1. To list Pound’s triumphs of recognition in the realm of art, music, or literature is by itself no more enlightening than to catalog his oversights. Thus, for example, his instant and almost uncanny responsiveness to the work of Henri Gaudier-Brzeska is not more informative than his bizarre ranking of Francis Picabia’s paintings above those of Picasso or Matisse. Clearly it is essential to know, with as much specificity as possible, exactly what Pound said about a particular work of art (...) or literature and, equally important, given the frequent shifts of emphasis and interest throughout his long career, just when these opinions were first formulated. Like every reader of the The Cantos, I am conscious of the enormous service rendered by Pound scholars whose research is giving us a more complete inventory of the poet’s various statements and positions, and it would be foolish to take my point here as a derogation of such efforts. But a list, no matter how complete, is not an argument, and an inventory, no matter how scrupulously assembled, is not an explanation; a recurrent problem in Pound studies is that too often the compoilation of discrete items of information is seen as a sufficient answer to problems of interpretation and understanding. In other words, I think it essential that discussions of pound and the Visual Arts move beyond the quagmire resulting from still another frain-storm of “factual atoms” chronicling his various passions and dislikes.2. Far from implying, however, that we must therefore simply accept Pound’s brilliant discoveries and pass over his “howling blunders,” my position would emphasize the need to take his ideas seriously enough to confront them, to test them against the material to which they are a response and for which they often seek to provide an explanatory account. There are times, as I have argued in an analogous context, when it is less demeaning to give a man credit for his worst errors than to remove from him the capacity to err.3. What we require, I believe, is less a catalog of all of Pound’s specific statements about various artists, with each utterance assigned a positive or negative prefix depending upon our own personal and currently sanctioned hierarchy of values, than a careful study of the place of those statements in the logic and texture of Pound’s own work. The attempt to focus attention on The Cantos’ network of artistic references—its invocation of masterpieces and privileged moments of cultural achievement—will yield only trivial results unless the inner dynamic linking Pound’s various exampla and the actual role these play in the poem’s argument become clearer in the process. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a study of the Abject Hero and literary genealogy. His previous contribution to. (shrink)

To pose the question of evaluating political poetry is, of course, itself already a polemical move, since it insists on distinctions that command neither general critical consent nor methodological specificity. Repudiating the pertinence of such concerns to poetry has been, after all, the principal thrust of some of the most influential texts in modern literary theory. Indeed, considered historically, the struggle to separate aesthetic from both moral and political considerations can be seen as constituting the inaugural, grounding act of poetics (...) as a distinct discipline. In such a view, the words of a poem, by their very nature, are radically divorced from their usage in the quotidian world of shared human activities, so that although a text may contain political themes among its material poetica, insofar as it succeeds as a work of art these must function purely as internal and autonomous elements in the structure of the piece, not as arguments seeking to participate in a wider discourse. Because the language of poetry is unique and self-sufficient, thematic considerations are strictly irrelevant, and the issue of evaluation is identical regardless of the ostensible subject matter of the poem. Political poetry, in other words, is a meaningless term: a work is either a poem or it is not, and any attempt to include political concerns in its creation or evaluation is simply to abandon the domain of art for what Mallarmé dismissed as the debased idiom of “les journaux.”1Yet the very need to keep insisting on so categorical a distinction reveals that contamination is always possible, that the chasm may prove only a threshold habitually traversed by the words of any poem. And in fact, for every instance of a Mallarméan insistence upon the autonomy of the poem, there exists a counterpolemic stressing the link between word and world and, more pertinently still, between the language of verse and a search for values applicable to the communal experiences of both author and readers.2 But as I remarked earlier, the very heterogeneity of these arguments tends to deprive them of any methodological specificity, and all too often discussions of political poetry have done little more than catalog judgments about the ideological stance of a given work according to a critic’s fixed conception of which attitudes merit approval and which deserve censure. There is a crucial distinction between reading political poetry and reading poetry politically. In the latter case, the concern is less with the characteristics, let alone the evaluation, of political poetry per se than which judging how effectively the poem either champions or contests positions whose independent authority is always already guaranteed and which, in principle, are only to be illustrated, not questioned or modified, by literary texts. 1. Mallarmé’s formulation here is both categorical can powerful: “cette donnée exacte, quíl faut, si l’on fait de la literature, parler autrement que les journaux” . Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a book on the Abject Hero and a study, Talent and the Individual Tradition in Modern Poetry. His previous contributions to Critical Inquiry are “When the Carnival Turns Bitter: Preliminary Reflections upon the Abject Hero” and “image, Word, and Sign: The Visual Arts as Evidence in Ezra Pound’s Cantos”. (shrink)

