Palliative care and medical-legal partnership are complementary disciplines dedicated to integrating care to treat the whole patient and intervening before a legal or medical issue is at a crisis point. In this paper, we discuss the founding and operations of the Yale Palliative Medical Legal Partnership, give examples of typical cases, explain special considerations in this area of law, and propose areas for further research.

In lieu of an abstract, here is a brief excerpt of the content:Full Collection of Personal NarrativesJake Beery, Neethi Pinto, Marcia King, Laura Wachsmuth, Alisha, Katie L. Gholson, T.S. Moran, Calvin R. Gross, Joanne Alfred, Cindy Bitter, Jenna Bennett, Nadia Khan, Clarice Douille, Kristen Carey Rock, Adrienne Feller Novick, Andrea Eisenberg, Japmehr Sandhu, Katherine Bakke, Heer Hendry, Karan K. Mirpuri, and Katerina V. Liong• Being the Difference• Grieving One More Time• Echoes of Grief: Tales from an Emergency Medicine and (...) Critical Care Nurse• Searching for Peace in Death• “I’d Love to go Off the Grid and Never Come Back”• “A Mother’s Love”• Tiny Person, Big Impact• Night Shift• Cracked Armor• Who Tells the Story• Navigating Hard Situations that Medical School Cannot Prepare You For• The Wish• Break• Five More Minutes• I Saw My Reflection• The Aftermath• Where the Journey Begins• Lessons Learned in Room 208• Joint and Grief Aches• My First Loss: Carrying His Legacy• Grieving the Loss of What Medicine Was Supposed to BeCopyright © 2024 Johns Hopkins University Press... (shrink)

Jerry Fodor (1994) thinks that content is not historically determined. In this paper we will consider Fodor's reasons.

To most of us – believers and non-believers alike – the possibility of a perfect God co-existing with the kinds of evil that we see calls out for explanation. It is unsurprising, therefore, that the belief that God must have justifying reasons for allowing all the evil that we see has been a perennial feature of theistic thought. Recently, however, a growing number of authors have argued that the existence of a perfect God is compatible with the existence of gratuitous (...) evil. Given powerful, millenia-long sensibilities about power and love and justice, it isn’t hard to find that suggestion simply incredible. Nonetheless, in this paper I will argue that the most prominent theistic alternatives to what has seemed incredible to most of us throughout most of history are themselves patently unacceptable for the theist as well. On any of the most widely accepted accounts of how God could have justifying reasons for permitting some evils, God’s existence means that we have justifying reasons for perpetrating and allowing every evil that we see. That's hard to swallow too. If I’m right about all of this, then two competing outcomes seem to present themselves as a possible result. On the one hand, for the theist, the apparently outrageous suggestion that the existence of a perfect God is compatible with gratuitous evil no longer looks like it faces a formidable, hard-to-resist alternative. On the other hand, some like me might think that my arguments go no distance at all towards dispelling the incredibility of the gratuitous evil nouvelle vague. On this line, theism may seem now to be between the rock and the hard place: it seems hard to make sense of the existence of a perfect God whether or not He has justifying reasons for allowing all the evil that we see. (shrink)

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a key role: (...) the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution. (shrink)

A detailed account is given of the development of the Archaean Controversy in Caernarvonshire and Anglesey. Sedgwick had found no base for his Cambrian in North Wales, but had intimated that some of the unfossiliferous rocks of the Lleyn Peninsula and Anglesey might be older than his Cambrian. He also described two ‘ribs’ of igneous rock: one running from Caernarvon to Bangor; the other inland, parallel to the first and crossing the Llanberis Pass at Llyn Padarn. The early Surveyors (...) supposed that these ‘ribs’ had altered the surrounding rocks, and the resulting ‘Altered Cambrian’ could be traced across the Menai Strait to Anglesey, where it formed the various metamorphic rocks of that island. This view was challenged by the usual coalition of ‘amateurs’ with attempts being made to recognize a sequence of Archaean rocks in North Wales similar to that in Pembrokeshire. However, vigorous debate occurred amongst the ‘Archaean’ geologists themselves, especially about a rock at Twt Hill, Caernarvon, and about a claimed unconformity at the base of the Cambrian in the Llanberis Pass, perhaps adjacent to the Llyn Padarn ‘rib’. Vigorous debate took place about the location of the claimed Llanberis unconformity, but the ‘Archaeans’ were united in regarding the metamorphic rocks of Anglesey as Precambrian. Eventually, the greywackes of Anglesey, and around Bangor and Caernarvon, were identified as Ordovician, not Cambrian. Very detailed map-work in Anglesey was carried out privately by Edward Greenly, and his results were published by the Survey in the form of a map and a high-quality Memoir. Greenly utilized for Anglesey tectonic ideas derived from his earlier fieldwork in the Scottish Highlands, so that although his mapping and stratigraphical divisions have proved to be of permanent value it is believed that his structures for Anglesey were mistaken and his stratigraphic sequence inverted. The Survey eventually abandoned its earlier model of Anglesey without too much difficulty; and the igneous ‘rib’ of Llyn Padarn is now construed as an ignimbrite. However, a definite base for the Cambrian has still not been found in Caernarvonshire, and the stratigraphical evidence for the Precambrian age of the Anglesey rocks remains incomplete. The study reveals the great difficulty experienced by early geologists when working in unfossiliferous rocks, the evidence from included fragments proving particularly uncertain. The paper also examines further the community of nineteenth-century British geologists, with their various factions and competing interests. (shrink)

