This paper discusses the process of designing a quantitative measure of student beliefs and attitudes about social responsibility, global competence, and global civic engagement. First, it includes an overview of the development of a global citizenship Q-sort, the tool used in Q methodology, for assessment. Second, it involves an explanation of the validation process of the Q-sort in three phases to include feedback from scholars in the field, high school teachers, and high school students. Finally, it discusses implications that using (...) this tool can have for researchers analyzing global citizenship coursework and for teachers implementing this coursework. (shrink)

According to a common sense theory, facial expressions signal specific emotions to people of all ages and therefore provide children easy access to the emotions of those around them. The evidence, however, does not support that account. Instead, children’s understanding of facial expressions is poor and changes qualitatively and slowly over the course of development. Initially, children divide facial expressions into two simple categories (feels good, feels bad). These broad categories are then gradually differentiated until an adult system of discrete (...) categories is achieved, likely in the teen years. Children’s understanding of most specific emotions begins not with facial expressions, but with their understanding of the emotion’s antecedents and behavioral consequences. (shrink)

The first generation of children to grow up with electronic toys and games saw computers as our “nearest neighbors.” They spoke of computers as rational machines and of people as emotional machines, a fragile formulation destined to be challenged. By the mid-1990s, computational creatures, including robots, were presenting themselves as “relational artifacts,” beings with feelings and needs. One consequence of this development is a crisis in authenticity in many quarters. In an increasing number of situations, people behave as though they (...) no longer place value on living things and authentic emotion. This paper examines watershed moments in the history of human–machine interaction, focusing on the pertinence of relational artifacts to our collective perception of aliveness, life’s purposes, and the implications of relational artifacts for relationships. For now, the exploration of human–robot encounters leads us to questions about the morality of creating believable digital companions that are evocative but not authentic. (shrink)

Izard (2010) did not seek a descriptive definition of emotion—one that describes the concept as it is used by ordinary folk. Instead, he surveyed scientists’ prescriptive definitions—ones that prescribe how the concept should be used in theories of emotion. That survey showed a lack of agreement today and thus raised doubts about emotion as a useful scientific concept.

The numbering in the new edition of Wittgenstein's Remarks does not in general correspond to the part and section numbers of the 1956 edition. The following concordance is useful for making cross references between the two editions.

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSherri Irvin, Guest Editor (bio)The idea for this special issue of the Journal of Aesthetic Education had its origins in the December 2007 event “The Art of Performance: Symposium in Honor of Jim Hamilton,” organized by Sandra Lapointe and Marcelo Sabatés and hosted by the Department of Philosophy at Kansas State University with the kind support of President Jon Wefald and the dean of the Faculty of Arts and (...) Sciences. The symposium was designed to celebrate the 2007 publication of Jim Hamilton’s The Art of Theater by Blackwell, as well as his many years of leading experimental theater programs for Kansas youth. Noël Carroll, David Davies, Aaron Meskin, and I were critics in an author-meets-critics session on The Art of Theater at the symposium, while Paul Thom was a critic for a session on the book at the 2007 Annual Meeting of the American Society for Aesthetics.The Art of Theater bears the stamp of Hamilton’s dual roles as a philosopher and an avid participant in contemporary theater practice. It is a philosophically sophisticated and richly informed treatment of the theoretical issues surrounding the practice of theater. It contributes greatly to filling what was a rather glaring hole in the philosophical literature: whereas music has received quite extensive treatment in recent decades, only a few philosophers have ventured into the complex territory of theater.Hamilton holds that theater is an independent form of art: theatrical performances are artworks in their own right, not subsidiary to or derivative of works in any other form (particularly literature). The process by which a theatrical performance is constructed, he suggests, involves such an extensive array of decisions by the performing company—including decisions about whether and how to make use of any preexisting text in the performance—that no text or literary work can be thought of as “the work” that is performed. Instead, the company’s activities generate the only work [End Page 1] at issue: namely, the performance itself. When a performance seems to bear a special relation to some repeatable entity, such as Hamlet, we should understand this as a relation the performance bears not to some literary text but to a tradition of other performances that have been collected under the Hamlet rubric. Accordingly, basic understanding of a theatrical performance does not require prior acquaintance with a text or literary work; spectators can have basic understanding of a performance as long as their responses demonstrate that they have followed what is happening as the performance itself unfolds. Spectators lacking extensive acquaintance with recent text-based theatrical practices, then, need not be stigmatized as lacking the resources to appreciate works of theater.In this issue Hamilton’s précis of the book is followed by the contributions of five critics who challenge the book’s central theses. The critics ask, Does Hamilton provide sufficient reason to reject the claim that at least some performances are of literary works, and can a satisfactory ontology of theater be developed if this claim is rejected? Even if theatrical performances are not of some text-based literary work, could they be of some other work, perhaps a work of theater that is generated through the performance practices of a company? Should spectators who follow what is happening moment-to-moment in a given performance, but fail to recognize that the performance parodies or satirizes some literary work, be said to have even basic understanding of what they have seen?Hamilton’s extensive replies to the critics will, I think, serve as a valuable supplement to the book, clarifying some of its central arguments and, in some instances, supplying new arguments for its theses. In particular, he points out that he did not intend for the book to provide a definitive argument for the thesis that theatrical performances are never performances of some other work; instead, he takes this thesis to emerge from a careful examination of theatrical practice. The aim of the book is to explore the implications of the thesis and to show how identification and appreciation of theatrical performances are possible if it is true. In this spirit, many of his claims should be given... (shrink)