In what is probably the most arresting of all the textual developments of the Saturnalian dialogues, the reader’s emotional identification with the voice of rage and thwarted rebellion is ever more thoroughly compelled by the structure and tone of succeeding works, at the same time that the dangers of that role, both for its bearer and for others, are ever more explicitly argued. Readers of Le Neveau de Rameau are not forced by the inner logic of the text to choose (...) between Moi and Lui, and they can find in each a welcome counterbalance to and relief from the demands of the other. But in Notes from Underground the “gentlemen-readers” have nothing left to offer us, and the novel makes it impossible to feel anything less than the same contempt for their platitudes that the Underground Man himself flaunts. The clearest index of the development I am tracing is the formal shift from Diderot’s dialogue proper to Dostoyevski’s first-person novel, but this mutation is itself already a consequence of a more indirect and disturbing cause. Dostoyevski, in the famous cry of The Possessed, was certain that “‘the fire is in the minds of men and not in the roofs of houses’”;9 he believed that only the prior corruption of Russia’s intelligentsia, their eager surrender to the lure of conspiracy and violence, could have led so many of them to the acts of senseless catastrophe, fueled by ressentiment, false pride, and incoherent utopian fantasies, marks all of his most important post-Siberia political and cultural writings.10 9. Dostoyevski, The Possessed, trans. Garnett , p. 533.10. In The Brothers Karamazov, Dostoyevski explicitly states that the future revolution will be made by the Smerdyakovs. In the chapter “Over the Brandy,” for example, Ivan tells his father that Smerdyakov is “a prime candidate” to initiate a revolutionary uprising . Michael André Bernstein is professor of English and comparative literature at the University of California, Berkeley. He is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and a book of poetry. His most recent contribution to Critical Inquiry is “‘O Totiens Servus’: Saturnalia and Servitude in Augustan Rome”. (shrink)

The adage “an ounce of prevention is worth a pound of cure” is widely used in healthcare settings and can be applied to the work of institutional clinical ethics committees. The model of clinical ethics consultation, however, is inherently reactive: a crisis or question emerges, and ethics experts are called to help. In an effort to employ a proactive component to the model of clinical ethics consultation (as well as to standardize our educational interventions), we developed ethics pocket cards. The (...) purpose of this article is to: (1) describe the rationale for using ethics pocket cards, (2) provide examples of our cards, and (3) begin a dialogue about the potential uses of ethics pocket cards. In doing so, we hope to explore how such portable, economical devices can advance the goals of ethics consultation as well as the educational aims of ethics committees. (shrink)

For Bakhtin the “gradual narrowing down” of the carnival’s regenerative power is directly linked to its separation from “folk culture” and its ensuing domestication as “part of the family’s private life.” Nonetheless, Bakhtin’s faith in the inherent indestructibility of “the carnival spirit” compels him to find it preserved, even if in an interiorized and psychological form, in the post-Renaissance literary tradition, and he specifically names Diderot, along with Molière, Voltaire, and Swift, as authors who kept alive the subversive possibilities of (...) a Saturnalian laughter . But, of course, as Bakhtin himself recognizes, much more has changed in both the nature and the effects of that laughter than merely its locus of action. The crucial difference, according to Bakhtin, is a new sense of terror felt at the heart of the post-Renaissance carnival grotesque:The transformation of the principle of laughter which permeates the grotesque, that is the loss of its regenerating power, leads to a series of other essential differences between Romantic grotesque and medieval and Renaissance grotesque…The world of Romantic grotesque is to a certain extent a terrifying word, alien to man…Something frightening is revealed in that which was habitual and secure. [Pp. 38-39]Directly linked to this burden of terror, of laughter as a response to dread, not exuberance, is a change in the literary function of madness:Other specific traits are linked with the disappearance of laughter’s regenerating power…. The theme of madness is inherent to all grotesque forms, because madness makes men look at the world with different eyes, not dimmed by “normal,” that is by commonplace ideas and judgments. In folk grotesque, madness is a gay parody of official reason, of the narrow seriousness of official “truth.” It is a “festive” madness. In Romantic grotesque, on the other hand, madness acquires a somber, tragic aspect of individual isolation. [P. 39]Bakhtin’s typology of laughter, for all its richly textured local insights, is haunted, from its inception, by a wistfully nostalgic longing for a realm of pure and ahistorical spontaneity, a rite of universal participation whose essentially affirmative character is guaranteed by its very universality. The most characteristic feature of such a carnival is, in fact, its abolition of all distinctions between participant and viewer:Carnival does not know footlights, in the sense that it does not acknowledge any distinction between actors and spectators. Footlights would destroy a carnival, as the absence of footlights would destroy a theatrical performance. Carnival is not a spectacle seen by the people; they live in it, and everyone participates because its very idea embraces all the people. While carnival lasts, there is no other life outside it…. It has a universal spirit: it is a special condition of the entire world, of the world’s revival and renewal, in which all take part. [P. 7]Yet as soon as the question of representation arises, whether in Rabelais or in his successors, the “footlights” which separate actor and spectator, reader and character, come into being, introducing the very divisions the work’s themes deny. Belatedness, the knowledge of coming after the festival has already been fragmented, is thus not limited to a post-Rabelaisian, bourgeois culture; it is itself a condition of every Saturnalian text, and what has changed is not the inclusiveness of the carnival per se but the literary consequences of acknowledging that belatedness. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione, a volume of verse. He is currently at work on a book about the Abject Hero and literary genealogy. (shrink)