SummaryEarly geological investigations in the St David's area (Pembrokeshire) are described, particularly the work of Murchison. In a reconnaissance survey in 1835, he regarded a ridge of rocks at St David's as intrusive in unfossiliferous Cambrian; and the early Survey mapping (chiefly the work of Aveline and Ramsay) was conducted on that assumption, leading to the publication of maps in 1845 and 1857. The latter represented the margins of the St David's ridge as ‘Altered Cambrian’. So the supposedly intrusive ‘syenite’ (...) was regarded as younger, and there was no Precambrian. These views were challenged by a local doctor, Henry Hicks, who developed an idea of the ex-Survey palaeontologist John Salter that the rocks of the ridge were stratified and had formed a Precambrian island, round which Cambrian sediments (now confirmed by fossil discoveries) had been deposited. Hicks subsequently proposed subdivision of his Precambrian into ‘Dimetian’, ‘Pebidian’, and (later) ‘Arvonian’, and he attempted correlations with rocks in Shropshire, North Wales, and even North America, seeking to develop the neo-Neptunist ideas of Sterry Hunt. The challenge to the Survey's work was countered in the 1880s by the Director General, Geikie, who showed that Hicks's idea of stratification in the Dimetian was mistaken. A heated controversy developed, several amateur geologists, supported by a group of Cambridge Sedgwickians, forming a coalition of ‘Archaeans’ against the Survey. Geikie was supported by Lloyd Morgan. Attention focused particularly on Ogof Lle-sugn Cave and St Non's Arch, with theory/controversy-ladenness of observations evident on both sides. Evidence from an eyewitness student record of a Geological Society meeting reveals the ‘sanit`ized’ nature of the official summary of the debate in QJGS. Field mapping early in the twentieth century by J. F. N. Green allowed a compromise consensus to be achieved, but Green's evidence for unconformity between the Cambrian and the Dimetian, obtained by excavation, can no longer be verified, and his consensual history of the area may need revision. Unconformity between the Cambrian and the Pebidian tuffs is not in doubt, however, and Precambrian at St David's is accepted. The study exhibits features of geological controversy and the British geological community in the nineteenth century. It also furnishes a further instance of the great influence of Murchison in nineteenth-century British geology and the side-effects of his controversy with Sedgwick. (shrink)

The aim of this study was to test red - green dichromats' ability to discriminate between illuminant and surface-reflectance changes in natural scenes. Stimuli were simulations of natural scenes presented on a colour monitor with 10-bit resolution per gun. The natural scenes were obtained with a fast hyperspectral imaging system. Six different scenes (including rocks, foliage, and buildings) were tested. In each trial, two images were presented in sequence, each for 1 s, with no interval. The images differed in the (...) phase of daylight on the scene: first with correlated colour temperature 25 000 K, then 6 700 K. The spectral reflectance of a region in the second image was changed randomly, consistent with a local change in daylight. The observer's task was to decide whether a particular surface in the successive images was the same (pure illuminant change) or different (illuminant change with a surface-reflectance change). The performance of four deuteranopes and five protanopes varied considerably across the scenes tested, with mean colour constancy indices (± 1 SEM) of 0.48 (± 0.13) and 0.19 (± 0.10), respectively (1.0 representing ideal performance). Deuteranopes seemed less disadvantaged than protanopes, performing close to normal with some scenes. (shrink)

Much of classical Hindu thought has centered on the question of self: what is it, how does it relate to various features of the world, and how may we benefit by realizing its depths? Attempting to gain a conceptual foothold on selfhood, Hindu thinkers commonly suggest that its distinctive feature is consciousness (caitanya). Well-worn metaphors compare the self to light as its awareness illumines the world of knowable objects. Consciousness becomes a touchstone to recognize the presence of a self. A (...) rock is insentient, void of consciousness, and purely an object. Selves, however, are loci of awareness and thus subjects. Some schools, most notably classical Sāṁkhya and Advaita Vedānta, take this approach to its furthest conclusion: consciousness is not only unique to the self, but is the fundamental feature of selfhood. Other putative features of the self—feelings, memories, moral responsibility, and importantly, agency (kartṛtva)—are taken to be the impositions of insentient matter (prakṛti) or symptoms of primordial illusion (avidyā). Against this position, Nyāya defends a more robust notion of selfhood, placing qualities like desire, aversion, volition, and moral responsibility alongside cognition as the self’s distinctive qualities. These various aspects of selfhood come together neatly when we consider agency. An agent performs intentional actions under her volition, which is triggered by her own cognitive and affective states. Her volitional acts further generate moral consequences which she must bear, and which are, in the Indian context, embodied in the form of karmic merit and demerit. For Nyāya, agency is, therefore, a special expression of the self’s different capacities and potentialities, which coherently binds them together. Nyāya’s view is an important contribution to Indian theories of self as it is a counterpoint to what we may call exclusively cognitive accounts of selfhood in other influential Hindu schools, as noted above. The first half of this paper will consider Nyāya’s conception of agency in relation to selfhood. The second half will discuss Nyāya’s arguments with other Hindu schools—specifically Sāṁkhya—in support of the thesis that the self must be an agent as well as a knower. (shrink)

In this engaging book, Douglas Anderson begins with the assumption that philosophy—the Greek love of wisdom—is alive and well in American culture. At the same time, professional philosophy remains relatively invisible. Anderson traverses American life to find places in the wider culture where professional philosophy in the distinctively American tradition can strike up a conversation. How might American philosophers talk to us about our religious experience, or political engagement, or literature—or even, popular music? Anderson’s second aim is to find places (...) where philosophy happens in nonprofessional guises—cultural places such as country music, rock’n roll, and Beat literature. He not only enlarges the tradition of American philosophers such as John Dewey and William James by examining lesser-known figures such as Henry Bugbee and Thomas Davidson, but finds the theme and ideas of American philosophy in some unexpected places, such as the music of Hank Williams, Tammy Wynette, and Bruce Springsteen, and the writingsof Jack Kerouac.The idea of “philosophy Americana” trades on the emergent genre of “music Americana,” rooted in traditional themes and styles yet engaging our present experiences. The music is “popular” but not thoroughly driven by economic considerations, and Anderson seeks out an analogous role for philosophical practice, where philosophy and popular culture are co-adventurers in the life of ideas. Philosophy Americana takes seriously Emerson’s quest for the extraordinary in the ordinary and James’s belief that popular philosophy can still be philosophy. (shrink)

The editors of the symposium hope it will provide a balanced appraisal of evidence based medicine.This symposium is devoted to evidence based medicine and the ethical issues it raises. Since Sir Archie Cochrane’s seminal Nuffield Provincial Hospitals Trust lectures in 1972 and their publication as the Rock Carling monograph for that year, Effectiveness and Efficiency: Random Reflections on Health Services, the idea that medical interventions and health services should be evaluated and selected on the basis of the most reliable (...) evidence available for their effectiveness and cost effectiveness has become very widely accepted.1,2 This widespread acceptance has not been complete, and it sometimes seems that there are as many critics of EBM as advocates. Whereas the importance of randomised trial evidence, critical appraisal, meta-analysis, and systematic review …. (shrink)

