (2000) and Noë (2004). I confess that it doesn't seem this way to me, though I'm somewhat baffled by the phenomenology and pessimistic about our ability to resolve the dispute. I raise geometrical complaints against the view and conjecture that views of (...) this sort draw some of their appeal from over-analogizing visual experience to painting or photography. Theorists writing in contexts where vision is typically analogized to less-projective media--wax signet impressions in ancient Greece, stereoscopy in introspective psychology circa 1900--are substantially less likely to attribute such projective distortions to visual appearances. (shrink)

Several variants of Lewis's Best System Account of Lawhood have been proposed that avoid its commitment to perfectly natural properties. There has been little discussion of the relative merits of these proposals, and little discussion of how one might extend this strategy to provide natural property-free variants of Lewis's other accounts, such as his accounts of duplication, intrinsicality, causation, counterfactuals, and reference. We undertake these projects in this paper. We begin by providing a framework for classifying and assessing the variants (...) of the Best System Account. We then evaluate these proposals, and identify the most promising candidates. We go on to develop a proposal for systematically modifying Lewis's other accounts so that they, too, avoid commitment to perfectly natural properties. We conclude by briefly considering a different route one might take to developing natural property-free versions of Lewis's other accounts, drawing on recent work by Williams. (shrink)

Since the publication of David Lewis's ''New Work for a Theory of Universals,'' the distinction between properties that are fundamental – or perfectly natural – and those that are not has become a staple of mainstream metaphysics. Plausible candidates for perfect naturalness include the quantitative properties posited by fundamental physics. This paper argues for two claims: (1) the most satisfying account of quantitative properties employs higher-order relations, and (2) these relations must be perfectly natural, for otherwise the perfectly natural properties (...) cannot play the roles in metaphysical theorizing as envisaged by Lewis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Irreplaceable Cannot Be ReplacedEllen HarveyThe Irreplaceable Cannot Be Replaced, Ellen Harvey, 2008. Photographs: Jan Baracz.People in New Orleans were invited to submit images or descriptions of irreplaceable places, people, or things lost to Hurricane Katrina. Eleven submissions were chosen at random and the artist painted 16” x 20” oil paintings based on those submissions. All thirty texts that were submitted were framed and exhibited along with the paintings (...) at the Contemporary Arts Center/New Orleans as part of the exhibition Something from Nothing, curated by Dan Cameron. Texts without a painting were accompanied by a framed black panel. At the end of the exhibition, all of the paintings and the framed texts were given away to the participants.Ellen Harvey was born in the United Kingdom and lives and works in Brooklyn, NY. She has exhibited extensively in the US and internationally and was most recently included in the 2008 Whitney Biennial. Recent solo exhibitions include Private Collections at Locks Gallery, Philadelphia, The Museum of Failure at Luxe Gallery, New York, Beautiful/Ugly at Magnus Müller in Berlin, Bad Mirror at Galerie Gebruder Lehmann in Dresden, Mirror at the Pennsylvania Academy, and A Whitney for the Whitney at Philip Morris at the Whitney Museum at Altria. She took part in the Whitney Independent Study Program and the PS1 Studio Program. Recent awards include a Pennies from Heaven Grant, a Philadelphia Exhibitions Initiative Grant, a Rema Hort Mann Foundation Grant, a Palm Beach County Cultural Council Grant, and a New York Foundation for the Arts Fellowship. She has completed projects for both the New York and Chicago Transit Authorities, most recently including a mosaic for the new Metro-North Yankee Stadium Station. The New York Beautification Project was published by Gregory Miller in 2005, and Ellen Harvey: Mirror was published by the Pennsylvania Academy in 2006. Click for larger view View full resolutionI am 87 years old living in a trailer on our property in New Orleans.We had 5 ft of water, which remained in the house 6 weeks creating mold to the ceiling.We lost everything. When I read Chris Rose’s column (he’s my favorite columnist in the whole world) it brought to mind my mother’s two dining room chairs that had been around as long as I can remember. I had them restored in about 1976 by Senior Citizens in classes