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be called sculpture: narrow (...) corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

If art and science have one thing in common, it’s a hunger for the new—new ideas and innovations, new ways of seeing and depicting the world. But that desire for novelty carries with it a fundamental philosophical problem: If everything has to come from _something_, how can anything truly new emerge? Is novelty even possible? In _Novelty_, Michael North takes us on a dazzling tour of more than two millennia of thinking about the problem of the new, from the (...) puzzles of the pre-Socratics all the way up to the art world of the 1960s and ’70s. The terms of the debate, North shows, were established before Plato, and have changed very little since: novelty, philosophers argued, could only arise from either recurrence or recombination. The former, found in nature’s cycles of renewal, and the latter, seen most clearly in the workings of language, between them have accounted for nearly all the ways in which novelty has been conceived in Western history, taking in reformation, renaissance, invention, revolution, and even evolution. As he pursues this idea through centuries and across disciplines, North exhibits astonishing range, drawing on figures as diverse as Charles Darwin and Robert Smithson, Thomas Kuhn and Ezra Pound, Norbert Wiener and Andy Warhol, all of whom offer different ways of grappling with the idea of originality. Novelty, North demonstrates, remains a central problem of contemporary science and literature—an ever-receding target that, in its complexity and evasiveness, continues to inspire and propel the modern. A heady, ambitious intellectual feast, _Novelty_ is rich with insight, a masterpiece of perceptive synthesis. (shrink)

It is often argued that a shared culture, or at least shared cultural references or practices, can help to foster peace and prevent war. This essay examines in detail and criticizes one such argument, made by Patrick Leigh Fermor, in the context of his discussing an incident during World War II, when he and a captured German general found a form of agreement, a ground for peace between them, in their both knowing Horace's ode I.9 by heart in Latin. By (...) way of introducing the sixth and final installment of the Common Knowledge symposium “Peace by Other Means,” this essay proposes that Leigh Fermor's narrative be understood in terms of commerce, rather than consensus. It concludes by examining Ezra Pound's use of the word commerce in his poem “A Pact” to define his relationship with his “detested” and “pig-headed” poetic “father,” Walt Whitman. (shrink)

The two dominant theories of consciousness argue it appeared in living beings either suddenly, or gradually. Both theories face problems. The solution is the realization that a foundational consciousness was always here, yet varying conscious states were not, and appeared gradually. Michael Tye explores this idea and the key questions it raises.

The laboratory animal environment: room for concern.