From the 5th edition of Beauchamp and Childress' Principles of Biomedical Ethics, the problem of common morality has been given a more prominent role and emphasis. With the publication of the 6th and latest edition, the authors not only attempt to ground their theory in common morality, but there is also an increased tendency to identify the former with the latter. While this stratagem may give the impression of a more robust, and hence stable, foundation for their theoretical construct, we (...) fear that it comes with a cost, namely the need to keep any theory in medical ethics open to, and thereby aware of, the challenges arising from biomedical research and clinical practice, as well as healthcare systems. By too readily identifying the moral life of common morality with rule-following behaviour, Beauchamp and Childress may even be wrong about the nature of common morality as such, thereby founding their, by now, classic theory on quicksand instead of solid rock. (shrink)

Much of classical Hindu thought has centered on the question of self: what is it, how does it relate to various features of the world, and how may we benefit by realizing its depths? Attempting to gain a conceptual foothold on selfhood, Hindu thinkers commonly suggest that its distinctive feature is consciousness (caitanya). Well-worn metaphors compare the self to light as its awareness illumines the world of knowable objects. Consciousness becomes a touchstone to recognize the presence of a self. A (...) rock is insentient, void of consciousness, and purely an object. Selves, however, are loci of awareness and thus subjects. Some schools, most notably classical Sāṁkhya and Advaita Vedānta, take this approach to its furthest conclusion: consciousness is not only unique to the self, but is the fundamental feature of selfhood. Other putative features of the self—feelings, memories, moral responsibility, and importantly, agency (kartṛtva)—are taken to be the impositions of insentient matter (prakṛti) or symptoms of primordial illusion (avidyā). Against this position, Nyāya defends a more robust notion of selfhood, placing qualities like desire, aversion, volition, and moral responsibility alongside cognition as the self’s distinctive qualities. These various aspects of selfhood come together neatly when we consider agency. An agent performs intentional actions under her volition, which is triggered by her own cognitive and affective states. Her volitional acts further generate moral consequences which she must bear, and which are, in the Indian context, embodied in the form of karmic merit and demerit. For Nyāya, agency is, therefore, a special expression of the self’s different capacities and potentialities, which coherently binds them together. Nyāya’s view is an important contribution to Indian theories of self as it is a counterpoint to what we may call exclusively cognitive accounts of selfhood in other influential Hindu schools, as noted above. The first half of this paper will consider Nyāya’s conception of agency in relation to selfhood. The second half will discuss Nyāya’s arguments with other Hindu schools—specifically Sāṁkhya—in support of the thesis that the self must be an agent as well as a knower. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Side Stepping The Issues: Disappointment With An Ethics Consult For A Medically High Risk PatientBrent R. CarrMonths of severe symptoms were a blur—hour after hour of suffering. Sleep is her only respite. Her 5-word diagnosis, “treatment-refractory depression with anxious distress,” seemed too orderly, like a flattened 2-dimensional strip of ribbon that simply ironed out all the chaos and confused distress roiling within her. Anyone entering the psychiatric unit early (...) in the morning could hear her near-breathless sobbing, calling for nursing help, repeatedly pleading to anyone who would listen that she was dying. By afternoon, her wheelchair would be situated off to one side of the milieu to prevent agitation of other [End Page 13] patients. From there, she would summon them with small gestures or brief, incessant outbursts to save her, that her body was decaying, withering before them. Such is the torment of nihilistic delusions. She flailed her arms, rocking back and forth, lamenting that no one would help. Although she possessed full leg strength, she refused to stand from the wheelchair, fearing collapse. These distressed pleas were sustained well past each dinner, the anguish echoing from her room, and during her evening shower. Sometimes a pillow-muffled sigh and silence would disclose when her torments became engulfed in sleep.Two years prior, she had a similar episode that lasted almost 3-years. It had failed to respond to months of psychotherapy and more than 15 medication trials. That time, she had cried with happiness after the mental illness went into full remission after only a three-week course of electroconvulsive therapy (ECT). She described this as her miracle. But as miraculous as the ECT was for her, it was problematic. She is a high-risk patient with ongoing hypertension and Wolff-Parkinson-White Syndrome, a condition that leads to an inappropriately fast pulse from aberrant electrical pathways in the heart. During the final week of ECT, she experienced a marked blood pressure surge that led to severe cardiac pathology—Takatsubo’s cardiomyopathy. This is also known as “stress cardiomyopathy” or “broken heart syndrome,” befitting the vexed emotional state she had been in. The cardiomyopathy resembled a myocardial infarct, and it took several months for her to fully recover. Unfortunately, this prevented the use of ECT as a relapse prevention treatment. By one-year post-ECT, her systolic left ventricular dysfunction had resolved, and her ejection fraction (the heart’s pumping efficiency) had normalized.Now, once again, she was treatment-resistant, and ECT was the treatment of choice. The risk stratification for ECT encompassed her prior Takatsubo’s cardiomyopathy, which has a small but known chance for recurrence. This made her a high-risk patient. This risk was convoluted even more by her depression-induced psychosis, wherein she believed that she was dying, that meds were poisoning her, and that ECT would kill her from a heart attack. Before the psychiatric team consulted the ECT service, a mental health court had already ruled regarding her lack of capacity for her medical decisions. The court had authorized her husband as her proxy with authority to consent for her medical care, including for ECT. My role in this case was as the ECT proceduralist from the neuromodulation service who had been consulted by the primary team. The husband was an informed individual and signed consent for ECT. These events all coincided with the primary attending’s departure on scheduled leave. There was now a new covering attending.The resident psychiatrist was apprehensive about ECT and deliberated that the patient was at least able to identify potential risks of ECT—even if exacerbated by a nihilistic delusion. The resident speculated that perhaps the patient should at least be able to refuse ECT, given her previous cardiomyopathy. The newly arrived attending deferred a response regarding her concern and stated it had already been decided by the “team.” This amplified doubt. The medical students sensed the resident’s apprehension and felt confused about whether the patient should receive ECT or not. This dynamic quickly spilled over into nursing discussions, where some were now hesitating about the decision. The cohesiveness of the psychiatry treatment team was compromised... (shrink)