of the “Peoples Program” sponsored by the nuns on Mirabean Ave. The wood was polished and varnished with a light brown stain and the seats were re-caned. I was born in 1920 so the chairs could be 75 years old. Anyway I can imagine you will have many interesting subjects to choose from but I’m submitting mine hoping I’ll be one of the very fortunate ones selected.I am terrible at drawing but will give you as complete a description as I can.I loved those chairs and enjoyed them for extra seating on holidays and at parties and they were conversation pieces.Alice Delaney[End Page 2] Click for larger view View full resolutionThere are so many “washed away” treasures, that the memorialization of even just one will be everlastingly meaningful to the community.I am submitting photographs of porcelain dolls, which I had crafted prior to the disaster. The dolls shown were created from commercial molds and were ready to go to a “new home.” Needless to say these dolls were submerged under water for at least two weeks. I call them my “children of the flood” but have not had the courage to disassemble them. I was able to rescue some doll parts and am in the process of cleaning, sorting and sanitizing them for future assembly.If I am ever able to get back to my very rewarding hobby, which was helpful in supplementing my retirement income, I will have to replace my electronic kiln and most of my doll making supplies. Many of the molds that were destroyed are no longer available. However, I will keep the memories dear, I have been fortunate enough to replace my sewing machines and some of the fabric used for clothing and doll... (shrink)

In this paper we focus on what is referred to as the ‘mineness’ of experience, that is, the intimate familiarity we have with our own thoughts, perceptions, and emotions. Most accounts characterize mineness in terms of an experiential dimension, the first-person givenness of experience, that is subsumed under the notion of minimal self-consciousness or a ‘minimal self’. We argue that this account faces problems and develop an alternative account of mineness in terms of the coherence of experiences with what we (...) label an ‘embodied biography’. Building on a near consensus among consciousness researchers over the function of consciousness as integrating infor- mation, we argue that the phenomenology of mineness consists in the absence of any further thought on top of the experience itself. Finally we argue that this non-phenomenological account of mineness fits well with existing data on pathologies of mineness such as delusions of thought insertion. (shrink)

AimsThis study evaluates a protocol for early, routine ethics consultation for patients on extracorporeal membrane oxygenation to support decision-making in the context of clinical uncertainty with the aim of mitigating ethical conflict and moral distress.MethodsWe conducted a single-site qualitative analysis of EC documentation for all patients receiving ECMO support from 15 August 2018 to 15 May 2019. Detailed analysis of 20 ethically complex cases with protracted ethics involvement identifies four key ethical domains: limits of prognostication, bridge to nowhere, burden of (...) treatment and system-level concerns. There are three subthemes: relevant contextual factors, the role of EC and observed outcomes. Content analysis of transcripts from interviews with 20 members of the multidisciplinary ECMO team yields supplemental data on providers’ perceptions of the impact of the early intervention protocol.ResultsLimited outcome data for ECMO, unclear indications for withdrawal, adverse effects of treatment and an obligation to attend to programme metrics present significant ethical challenges in the care of this patient population. Upstream EC mitigates ethical conflict by setting clear expectations about ECMO as a time limited trial, promoting consistent messaging among multiple services and supporting surrogate decision-makers. When ECMO becomes a ‘bridge to nowhere’, EC facilitates decision-making that respects patient values yet successfully sets limits on non-beneficial use of this novel therapy.ConclusionData from this study support the conclusion that ECMO poses unique ethical challenges that necessitate a standardised protocol for early, routine EC—at least while this medical technology is in its nascent stages. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of (...) the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In Science Without Numbers (1980), Hartry Field defends a theory of quantity that, he claims, is able to provide both i) an intrinsic explanation of the structure of space, spacetime, and other quantitative properties, and ii) an intrinsic explanation of why certain numerical representations of quantities (distances, lengths, mass, temperature, etc.) are appropriate or acceptable while others are not. But several philosophers have argued otherwise. In this paper I focus on arguments from Ellis and Milne to the effect that one (...) cannot provide an account of quantity in ''purely intrinsic'' terms. I show, first, that these arguments are confused. Second, I show that Field's treatment of quantity can provide an intrinsic explanation of the structure of quantitative properties; what it cannot do is provide an intrinsic explanation of why certain numerical representations are more appropriate than others. Third, I show that one could provide an intrinsic explanation of this sort if one modified Field's account in certain ways. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.2 (2002) 275-286 [Access article in PDF] Cum Vicensimariis Magnam Mantissam Habet (Petronius Satyricon 65.10) Marc Kleijwegt AT PETRONIUS Satyricon 65.10 1 THE STONEMASON HABINNAS provides an explanation for his late arrival at Trimalchio's party. 2 He has been attending a ninth-day memorial feast in honor of one of Scissa's slaves, whom she 3 had manumitted on his deathbed: "Scissa lautum novendiale servo suo misello (...) faciebat, quem mor tu um manu miserat." 4 And he adds: "et puto, cum vicensimariis magnam mantissam habet; quinquaginta enim millibus aestimant mortuum." 5 Although we do not know what type of skills the dead man possessed, there is no need to assume that the amount set by the tax officials was incredibly high. Such amounts, and indeed much higher ones, were regularly paid for [End Page 275] exceptionally talented or attractive slaves. 6 By way of comparison, fifty thousand sesterces is the amount claimed to have been paid by a doctor from Assisi in return for his freedom (CIL 11.5400). Above all, there is nothing peculiar about Scissa having to pay the tax on manumission. She manumitted the slave before he died and is now liable to pay 5 percent of his estimated value in tax. And yet Habinnas seems to find the situation extremely funny.The key word is mantissa, the meaning of which is controversial and subject to much misunderstanding. While the majority of Petronians translate magnam mantissam as "enormous sum" or "pretty penny," 7 others prefer to read it as "huge conflict." 8 However, the former raises serious grammatical objections—it would take cum in a strained sense (cf. Smith 1975, 184), and the latter presupposes that some sort of conflict will arise from the officials' assessment, but what would be the issue of dispute? Both views seem to assume that Scissa will have to pay a huge amount in tax. 9 This is in fact not the case. Scissa will only have to pay 5 percent of the estimated value of the slave, which is twenty-five hundred sesterces. 10 If Scissa was wealthy enough to pay fifty thousand sesterces for a single slave, it is unlikely that she will have a problem with [End Page 276] paying a much smaller amount in tax. Habinnas, I believe, is not making a joke about Scissa having to pay a bigger amount than she originally expected, but he is making fun of the fact that she has to pay an amount at all. The following study sets out to demonstrate how this view can be recovered from the meaning that mantissa has elsewhere in Roman literature and subsequently attempts to show how the Petronian passage may shed some light on the representation of slavery in the Cena Trimalchionis.The key passage that forms the point of departure for the readings discussed above is an entry in the etymological dictionary of Festus (Paul ex Fest. 103, 1L): "Mantisa 11 additamentum dicitur lingua Tusca, quod ponderi adicitur, sed deterius et quod sine ullo usu est." 12 Without the benefit of a specific context in which the word was originally used (commerce? taxation?), Festus' explanation can easily lead to further confusion. 13 If, for example, the original sense of mantisa is taken to be that of a make-weight, it is evident that it cannot have the exact same meaning in Petronius. 14 Because the original Etruscan context of mantisa cannot be recovered, it will no longer concern me here. Instead I will focus more closely on the text that accompanies Festus' remark, a fragment from one of Lucilius' satires: "mantisa obsonia vincit" (1208 M = 1231 K = 1225 W). The brevity of the fragment makes it difficult to establish which sense Lucilius gave to mantisa (Festus obviously believed that it was in line with his explanation), and this has produced a cascading effect of misinterpretations affecting the passage in Petronius as well.Obsonia suggests that the context in Lucilius should be a culinary one. 15 The conclusion drawn by Marx... (shrink)