In 2008, a group of researchers publicly released profile data collected from the Facebook accounts of an entire cohort of college students from a US university. While good-faith attempts were made to hide the identity of the institution and protect the privacy of the data subjects, the source of the data was quickly identified, placing the privacy of the students at risk. Using this incident as a case study, this paper articulates a set of ethical concerns that must be addressed (...) before embarking on future research in social networking sites, including the nature of consent, properly identifying and respecting expectations of privacy on social network sites, strategies for data anonymization prior to public release, and the relative expertise of institutional review boards when confronted with research projects based on data gleaned from social media. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Byzantine Matters by Averil CameronPanagiotis RoilosAveril Cameron. Byzantine Matters. Princeton, N.J.: Princeton University Press, 2014. xviii + 164 pp. 3 black-and-white maps. Cloth, $22.95.From C. P. Cavafy to W. B. Yeats, Ezra Pound, and more recently, Julia Kristeva, literary authors and intellectuals have eloquently (and as a rule more effectually than academics) shown that Byzantine matters are of noteworthy relevance to broader, i.e., not only scholarly, domains of (...) (post)modern culture too. Despite (or, at times, even because of) certain rather ineluctable limitations mainly deriving from its marked genre (general survey of the state of the field), Byzantine Matters belongs to that rare group of scholarly books that contribute considerably to the promotion of the Byzantine “cause” beyond the confines of the specific research and academic area. Written by one of the most eminent and influential scholars of late antiquity and early Byzantium, this book fulfills its valuable self-imposed aims: in a commendable, as a whole, interdisciplinary manner, it outlines the research trajectories that Byzantinists should pursue today, if they wish to expand their field’s methodological self-awareness and achieve a competitive level of theoretical sophistication.An important constituent of Averil Cameron’s critique of widespread preconceptions about Byzantium even in contemporary scholarly discourses (either in [End Page 719] the specialized research field or, more explicitly, in relevant ones) is her exposure of the detrimental ideological parameters of the exoticism and exceptionalism that often inform approaches to that past culture. The author’s task is not easy; on the contrary, it is bound to cause some distress or uneasiness in conservative scholarly circles (or “schools”).Cameron begins her discussion of the present state of Byzantine studies and of the related research desiderata by diagnosing the “absence” of Byzantium from hegemonic historiographic discourses in the so-called Western world. Origins and causes of this “absence” are astutely (albeit partially) traced back to influential Anglo-centric interpretive paradigms, these being of entirely derogatory (see Edward Gibbon’s notorious “history” and more recently the dogmatic conservatism of Arnold Toynbee and Samuel Huntington) or exoticizing, Orientalizing orientation (as exemplified in the activities of, e.g., Robert Byron and David Talbot Rice). Byzantium is shown to have been reduced to the state of the historical and historiographical “subaltern” of the West (9). Although I would have preferred to describe this idiosyncratic position of Byzantium in the dominant historiographic practice and the imaginary of the West in terms of what elsewhere I have defined as “para-marginality,” I must stress that Cameron’s sensitive outline of the Byzantine “absence” from established scholarly paradigms attests to her openness to sophisticated methodological schemata that might contribute to a creative and, whenever necessary, critical dialogue of Byzantine studies with related disciplines and broader theoretical debates.In her reappraisal of current scholarly views concerning the status of Byzantium as an empire, the author rightly emphasizes the adaptability and flexibility of Byzantine sociopolitical and economic structures and mechanisms, thus exposing the widespread view of an “unchanging Byzantium” as a mere “popular myth” (35). Equally noteworthy is her focusing on the contribution of ritual occasions and performances of ideologically and politically manipulated rhetoric to the reaffirmation, communication, and effectiveness of imperial power in Byzantium.Cameron’s learned approach to Byzantine art, which is introduced with a general discussion of the attraction it held for British authors (where, however, Ruskin’s work is conspicuously missing), and to the current state of its research places a judicious emphasis on the tension between iconoclasm and iconolatry as well as on issues of periodization. Of special significance is Cameron’s reference to the performative functions of icons in Byzantium and her call for new, interdisciplinary approaches to Byzantine art. However, the opposition between the written word and the image that the author, endorsing Michael Squire’s approach (74), puts forward is an unconvincing rhetorical construct rather than an always valid hermeneutic tool. Theology and religious practice in Byzantium never really reduced the written word to a state inferior to that of the image, as is evinced not only by the frequent coexistence of text and pictorial representation in Byzantine art but also by the extremely... (shrink)

Machine learning algorithms pervade contemporary society. They are integral to social institutions, inform processes of governance, and animate the mundane technologies of daily life. Consistently, the outcomes of machine learning reflect, reproduce, and amplify structural inequalities. The field of fair machine learning has emerged in response, developing mathematical techniques that increase fairness based on anti-classification, classification parity, and calibration standards. In practice, these computational correctives invariably fall short, operating from an algorithmic idealism that does not, and cannot, address systemic, Intersectional (...) stratifications. Taking present fair machine learning methods as our point of departure, we suggest instead the notion and practice of algorithmic reparation. Rooted in theories of Intersectionality, reparative algorithms name, unmask, and undo allocative and representational harms as they materialize in sociotechnical form. We propose algorithmic reparation as a foundation for building, evaluating, adjusting, and when necessary, omitting and eradicating machine learning systems. (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...) which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

This dialogue (trilogue) is an attempt to critically discuss the technoscientific convergence that is taking place with biodigital technologies in the postdigital condition. In this discussion, Sarah Hayes, Petar Jandrić and Michael A. Peters examine the nature of the convergences, their applications for bioeconomic sustainability and associated ecopedagogies. The dialogue paper raises issues of definition and places the technological convergence (‘nano-bio-info-cogno’) – of new systems biology and digital technologies at the nano level – in an evolutionary context to speculate, (...) on the basis of the latest research, future possibilities. The paper also reviews these developments within familiar landscapes of posthumanism and postmodernism, raises the question of political bioeconomy and the role of postdigital education within it. (shrink)