We report a series of experiments in which subjects were required to make spatial discriminations about naturally obtained images, as follows. Subjects were shown two natural images on a computer screen, side by side and for a period of 500 ms. Subjects were then shown, on a separate part of the computer screen, a small patch of one of the images selected at random. Subjects were required to decide which of the two full images the patch comes from, and whereabouts (...) in that image it is taken from. They indicated their response by clicking the mouse cursor at the appropriate point on the screen. -/- The proportion of trials on which the subjects selected the correct image and the accuracy of the spatial position of their correct responses were calculated. These two measures independently indicate the general discriminability of the two image sets, and the extent to which the spatial layout of the image has been perceived. By comparing response accuracy for images that are from different sets (such as mountain or town scenes) with response accuracy when the two images are from the same set it is possible to establish the image properties that underlie coarse scene apprehension. By using sets of images that are perhaps best described as being natural textures (such as patterns of foliage or rock surface) it is possible to measure the extent to which texture is processed spatially. Our results are interpreted in the light of statistical differences between the image sets that we have used. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Altars Altered: The Alexandrian Tradition of Etymological Wordplay in Aeneid 1.108–12Pamela R. Bleisch*In his recent monograph True Names: Vergil and the Alexandrian Tradition of Etymological Wordplay (1996) James J. O’Hara discusses what he terms “naming constructions as etymological signposts”; these are points in the text where Vergil calls attention to etymological wordplay by his use of words such as nomen, cognomen, verum nomen, voco, dico, appello, or perhibeo (75–79). (...) O’Hara remarks on a few passages which feature naming constructions even though no etymologizing seems to be involved, and notes Aeneid 1.108–10 as one such example:tris Notus abreptas in saxa latentia torquet (saxa vocant Itali mediis quae in fluctibus Aras, dorsum immane mari summo)....The South wind snatched up and hurled three ships onto the rocks hiding in midocean, the rocks which the Italians call Altars, a huge spine on the surface of the sea....The naming construction here—vocant Itali, “the Italians call”—is pronounced, but the etymologizing wordplay has escaped the attention of Vergil’s readers. O’Hara comments: “This is not quite etymologizing, but Vergil uses the naming signpost to call attention to the name of these rocks: Arae, Altars” (78). I would in fact argue that this passage of the Aeneid prominently features etymologizing, of the type which O’Hara elsewhere in his monograph calls “translation with paronomasia” (63). Vergil’s Arae, “Altars,” plays on the Greek arai, “curses, bane, ruin.” 1 According to Servius, the Greeks called these rocks Bomoi, “Altars” (Serv. Auct. on Aen. 1.108). Vergil, by glossing the Italian name [End Page 599] from a Greek vantage point, alters Bomoi into Arai, “Altars” into “Curses.” The word latentia, “hiding,” in line 108 alerts Vergil’s audience to be on the lookout for hidden meanings, while the repetition of saxa, “rocks,” in lines 108 and 109 highlights the double entendre of the proper name. The phrase vocant Itali serves as a signpost for the punning etymology, for it raises the issue of foreign language and translation.In Vergil’s punning etymology at Aeneid 1.108–10 the naming construction serves as the gloss itself; Itali calls the reader’s attention to the etymological translation with paronomasia. O’Hara cites another example of this in the Georgics: navita tum stellis numeros et nomina fecit / Pleiadas, Hyadas, claramque Lycaonis Arcton, “Sailors then gave numbers and names to the stars: Pleiades, Hyades, and the illustrious Bear, Lycaon’s daughter” (1.137–38). “By saying it was sailors who named the Pleiades and Hyades, Vergil takes a stand, as it were, and suggests the etymology from sailing for both words” (p. 78). The Itali in Aeneid 1.109 play an analogous role to the navita in Georgics 1.137; the subject of the naming construction simultaneously points to an etymological riddle and provides the clue to its solution.In Aeneid 1.109 Vergil plays on the name Arae/Arai; he also plays on an alternate name for the Arae, found in Sinnius Capito: hippou nota, the Horse’s Back (Serv. Auct. on Aen. 1.110). O’Hara notes: “In Vergil’s line 110, dorsum is an allusion to this other name, Back; Vergil says, in effect, ‘I am deliberately calling these rocks not “Back,” as some do, but “Altars”’” (78). By playing with the Greek name Horse’s Back, O’Hara argues, Vergil takes a stand on the etymology of these rocks. He is right to characterize Vergil’s allusion to hippou nota as a correction, but he misconstrues its rhetorical force. Vergil does not assert the authority of the Italian name; rather, he signals the Italian name as a variant, and privileges the Greek as the natural, dependable, true name: “the rocks which the Italians call Altars, that is: the Horse’s Back.” This is a bit like saying: “the dish which the Italians call polenta, that is: grits.” One culture is marginalized, while the other is assumed as the norm. The absence of a naming signpost with the word dorsum reasserts the authority of the Greek name Horse’s Back, while the phrase vocant Itali defines the Italian name as foreign.Both of Vergil’s wordplays... (shrink)

The main theoretical issues in the study of the history of the Archaean Controversy in Britain, which arose in the first three papers of the present series, are summarized and discussed—in particular the problem of stratigraphical work in rocks where no fossils can be discerned. The ‘Archaean’ geologists showed some leanings towards Neo-Neptunism and this, together with the fact that their work challenged the Murchison/Survey view of British geology, was one of the reasons for the controversy. At a deeper level, (...) however, the question concerned the doctrine of uniformitarianism: Were metamorphic rocks to be found at any part of the stratigraphical column, or were they confined to the earliest period of the Earth's history? The establishment of the concept of Precambrian rocks and a suitable stratotype boundary is essentially a social question that has to be determined within the geological community. Some of the social processes whereby these matters are decided internationally are considered, and it is noted that the best location of the ‘Golden Spike’ for the Precambrian/Cambrian boundary has only just been settled . The paper also explores some nineteenth-century ideas about the nature of metamorphism, and the early conditions of the world. (shrink)