Is an artwork simply identical to some physical object? While clearly not viable for art forms like literature and music, the view that artworks are physical objects is appealing for the singular visual arts , since it accords with our intuitions about the nature of visual artworks. A traditional challenge to the view holds that physical objects cannot possess representational properties, and thus visual artworks, most of which do have such properties, cannot be identical to physical objects. -/- In chapter (...) 1 I consider four formulations of this challenge and show that each is readily defeated once we recognize the confusion that underlies it. Arthur Danto has suggested that artworks cannot be physical objects, since two objects with the same physical features might correspond to very different artworks. Danto holds that only interpretation can account for the differences between the works, and thus that artworks are constituted by Interpretation. In chapter 2 I argue that Danto is wrong to claim that viewers' intepretations constitute artworks. To make sense of the fact that interpretation is subject to norms of adequacy, we must hold that the artwork is the object, not the product, of interpretation. A consequence is that a stage of epistemic labor, namely apprehension of the artwork, is required prior to interpretation. In chapter 3, I discuss the process of apprehension and advance a positive view according to which the nature of the artwork Is established by the artist's sanction. The artist creates sanctions through her publicly accessible actions and communications, such as the act of making a physical object with particular features, the presentation of an artist statement to accompany the object, correspondence with curators, and so forth. -/- Through the presentation of a variety of real and hypothetical examples of contemporary artworks, I argue that only the artist's sanction can account for the nature and characteristics of particular works. Moreover, the notion of the artist's sanction is applicable to both contemporary and historical artworks, and helps to bridge the apparent gap between them. (shrink)

Despite the amount of theorization on the forms and effects of participation, relatively little research directly examines what the concept of workplace participation entails in the minds of employees, and whether employees across cultures think positively when the concept of participation is activated in their mental representation. Three studies investigated the perceptions and preferences of full-time employees from the United States and China, cultures that might be expected to differ in their societal participation norm. Using a free association test and (...) text analyses, Study 1 demonstrated that Chinese and American employees differed in their construal of workplace participation, yet both culture groups associated positive valence to the concept of participation. Study 2 showed that employees’ preference for workplace participation is positively related to their perceptions of its outcomes on productivity, job satisfaction, and workplace conflict. Study 3 had employees interact with either a prototypically high or low participation work environment and tested whether clear cultural contrasts might occur. American employees expressed unambiguous endorsement and predicted positive outcomes of a high participation workplace, whereas Chinese employees expressed slightly higher endorsement to a low participation work environment and associated it with higher productivity. This research provides insights on how workplace participation is construed by employees from different cultures, especially from cultures where democratic participation is not the normative default. Different perspectives on workplace participation across cultures may inform practitioners of the goals and approaches when shaping a more participatory workplace and a more democratic society. (shrink)

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...) media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