Intuitively it has seemed to many that our concepts conscious state and conscious creature are sharp rather than vague, that they can have no borderline cases. On the other hand, many who take conscious states to be identical to, or realized by, complex physical states are committed to the vagueness of those concepts. In the paper I argue that conscious state and conscious creature are sharp by presenting four necessary conditions for conceiving borderline cases in general, and showing that some (...) of those conditions cannot be met with conscious state. I conclude that conscious state is sharp, and the conclusion is then extended to conscious creature. The paper ends with a brief discussion of some implications. (shrink)

Hammersley asserts that “radical” strands of ethnomethodology and constructionism in science and technology studies (STS) take an anti-representationalist approach which denies that “science produces representations referring to objects or processes that exist independently of it.” In this ‘Comment,’ I argue that ethnomethodology is distinct from both constructionist and post-constructionist research programs in STS, and that Hammersley presents a binary choice between being for or against the general proposition that scientific representations correspond to independent realities. He suggests that STS studies should (...) “suspend” the philosophical question of whether scientific representations correspond to their worldly referents. Perhaps this is good advice for proponents of STS who promote a “turn to ontology” or propose to do “empirical philosophy,” but ethnomethodologists take a deflationary approach to the topics of philosophical inquiry. (shrink)

Centre for Applied Philosophy and Public Ethics, The Australian National University, LPO Box 8260, ANU, Canberra ACT 2601, Australia. Email: michael.selgelid{at}anu.edu.au ' + u + '@ ' + d + ' '/ /- ->. Home page: http: //www.cappe.edu.au/staff/michael-selgelid.htmThis article advocates the development of a moderate pluralist theory of political philosophy that recognizes that utility, liberty and equality are legitimate, independent social values and that none should have absolute priority over the others. Inter alia, such a theory would provide (...) a principled means for striking a balance, or making trade-offs, between these values in cases of conflict. Recent developments in public health ethics have made progress in thinking about how to make trade-offs between liberty and utility in particular. While public health ethicists often claim that the least restrictive alternative should be used to achieve the public health goal in question, I argue that a plausible but under-recognized idea is that the least restrictive alternative might sometimes involve improvement of global health via redistributive taxation—i.e., rather than coercive social distancing measures. I conclude by demonstrating that the proportionality principle leaves open the question of when exactly utility outweighs liberty or vice versa—and I argue that, rather than speaking about the morality of liberty-infringing public health interventions in categorical/binary terms, it would be more fruitful and realistic to think and speak about the degree to which a liberty-infringing public health intervention is morally appropriate. CiteULike Connotea Del.icio.us What's this? (shrink)

_A thoroughly revised edition of the classic resource for understanding gender differences in the classroom_ In this profoundly significant book, author Michael Gurian has revised and updated his groundbreaking book that clearly demonstrated how the distinction in hard-wiring and socialized gender differences affects how boys and girls learn. Gurian presents a proven method to educate our children based on brain science, neurological development, and chemical and hormonal disparities. The innovations presented in this book were applied in the classroom and (...) proven successful, with dramatic improvements in test scores, during a two-year study that Gurian and his colleagues conducted in six Missouri school districts. Explores the inherent differences between the developmental neuroscience of boys and girls Reveals how the brain learns Explains when same sex classrooms are appropriate, and when they’re not This edition includes new information on a wealth of topics including how to design the ultimate classroom for kids in elementary, secondary, middle, and high school. (shrink)

Early expressivists, such as A.J. Ayer, argued that normative utterances are not truth-apt, and many found this striking claim implausible. After all, ordinary speakers are perfectly happy to ascribe truth and falsity to normative assertions. It is hard to believe that competent speakers could be so wrong about the meanings of their own language, particularly as these meanings are fixed by the conventions implicit in their own linguistic behavior. Later expressivists therefore tried to arrange a marriage between expressivism and the (...) truth-aptness of normative discourse. Like many arranged marriages, this has not been an entirely happy one. In particular, the marriage has seemed to depend on so-called deflationist theories of truth, and these may well turn out to provide at best a shaky foundation for any marriage. Before advising the parties to file for divorce, though, we should first see whether expressivism itself has not been misunderstood. I argue that the marriage of expressivism to the truth-aptness of normative discourse can indeed be saved, though only in the context of a version of expressivism I call “Ecumenical Expressivism.”. (shrink)

This paper is a nontechnical exposition of the author's view that mathematics is a science of patterns and that mathematical objects are positions in patterns. the new elements in this paper are epistemological, i.e., first steps towards a postulational theory of the genesis of our knowledge of patterns.