Hollywood films partially construct how Americans think about education. Recent work on the representation of schools in American cinema has highlighted the role of class difference in shaping school film genres. It has also advanced the idea that a nuanced understanding of American individualism helps to explain why the different class genres are shaped as they are. This article attempts to refine this theoretical approach by focusing on the paradox of individualism, which suggests that individualism must always be dependent on (...) community. We examine 5 films (Rushmore 1988, The Breakfast Club 1985, Mona Lisa Smile 2003, School of Rock 2003, and Stand and Deliver 1988) and argue that, although the values of individualism are certainly celebrated, these films also show, perhaps unwittingly, that the achievements of individualism require robust student communities. We describe how student communities function in these films, what achievements they make possible, and what obstacles they face. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Choosing a Spouse:Aeneid 7.378–84 and Callimachus' Epigram 1Pamela R. BleischAeneid 7.378–84 and the Possibilities of Poetic ImitationIn Aeneid 7 Amata, under the influence of the fury Allecto, rebukes Latinus for betrothing his daughter to a faithless Trojan and urges that, if a foreign bridegroom is required, Turnus fits the bill. Latinus, however, remains unmoved by her argument. The Queen, driven mad by Allecto's serpent, is afflicted with Bacchic (...) frenzy, and hides her daughter in the mountain forests. As the poison of Allecto's serpent takes hold, Amata is likened to a top whipped on by boys at play (Aeneid 7.378–84):ceu quondam torto volitans sub verbere turbo,quem pueri magno in gyro vacua atria circumintenti ludo exercent—ille actus habenacurvatis fertur spatiis; stupet inscia supraimpubesque manus mirata volubile buxum;dant animos plagae: non cursu segnior illoper medias urbes agitur populosque ferocis.Iliad 14.413 has been cited as the model for Vergil's simile.1 There Telemonian Aias, in his duel with Hector, hurls a rock at his opponent, and the force of the blow sends Hector reeling like a spinning top:and spun him around like a top with the stroke, so that he staggered in a circle...2This verse, however, has little appeal for poetic imitation. The Iliadic top simile consists of only two words, in a line which is notoriously awkward—the first clause lacks an object, and the necessary change of subject [End Page 453] is not signalled in the second.3 The grammar of the verse is so elliptical that some have claimed that the simile refers to the stone hurtling in its trajectory, rather than to Hector reeling under the rock's impact.4 Vergil's top simile owes little to Iliad 14.413.Another frequently cited parallel for Aeneid 7.378–84 is Tibullus 1.5, 3–4:namque agor ut per plana citus sola verbere turben quem celer adsueta versat ab arte puer.These lines offer interesting points of comparison, but the question of poetic influence must remain indeterminate. In Tibullus' simile a boy spins a top with a lash over level ground; in Vergil's, boys spin a top with a lash in an empty atrium. The verb agor in Tibullus' elegy, its passive voice thrown into relief by the simplicity of its diction and its prominent position in the line, finds its parallel in Vergil's passage: actus at 380 and agitur at 384. The parallel phrase sub verbere turbo quem / sub verbere turben quem, replicated in exactly the same position, seems to signal influence self–consciously—but is it Tibullus' influence on Vergil, or vice versa? Without a secure date for Tibullus' first book, it is impossible to say who is alluding to whom.A more fruitful line of inquiry is the investigation of the third passage cited as a parallel for the Vergilian top simile: Callimachus Epigram 1 (Anth. Pal. vii.89; Diog. Laert. i.79), 9–10:Now these were boys who at a wide crossing were spinning their swift tops with blows of the lash.5Although Callimachus' epigram has been cited by commentators on Aeneid 7 lines 378–84 ever since Cerda first quoted the passage in 1649, the epigram has been referenced not as a literary model for Vergil's simile, but as evidence in distinguishing the top among the various spinning and [End Page 454] whirling children's toys of the ancient world.6 Yet the Callimachus passage offers some interesting parallels. Callimachus presents a group of boys gathered at the game, rather than a lone boy as in Tibullus' simile. Whereas Tibullus' mise en scène is vague (per plana... sola), Callimachus sets the boys in a descriptive location: the wide crossroad symbolizing the decision–making occasion of the epigram. The empty atrium of Vergil's top simile is equally descriptive and symbolic—the change from Callimachus' exterior, open space to interior, enclosed space is appropriate for the Italian and essentially feminine context of Aeneid 7.7 The correspondence is not exact; Vergil has elaborated on Callimachus' idea. Nonetheless, Vergil's simile of the boys... (shrink)

An account is given of early geological researches in the Malverns, the Church Stretton area, and the Wrekin. The reconnaissance work of Murchison suggested that each of these areas had Silurian sediments, intruded by igneous rocks . The early Survey maps were compiled on this theoretical basis, with the result that the Silurian sediments were regarded as the oldest rocks in Shropshire and the Malverns. Local geologists, working in the three areas, and with sufficient time to study the exposures in (...) detail, began to develop the idea of ‘islands’ of Precambrian rock , having younger sediments deposited thereon. This Archaean model was taken up and actively developed, and the stratigraphical details worked out, with the island model being gradually modified. Debates were stronger between members of the ‘Archaean’ fraternity than with the Survey. Traces of trilobite remains were found by Callaway at Comley, near Caer Caradoc, and were identified by Lapworth as Olenellus, enabling the underlying Wrekin Quartzite to be established as the base of the Cambrian, in agreement with ideas developed in North America and Scandinavia. Arguments are detailed concerning the relative ages of the ‘Uriconian’ and ‘Longmyndian’ rocks, and their constituent units. Both were agreed to be Precambrian, but the evidence in terms of field mapping, in relation to the Wrekin Quartzite, is not complete. The problems of stratigraphical work in unfossiliferous rocks are displayed, and also the efforts to achieve correlations with areas such as Pembrokeshire and Anglesey are described. Though consensus has been reached on the Precambrian status of the Malvernian, Uriconian and Longmyndian rocks, radiometric age determinations and other evidence throw doubt on some aspects of the consensus, and research continues. (shrink)

Among the poems of the Greek Anthology is one (Anth. Pal.6.171) which purports to be the dedicatory inscription of the Colossus of Rhodes built to celebrate the Rhodians' successful resistance to the siege of their island by Demetrius Poliorcetes in the years 305–304b.c. It has long been assumed by scholars that this epigram represents the authentic dedicatory inscription carved on the base of the Colossus, which was completed in the 280s and stood for some sixty years before being destroyed by (...) an earthquake that rocked the island of Rhodes in the 220s. There are, however, strong reasons to doubt the epigram's authenticity, some of which come from considerations of the poem itself and others which come from a comparison with a closely related epigram (Anth. Pal.9.518) composed by Alcaeus of Messene to celebrate Philip V's military successes during his Aegean campaign of 203–200. Verbal and thematic parallels between the two epigrams make a connection certain. It is the aim of the present study to re-examine the Rhodian epigram and its relation toAnth. Pal.9.518 in order to propose a new date for the former in the context of Rhodes' defeat of Philip V and the advent of Rome in the affairs of the states ringing the Aegean. (shrink)