Nursing practice occurs in the context of conversations with healthcare users, other healthcare professionals, and healthcare institutions. This discussion paper draws on symbolic interactionism and Fairclough's method of critical discourse analysis to examine language that nurses use to describe the people in their care and their practice. We discuss how nurses’ use of language constructs meaning about healthcare users and their own work. Through language, nurses are articulating what they believe about healthcare users and nursing practice. We argue that the (...) language nurses use can contribute to viewing their practice as tasks on bodies that must be accomplished efficiently and objectively within the biomedical model, rather than relational and person‐centered. Moreover, the language nurses use can perpetuate a sense of powerlessness within healthcare systems yet paradoxically they are in a position of power over healthcare users. Nurses’ compliance with the efficiency and biomedical model results in a lack of emphasis on the full breadth of nursing work, which could be enacted in relational rather than power‐laden practices. We conclude by positing that careful use of language among nurses in all settings is essential, if we are to begin to articulate what nursing is to ourselves and to others. (shrink)

Baruch Spinoza began his studies learning Hebrew and the Talmud, only to be excommunicated at the age of twenty-four for supposed heresy. Throughout his life, Spinoza was simultaneously accused of being an atheist and a God-intoxicated man. Bertrand Russell said that, compared to others, Spinoza is ethically supreme, 'the noblest and most lovable of the great philosophers'. This book is an exploration of (a) what Spinoza understood God to be, (b) how, for him, the infinite and eternal power of God (...) is expressed, and (c) how finite human beings can have a true idea of this greatest of all entities. Sherry Deveaux begins with an analytic discussion of these three questions, and an explication of three different views held by contemporary commentators on Spinoza. She then shows that the commonly held views about Spinoza are inconsistent with Spinoza's texts, especially his magnum opus, the Ethics. Next comes an analysis of topics in Spinoza that must be understood in order correctly to answer the three questions. For example, the notions of 'power' and 'true idea' are discussed, along with Spinoza's definition of the 'essence' of a thing, which is shown to be central to the discussion of Spinoza's God. Deveaux then claims that Spinoza defines God's essence as 'absolutely infinite and eternal power' and that, contrary to the commonly held view that God's essence is identical with the attributes (e.g., thought and extension), God's essence or "power" is expressed through the attributes. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

This data includes information on authorship gender in Leiter Ranked, Unranked, and Interdisciplinary Philosophy Journals between 1900 & 2010.

Advances in machine learning hold promise for corpus analysis: they have the potential to allow for more efficient and less biased analyses of text. This would be a boon for qualitative research, such as the survey research conducted by Academic Philosophy Data and Analysis. In this paper we examine the utility of automated machine learning for select survey questions, with a focus on LDA and VADER. We thus compare human and machine coding on the question of whether underrepresented philosophers are (...) more likely to respond negatively to questions concerning diversity and inclusivity in academic philosophy. Our study has mixed results, revealing instances where automated machine learning can be used to fruitfully support and interrogate more traditional hand-coding techniques, but also instances where we were unable to glean much insight. (Contact authors for draft.). (shrink)

Embrace your authentic self and let your soul's light shine forth with guidance from 150 lessons meant to inspire, motivate, and teach. This empowering book helps you shed what is false and come to know, accept, and express your true self. With essays to uplift and engage you through personal stories, meditations, exercises, affirmations, and question prompts, Discover Your Authentic Self shows you how to live according to your passions and purpose. Explore a range of topics for self-discovery, including intuition, (...) spirit animals, recognizing personal abilities as related to archetypes, living your purpose, spirit essence and energy (chakras and auras), and more. With this remarkable book, you'll unlock your truth and set yourself free. (shrink)

This paper examines the economic rationale of affordability exemptions in the context of a health insurance mandate. I provide an economic definition of affordability and discuss how it is implemented in the contexts of food, housing, and health care. Affordability standards are frequently used in making food and housing policy, but both empirically and theoretically health care operates quite differently than these other merit goods. This helps explain why the use of affordability in health policymaking is so different from its (...) use in these other contexts. I conclude with some suggestions about how to improve affordability exemption rules in health policymaking. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

A framework is introduced consisting of five baselines of ethical justification for professional persuasive communications. The models provide a conceptual structure by which to identify and analyze the ethical reasoning, underlying justifications, motivations, and decision making in professional persuasive practices. Although the emphasis of this article is on defining the constructs, their ethical soundness as justification for persuasive practices and their usefulness in establishing direction and methodologies for research in persuasive also are addressed.

This article examines baby farming as an urban neighborhood-based system of group child care in Philadelphia in the late nineteenth century and considers the dangers and abuses the practice of baby farming posed for parents, children, and baby farmers. It explores reformers' early efforts to regulate the city's baby farms. Finally, the essay also investigates the ways in which the residents of Philadelphia's poor neighborhoods monitored the child-care establishments in their communities that catered to working mothers.