"Knowing and History" charts the development of Hegelian philosophy of history in France from the 1930s through the postwar period, and critically assesses its significance for an understanding of our cultural present and of the possibilities for making meaning out of change over time. Michael Roth provides detailed analyses of the works of three of the most important Hegelian thinkers: Jean Hyppolite, Alexandre Kojève, and Eric Weil. These philosophers turned to history as the source of truths and criteria of (...) judgment: they forged connections between history and knowing as a means of confronting key modem philosophical problems, and of engaging their contemporary political concerns. According to Roth, the French Hegelians' work illuminates the power and limitations of the philosophical approach to history. Further, he finds in the development of their philosophies one of the crucial transformations in modem intellectual history: the shift from a concern with questions of significance to a concern with questions of use or function. Relevant to a wide variety of disciplines, "Knowing and History" will appeal to those specializing in intellectual history and political theory, as well as philosophers of history, critical theorists, and students of modem French thought and culture. (shrink)

This book contains original essays that look at contagious/infectious disease pandemics and the ethical public policy and administration these have entailed. In particular, the pandemics of the 1918 flu pandemic, HIV in the 1990s, SARS in 2003, Ebola from 2014–2016 and the novel COVID-19 in 2020 are highlighted. The contributions in this work offer the reader insights in these and several other recent pandemics that present differently—either via contagion or mortality rate—and how each should be addressed by countries of various (...) sorts. This book is a must for the ongoing debate on how we should treat public health crises, such as the one we have all just encountered in the novel COVID-19 pandemic. (shrink)

Simulation and Similarity: Using Models to Understand the World is an account of modeling in contemporary science. Modeling is a form of surrogate reasoning where target systems in the natural world are studied using models, which are similar to these targets. My book develops an account of the nature of models, the practice of modeling, and the similarity relation that holds between models and their targets. I also analyze the conceptual tools that allow theorists to identify the trustworthy aspects of (...) models. Taken as a whole, I try to account for the ways that modeling is actually practiced by theorists, while abstracting sufficiently to understand the similarities and differences among examples of concrete, mathematical, and computational modeling.I am grateful to Wendy Parker, Jay Odenbaugh, and Bill Wimsatt for their careful and interesting reading of my book, as well as their constructive criticisms. Although I naturally disagree with some of their critiques, I have learned much .. (shrink)

This chapter examines the notion of being in the Consolation of Philosophy and contrasts it with modern notions of existence. The notions in the Consolation relevant to this inquiry are those expressed by the verbs esse and exsistere. The chapter argues that the basic notion of exsistere in the Consolation should be understood as “to be manifest,” while the basic notion of esse should be understood as “to be something or other” or “to be intelligible.” Furthermore, the chapter demonstrates that (...) the notion of esse in the Consolation differs from typical modern notions of existence in two significant ways. First, unlike modern notions of existence, according to which there are things that do not exist, the notion of esse or being in the Consolation has no contrary. Everything that can be spoken of or thought about “is” in some way. Second, the notion of esse in the Consolation, as in Aristotle, is “said in many ways.” In this it differs from modern notions of existence, which tend to be univocal. The chapter shows that once the notions of exsistere and esse are properly understood, certain arguments in the Consolation that might initially appear confused turn out to be quite clear and highly plausible. (shrink)

In ‘Rethinking Nature: Phenomenology and a Non-reductionist Cognitive Science’, Gallagher [2019] sets out to overcome resistance to the idea that phenomenology is relevant to cognitive science. He argues that the relevance in question may be secured if we rethink the concept of nature. For Gallagher, this transformed concept of nature—which is to be distinguished from the classic scientific conception of nature in that it embraces irreducible subjectivity—is already at work in some contemporary enactive phenomenological approaches to cognitive science. Following a (...) summary of Gallagher’s argument, we argue that this rethinking of nature is not necessary to secure the aim in question. We articulate two alternative ways of achieving the relevance of phenomenology to cognitive science. The first, which turns on a minimal notion of naturalism, leaves the classic scientific conception of nature intact. The second, which turns on a practice-based analysis of collaboration between phenomenology and cognitive science, leaves it open which concept of nature one should adopt. As we show, each of the proposals on the table (Gallagher’s own and our two alternatives) comes at a cost. Which of the three proposals is the more attractive will depend on which cost one wants to pay. (shrink)