Humans hunt and kill many different species of animals, but whales are our biggest prey. In the North Atlantic, a male long-fi nned pilot whale (Globiceph- ala melaena), a large relative of the dolphins, can grow as large as 6.5 meters and weigh as much as 2.5 tons. As whales go, these are not particularly large, but there are more than 750,000 pilot whales in the North Atlantic, traveling in groups, “pods,” that range from just a few individuals to a (...) thousand or more. Each pod is led by an individual known as the “pilot,” who appears to set the course of travel for the rest of the group. This pilot is both an asset and a weakness to the pod. The average pilot whale will yield about a half ton of meat and blubber, and North Atlantic societies including Ireland, Iceland, and the Shetlands used to manipulate the pilot to drive the entire pod ashore. In the Faroe Islands, a group of 18 grassy rocks due north of Scotland, pilot whale hunts have continued for the last 1200 years, at least. The permanent residents of these islands, the Faroese, previously killed an average of 900 whales each year, yielding about 500 tons of meat and fat that was consumed by local residents. Hunts have declined in recent years. From 2001 to 2005, about 3400 whales were killed, yielding about 890 metric tons of blubber and 990 metric tons of meat. The whale kill, or grindadráp in the Faroese language, begins when a fi shing boat spots a pod close enough to a suitable shore, on a suitably clear day. A single boat, or even a small group of fi shermen, is not suffi cient to trap a.. (shrink)

This infamous book has enjoyed a lively underground reputation since its first publication in 1970. Richard Meltzer (a.k.a. R. Meltzer) took his training as a young philosopher and applied it with unalloyed enthusiasm to the lyrics, sound, and culture of rock and roll. Never before had anyone noticed the relationship between the philosophy of Heidegger and a tune by Little Anthony and the Imperials, heard the cries of agony in the Shangri Las' “Remember (Walkin' in the Sand)”, or transcribed (...) every "papa-ooma-mow-mow" in the Trashmen's “Surfin' Bird.”From Dionne Warwick to Plato, Jim Morrison to Bert Brecht, Conway Twitty to Miguel de Unamuno, Meltzer subverts high and low culture in his search for meaning, emotion, and codes in popular music. At once an earnest investigation and a crypto put-on, the book can be read for its nuggets of information and insights or for its humor. Here with Greil Marcus's new introduction, yet another generation of readers can be outraged and inspired. (shrink)

The objective of this work is to establish a relationship between the cutting time in rocks, determining a speed and the point load strength index test, Is, to characterize the rock in terms of resistance and avoid sending samples to laboratories. As a first stage, on andesite samples, 5 x 5 x 10 cm test tubes were made. After the elaboration they were subjected to cutting, using an electric floor cutter and the time was evaluated. This cut was made (...) in a transversal way and two parts were obtained, one of them with dimensions 5 x 5 x 5 cm, approximately. In a third stage, the point load strength test was carried out in a press built for this purpose. Finally, the cutting speeds were correlated with the point load test values and only when rock samples do not pigeonhole on the proposed relationship, send them to the laboratory. Keywords: Mining fortification, uniaxial compressive strength, rock cutting, point load strength test index. References [1]P. Feijoo, R. Aucay, D. Ordoñez, "Aplicación del esclerómetro para la determinación de resistencia a compresión de rocas", presentado en el IV Congreso Internacional de Minería y Metalúrgia, Varadero, Cuba, 2018. [2]P. Feijoo y M. Román, «Correlación entre la Deformación y la Resistencia a la Compresión de rocas», uct, vol. 23, n.º 91, p. 6, may. 2019. [3]P. Feijoo, A. Bravo, N. Escandón, "Aplicación “UDAFORMIN” para la determinación del tipo de fortificación minera", presentado en el XII Congreso Iberoamericano de Computación para el Desarrollo, San Salvador, El Salvador, 2019. [4]P. Feijoo y C. Iñiguez, «Corte en las Rocas y su Relación con la Resistencia a Comprensión Simple», RISTI, n.º E 30, p. 59-67, jun. 2020. [5]P. Feijoo y J. Padrón, «La Resistividad de Rocas y su Relación con la Resistencia a Comprensión Simple en Mina», UCT, vol. 24, n.º 99, pp. 61-67, abr. 2020. [6]M. González. El terreno. Ediciones UPC. Barcelona. España, 2001. [7]E. Besoain. Mineralogía de Suelos. Turrialba: Instituto Interamericano de Ciencias Agrícolas de la OEA, 1970. [8]P. Feijoo, A. Flores, B. Feijoo, "The Concept of the Granulometric Area and Its Relation with the Resistance to the Simple Compression of Rocks", presentado en la 7th International Engineering, Sciences and Technology Conference, Panamá, Panamá, 2019, pp. 52-56, doi: 10.1109/IESTEC46403.2019.00018. [9]F. Blyth. Geología para Ingenieros. Cecsa. México D. F. México, 2003. [10] E. Tarbuck & F. Lutgens. Ciencias de la Tierra: Una introducción a la Geología Física. Pearson. Madrid. España, 2005. [11]L. Suarez del Rio, A. Rodríguez, L. Calleja, V. Ruiz de Argandoña, «El corte de rocas ornamentales con discos diamantados: influencia de los factores propios del sistema de corte», CSIC, vol. 48, n.º 250, pp. 53-59, abr-mayjun 1998. [12]Universidad Politécnica de Madrid. Explotaciones de Roca Ornamental. Diseño de explotaciones y selección de maquinaria y equipos. UPM. Madrid. España, 2007. [13]Catalog, Covington,. LAPIDARY & GLASS MACHINERY, USA. Retrieved from https://covington-engineering.com/content/pdf/Covington-Catalog.pdf. [14]D. Burbano, T. García, «Estimación empírica de la resistencia a compresión simple a partir del ensayo de carga puntual en rocas anisótropas », FIGEMPA, vol.1, n.º 2, pp. 13-16, dic. 2016. [15]P. Ramírez, L. de la Cuadra, R. Lain, E. Grigalbo. Mecánica de rocas aplicada a la minería metálica subterránea. Instituto Geológico Minero. Madrid. España, 1984. [16]P. Cordero, "Manual de prácticas de laboratorio de Mecánica de Rocas " tesis, Universidad Nacional Autónoma de México, México D.F., México, 2019. [17]L. González de Vallejo, M. Ferrer. Manual de campo para la descripción y caracterización de macizos rocosos en afloramientos. Instituto Geológico y Minero de España. Madrid. España, 2007. [18]P. Pohjanpera, T. Wanne, E., Johansson. Point Load Test Results From Olkiluoto Area Borehole Cores. Posiva. Finlandia, 2005. [19]P. Ramírez, L. Alejano. Mecánica de rocas: fundamentos e ingeniería de taludes. Universidad Politécnica de Madrid. Madrid. España, 2004. [20]M. Navarrete, W. Martínez, E. Alonso, C. Lara, A. Bedolla, H. Chávez, D. Delgado, J. Arteaga. «Caracterización de propiedades físico-mecánicas de rocas ígneas utilizadas en obras de infraestructura», ALCONPANT, vol. 3, n.º 2, pp. 133-143, ago. 2013. [21]P. Feijoo, "Manual de mecánica de rocas y estabilidad de túneles y taludes" tesis, Universidad del Azuay, Cuenca, Ecuador, 1997. (shrink)

ve r since the appearance of Ontogeny and Phylogeny a decade ago, Stephen Jay Gould has continued to delight and inform a wide spectrum of readers and, in doing so, to defy C.P. Snow's lament about the "two cultures" of the sciences and the humanities. Gould's monthly column in Natural History magazine, published under the heading "This View of Life," has led to a series of highly praised volumes of essays—Ever Since Darwin (1977), The Panda's Thumb (1980), Hen's Teeth and (...) Horse's Toes (1983), and most recently The Flamingo's Smile (1985). In addition, Gould's The Mismeasure of Man (1981), which won the National Book Critics' Circle Award, analyzed the questionable character of intelligence testing and emphasized the many personal and cultural biases that have led researchers astray in this field. Given the sheer amount of Gould's publications, which include numerous scientific publications as well, Gould's readers have been kept busy indeed absorbing his prodigious output. (shrink)

In his account of primitive people in D.R.N. 5 Lucretius says that they led a wandering, nomadic sort of existence ; ignorant of agriculture and husbandry, they were content to eat nuts and berries and the like , while streams and springs called them to quench their thirst : denique nota vagis silvestria templa tenebant nympharum… The rest of the sentence is a lush description of the streams which welled up from those woodland shrines, washing over rocks and moss, and (...) sometimes breaking out over the plain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:That St(r)ain Again:Blood, Water, and Generic Allusion in Horace's Bandusia OdeGottfried MaderAbstractHorace's vivid picture of the blood sacrifice to the spring of Bandusia has left many readers feeling somewhat uneasy, for while animal sacrifices appear elsewhere in the Odes,1 none matches this for its pathos or detail:O fons Bandusiae, splendidior vitro,dulci digne mero non sine floribus, cras donaberis haedo, cui frons turgida cornibusprimis et venerem et proelia destinat.frustra: nam (...) gelidos inficiet tibi rubro sanguine rivos lascivi suboles gregis.(Carm. 3.13.1-8)O spring of Bandusia, brighter than glass, worthy of sweet wine and flowers: tomorrow you will be presented with a kid whose forehead, swelling with first horns, destines him for both love and battles—but in vain, for to honour you the offspring of the wanton herd will dye your icy waters with his crimson blood.Hence the protest or surprise expressed at this allegedly offensive intrusion of blood into an otherwise idyllic scene: "Who wants a drink out of the fountain of Bandusia after that?" (Campbell 1924, 2); "[Horace] visualizes with aesthetic relish the mingling of the cool water and the red blood.... [His] behaviour was strange even by ancient criteria" (Nisbet 1962, 198); "somewhat macabre" (Williams 1969, 89); "the scandal of the sacrificial kid, whose death is dwelt upon... with a cruel brilliance quite out of proportion to any decorative needs" (Wilson 1968, 289).2 Others [End Page 51] have attempted to domesticate the sacrifice, urging that the ancients were less sentimental in these matters and justifying the description as rustic realism.3 But neither view accounts adequately for the densely suggestive detail or the perceptible emphasis on the blood offering—in a word, for the poetic intensity of these lines.The sacrifice begins to make sense when we explore its metaphorical possibilities and integrate it into the ode's thematic and intellectual design.4 Recent criticism has emphasized the metapoetic dimension of 3.13, interpreting Horace's homage to the spring as a tribute to the poetry which secures it a place among the celebrated fountains of Greek and Roman literature: "fies nobilium tu quoque fontium / me dicente cavis inpositam ilicem / saxis, unde loquaces / lymphae desiliunt tuae " (13-16; "you too will take your place among the famous springs when I celebrate the ilex set upon the hollow rocks, from which your clear-voiced waters come cascading down"). Further, since springs and water have a long metaphorical association with poetry (cf. below, note 12), the literal shades off easily into the literary, and the fons reflects the ideals and aspirations of Horace's own lyric art.5 From this perspective, the blood sacrifice too acquires a metaphorical nuance. Here is Steele Commager: "Readers have often been repelled by the details of the kid's sacrifice (6-8). Perhaps the description is not there for its realistic effect alone. Destined for love and battle, the 'offspring of the wanton flock' epitomizes life's comprehensive vitality, and as his warm blood mingles with the lucid water it is easy to sense a suggestion of the transformation of life into art" (Commager 1962, 323-24). Ralph Hexter continues on this trajectory: "The image of the red blood of the goat staining the cold spring water reflects the transmutation of life into poetry.... I believe a close reading of the poem supports a further insight: that Horace means to show us how life is transferred to the water of poetry, and by showing us how it is, he shows us that it is."6 Most recently, Gregson Davis has suggested a further association: "Unmixed wine, flowers, and young animal constitute the sine quibus non of the banqueting apparatus.... Horace's fons is to be honored with the irreducible tokens of convivial [End Page 52] poetry. This ensemble of tokens, and not the presumed reference to an obscure festival, is what principally determines the speaker's choice of offerings." And once the choice of offerings has established the lyric orientation, the goat's death suggests to Davis also the mortality topos or the "dark background," typically a foil to the convivial motifs in the context of... (shrink)