In this paper, we introduce the Societal Readiness Thinking Tool to aid researchers and innovators in developing research projects with greater responsiveness to societal values, needs, and expectations. The need for societally-focused approaches to research and innovation—complementary to Technology Readiness frameworks—is presented. Insights from responsible research and innovation concepts and practice, organized across critical stages of project-life cycles are discussed with reference to the development of the SR Thinking Tool. The tool is designed to complement not only shortfalls in TR (...) approaches, but also improve upon other efforts to integrate RRI, sustainability, and design thinking in research and innovation cycles. Operationalization and early-stage user tests of the Tool are reported, along with discussion of potential future iterations and applications. (shrink)

Is there a prima facie obligation to produce additional individuals whose lives would be worth living? In his paper ‘Is it Good to Make Happy People?’, Stuart Rachels argues not only that there is, but, also, that precisely as much weight should be assigned to the quality of life that would be enjoyed by such potential persons, if they were to be actualized, as to the quality of life enjoyed by actually existing persons. In response, I shall argue, first, that (...) Rachels’ view is exposed to very serious objections, and secondly, that his arguments in support of his position involve a crucial assumption, which cannot be sustained, concerning the relation between, on the one hand, propositions about good‐making and bad‐making properties, and, on the other, propositions about right‐making and wrong‐making ones. I shall then argue that there is a very plausible position concerning the conditions under which an action can be morally wrong which entails the following asymmetry: there is a prima facie obligation not to bring into existence individuals whose lives are not worth living, but there is no corresponding obligation to create additional individuals whose lives would be worth living. (shrink)

This article makes a contribution to interface criticism through the notion of chrono-design: the deliberate shaping of experiences of temporality and time through contemporary software techniques and digital technologies. This notion is articulated through discussions of network optimisation, user experience design, behavioural tracking, Hansen’s work on 21st-century media and Hayles’ framework of cognitive assemblages. In particular, the argument considers how contemporary user interfaces complicate conventional notions of the rational, self-reflexive subject by operating beyond consciousness at vast environmental dimensions and accelerated (...) micro-temporal speeds. These conditions, we argue, provide opportunities for new forms of behavioural suspense and captivation best exemplified through the figure of the trap. The politics and aesthetics of captivation, accordingly, should be considered as central to any expanded ecology of cognition. The article then concludes with a short demonstration of experimental uses of chrono-design methods applied critically to political economies of user tracking and data capture as a prompt for further interdisciplinary applied research in this domain. (shrink)

A bold new interpretation of Augustine’s virtue of hope and its place in political life When it comes to politics, Augustine of Hippo is renowned as one of history’s great pessimists, with his sights set firmly on the heavenly city rather than the public square. Many have enlisted him to chasten political hopes, highlighting the realities of evil and encouraging citizens instead to cast their hopes on heaven. A Commonwealth of Hope challenges prevailing interpretations of Augustinian pessimism, offering a new (...) vision of his political thought that can also help today’s citizens sustain hope in the face of despair. Amid rising inequality, injustice, and political division, many citizens wonder what to hope for in politics and whether it is possible to forge common hopes in a deeply polarized society. Michael Lamb takes up this challenge, offering the first in-depth analysis of Augustine’s virtue of hope and its profound implications for political life. He draws on a wide range of Augustine’s writings—including neglected sermons, letters, and treatises—and integrates insights from political theory, religious studies, theology, and philosophy. Lamb shows how diverse citizens, both religious and secular, can unite around common hopes for the commonwealth. Recovering this understudied virtue and situating Augustine within his political, rhetorical, and religious contexts, A Commonwealth of Hope reveals how Augustine’s virtue of hope can help us resist the politics of presumption and despair and confront the challenges of our time. (shrink)

Deforming American Political Thoughtoffers an alternative to the dominant American historical imagination, treating issues that range from the nature of Thomas Jefferson's vision of an egalitarian nation to the persistence of racial inequality. Presenting multifaceted arguments that transcend the myopic scope of traditional political discourses, Michael J. Shapiro summons disparate disciplines and genres - architecture, crime stories, novels, films, and jazz/blues music to provide approaches to the comprehension of diverse facets of American political thought from the founding to the (...) present. The book's various investigations disclose that there have always been dissenting voices, articulated in diverse genres of expression that cast doubt on the moral purpose and exceptionalism of the American mind. This highly anticipated updated second edition features a preface focusing on aesthetic theory and the contributions of artistic genres for political analysis, and a completely new chapter on critical thinking about the US western and urban encounters afforded by the two HBO series, Deadwood and The Wire respectively. (shrink)