Chronostratigraphy is the subfield of geology that studies the relative age of rock strata and that aims at producing a hierarchical classification of (global) divisions of the historical time-rock record. The ‘golden spike’ or ‘GSSP’ approach is the cornerstone of contemporary chronostratigraphic methodology. It is also perplexing. Chronostratigraphers define each global time-rock boundary extremely locally, often by driving a gold-colored pin into an exposed rock section at a particular level. Moreover, they usually avoid rock sections (...) that show any meaningful sign of paleontological disruption or geological discontinuity: the less obvious the boundary, the better. It has been argued that we can make sense of this practice of marking boundaries by comparing the status and function of golden spikes to that of other concrete, particular reference standards from other sciences: holotypes from biological taxonomy and measurement prototypes from the metrology of weight and measures. Alisa Bokulich (2020b) has argued that these ‘scientific types’ are in an important sense one of a kind: they have a common status and function. I will argue that this picture of high-level conceptual unity is mistaken and fails to consider the diversity of aims and purposes of standardization and classification across the sciences. I develop an alternative, disunified account of scientific types that shows how differences in ontological attitudes and epistemic aims inform scientists’ choices between different kinds of scientific types. This perspective on scientific types helps to make sense of an intriguing mid-twentieth-century debate among chronostratigraphers about the very nature of their enterprise. Should chronostratigraphers conventionally make boundaries by designating golden spikes, or should they attempt to mark pre-existing ‘natural’ boundaries with the help of a different kind of scientific type? (shrink)

The philosophically rich David Bowie is an artist of wide and continuing influence. The theatrical antics of Bowie ushered in a new rock aesthetic, but there is much more to Bowie than mere spectacle. The visual belies the increasing depths of his concerns, even at his lowest personal moments. We never know what lies in store in a Bowie song, for there is no point in his nearly 30 albums at which one can say, "That's typical Bowie!" Who else (...) has combined techno and hard rock, switched to R&B love songs (with accompanying gospel) to funk to jazz-rock fusion and back again? Among the topics explored inDavid Bowie and Philosophy are the nature of Bowie as an institution and a cult; Bowie's work in many platforms, including movies and TV; Bowie's spanning of low and high art; his relation to Andy Warhol; the influence of Buddhism and Kabuki theater; the recurring theme of Bowie as a space alien; the dystopian element in Bowie's thinking; the role of fashion in Bowie's creativity; the aesthetics of theatrical rock and glam rock; and Bowie's public identification with bisexuality and hisinfluence within the LGBTQ community. (shrink)

Before American alt-rock band R.E.M. lost their religion in the 1990s and “the Donald” anointed himself as God’s chosen to resurrect a 1950s white utopian fantasy in 2024, The Beatles were perhaps...

Brian Lleiter : Leiter reports -- Jason Stanley : philosophy as the great naïveté -- Eric Schwitzgebel : the splintered skeptic -- Mark Rowlands : hour of the wolf -- Eric T. olson : the philosopher with no hands -- Craig Callender : time lord -- Kieran Setiya : what Anscombe intended and other puzzles -- Kit Fine : metaphysical kit -- Patricia Churchland : causal machines -- Valerie Tiberius : mostly elephant, ergo -- Peter Carruthers : mind reader -- (...) Joshua Knobe : indie rock virtues -- Alfred R. Mele : the four million dollar philosopher -- Graham Priest : logically speaking -- Ursula Renz: after Spinoza : wiser, freer, happier -- Cecile Fabre: on the intrinsic value of each of us -- Hilde Lindemann : no ethics without feminism -- Elizabeth S. Anderson : the new leveller -- Christine Korsgaard: treating people as end in themselves -- Michael Lynch : truth, reason and democracy -- Timothy Williamson : classical investigations -- Ernie Lepore : meaning, truth, language, reality -- Jerry Fodor : meaningful words without sense, and other revolutions -- Huw Price : without mirrors -- Gary Gutting : what philosophers know. (shrink)

First published in 1981, this collection of essays was taken from Peters' larger work, Psychology and Ethical Development in order to provide a more focused volume on moral education for students. Peters' background in both psychology and philosophy makes the work distinctive, which is evident from the first two essays alone: 'Freud's theory of Moral Development in Relation to that of Piaget' and 'Moral Education and the Psychology of Character'. He also displays balance in his acceptance that reason and feeling (...) are both of great importance where the subject of moral education is concerned. Although written some time ago, the book discusses issues which are still of considerable interest and importance today. (shrink)

_A philosophical exploration of J.R.R. Tolkien's beloved classic—just in time for the December 2012 release of Peter Jackson's new film adaptation, _The Hobbit: An Unexpected Journey__ J.R.R. Tolkien's _The Hobbit_ is one of the best-loved fantasy books of all time and the enchanting "prequel" to _The Lord of the Rings_. With the help of some of history's great philosophers, this book ponders a host of deep questions raised in this timeless tale, such as: Are adventures simply "nasty, disturbing, uncomfortable things" (...) that "make you late for dinner," or are they exciting and potentially life-changing events? What duties do friends have to one another? Should mercy be extended even to those who deserve to die? Gives you new insights into _The Hobbit_'s central characters, including Bilbo Baggins, Gandalf, Gollum, and Thorin and their exploits, from the Shire through Mirkwood to the Lonely Mountain Explores key questions about _The Hobbit_'s story and themes, including: Was the Arkenstone really Bilbo's to give? How should Smaug's treasure have been distributed? Did Thorin leave his "beautiful golden harp" at Bag-End when he headed out into the Wild? Draws on the insights of some of the world's deepest thinkers, from Confucius, Plato, and Aristotle to Immanuel Kant, William Blake, and contemporary American philosopher Thomas Nagel From the happy halls of Elrond's Last Homely House to Gollum's "slimy island of rock," this is a must read for longtime Tolkien fans as well as those discovering Bilbo Baggins and his adventures "there and back again" for the first time. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

This is a comprehensive discussion of complexity as it arises in physical, chemical, and biological systems, as well as in mathematical models of nature. Common features of these apparently unrelated fields are emphasised and incorporated into a uniform mathematical description, with the support of a large number of detailed examples and illustrations. The quantitative study of complexity is a rapidly developing subject with special impact in the fields of physics, mathematics, information science, and biology. Because of the variety of the (...) approaches, no comprehensive discussion has previously been attempted. This book will be of interest to graduate students and researchers in physics (nonlinear dynamics, fluid dynamics, solid-state, cellular automata, stochastic processes, statistical mechanics and thermodynamics), mathematics (dynamical systems, ergodic and probability theory), information and computer science (coding, information theory and algorithmic complexity), electrical engineering and theoretical biology. (shrink)