Across the globe, radical conservative political forces and ideas are influencing and even transforming the landscape of international politics. Yet IR is remarkably ill-equipped to understand and engage these new challenges. Unlike political theory or domestic political analyses, conservatism has no distinctive place in the fields’ defining alternatives of realism, liberalism, Marxism, and constructivism. This paper seeks to provide a point of entry for such engagement by bringing together what may seem the most unlikely of partners: critical theory and the (...) New Right. Important parts of today’s New Right represent self-conscious appropriations of Critical themes and thinkers—turning them to self-declared “reactionary” ends. Developing outside the confines of the academy, these forms of thought have woven insights from across Critical theory into new and mobilizing forms of conservative ideology, seeking to link that ideology to social forces that play increasingly active roles in global politics. Our intention here is not to somehow blame Critical perspectives for the ideas of the New Right, either directly or by association. Rather, we seek to show how an engagement with Critical theory helps us understand the New Right, while also demonstrating some of the direct challenges the New Right poses for critical perspectives. (shrink)

Irony, one of the most basic, pervasive, and variegated of rhetorical tropes, is as fundamental to musical thought as it is to poetry, prose, and spoken language. In this wide-ranging study of musical irony, Michael Cherlin draws upon the rich history of irony as developed by rhetoricians, philosophers, literary scholars, poets, and novelists. With occasional reflections on film music and other contemporary works, the principal focus of the book is classical music, both instrumental and vocal, ranging from Mozart to (...) Mahler. The result is a surprising array of approaches toward the making and interpretation of irony in music. Including nearly ninety musical examples, the book is clearly structured and engagingly written. This interdisciplinary volume will appeal to those interested in the relationship between music and literature as well as to scholars of musical composition, technique, and style. (shrink)

Explication of the concept of socialrace: the concept variously refers to (1) a social group that is taken to be a racialist race, (2) the social position occupied by a particular social group that is a socialrace and (3) the system of social positions that are socialraces. Socialrace is distinguished from other more familiar forms of social construction. The sense in which socialrace counts as a race concept is explained. The advantages of the term ‘socialrace’ are discussed. The desiderata for (...) a conception of socialrace are articulated. The concept socialrace is contrasted with other similar concepts. (shrink)

In Wyoming Revisited, Michael A. Amundson uses the power of rephotography to show how landscapes across the state have endured over the last century. Three sets of photographs—the original black-and-white photographs taken by famed Wyoming photographer Joseph E. Stimson more than a century ago, repeat black-and-white images taken by Amundson in the 1980s, and a third view in color taken by the author in 2007–2008—are accompanied by captions explaining the history and importance of each site as well as information (...) on the process of repeat photographic fieldwork. The 117 locations feature street views of Wyoming towns and cities, as well as views from the state's famous natural landmarks like Yellowstone National Park, Grand Teton National Park, Devil's Tower National Monument, Hot Springs State Park, and Big Horn and Shoshone National Forests. In addition, Amundson provides six in-depth essays that explore the life of Joseph E. Stimson, the rephotographic process and how it has evolved, and how repeat photography can be used to understand history, landscape, historic preservation, and globalization. Wyoming Revisited highlights the historic evolution of the American West over the past century and showcases the significant changes that have occurred over the past twenty-five years. This book will appeal to photographers, historians of the American West, and anyone interested in Wyoming's history or landscape. The publication of this book is supported in part by the Wyoming Cultural Trust Fund. (shrink)

Green, Michael The Marists were one of the ecclesial families to emerge from the extraordinary spiritual and missionary renewal currents flowing through the nineteenth-century French Church, and more specifically its Lyonnais fervour. Their founders imagined a new way of being Church, one that was self-consciously Marian both in its intent and in its character. They saw themselves sharing in the eternal 'work of Mary', as they called it, of mothering Christ-life to birth, of nurturing its growth in themselves and (...) in others, and of standing with the Church as it came to be. Their spirituality emphasised the mercy of God, which they sought to incarnate in affective, relational and immanent ways. They wanted especially to go to people whose circumstances caused them to be furthest from the knowledge of God and the care of the Church and, taking the 'Magnificat' as their charter, they were fired to make real for them the closeness of a loving, faithful and just God. They imagined themselves as a broad movement of people-lay, clergy and religious-structured in a fairly non-hierarchical, complementary and interdependent way. Disappointingly for them, however, the Vatican authorities of the time did not warm to their proposed sense of 'communio'. But now, two centuries later, in a post-Vatican II context, Marists are being afforded the opportunity to be creatively faithful to their founding vision. (shrink)