Hans Blumenberg has, in the quarter-century since his death, become recognized as one of the most important philosophers of the postwar period. The Readability of the World represents Blumenberg's first full-length demonstration of the metaphorological method he had pioneered twenty years earlier in Paradigms for a Metaphorology. Whereas Blumenberg had confined himself in Paradigms to sketching this future research field, in Readability he applies his method to a single case study: the idea that the world presents itself to (...) human beings as a book. The metaphor of the book of nature has been central to Western interpretations of reality. Beginning with ancient Greek cosmology and ending with the genetic code, Blumenberg traces the changes undergone by this metaphor in order to access the different expectations of reality that it articulates, reflects, and projects. (shrink)

The study examines employee, managerial, and ethics officer perceptions regarding their companies codes of ethics. The study moves beyond examining the mere existence of a code of ethics to consider the role that code content and code process (i.e. creation, implementation, and administration) might play with respect to the effectiveness of codes in influencing behavior. Fifty-seven in-depth, semi-structured interviews of employees, managers, and ethics officers were conducted at four large Canadian companies. The factors viewed by respondents to (...) be important with respect to code effectiveness include: provisions of examples; readability; tone; relevance; realism; senior management support; training; reinforcement; living up to standards; reporting requirement; anonymous phone line; communicating violations; and enforcement. The factors found to be potentially important include: justification for provisions; employee involvement; and sign-off requirements. Factors found not to be important include: objectives for the code; prior distribution; testing; and relating ones performance review to compliance with the code. (shrink)

The Securities and Exchange Commission requires the disclosure of changes to or waivers of corporate codes of ethics. Because the nature of amendments or waivers can vary, we expect the text of Item 5.05 to include different topics within different filings. We examine the population of these disclosures in Item 5.05 8-K filings from 2004 to 2020. While previous studies utilized small samples (fewer than 50 observations) to examine limited aspects of these filings, we use the population of these filings (...) from 2004 to 2020 (2121 8-K filings) to elucidate the nature and details of the disclosures. We assess whether Latent Dirichlet Allocation—a computational linguistics technique—can help discern the underlying topics represented in filings. While the Securities and Exchange Commission identifies two topics—amendments and waivers—the Latent Dirichlet Allocation analysis reveals four topics (three related to amendments): (1) code updates and clarifications; (2) combining codes of conduct for all officers and employees, or splitting codes to include a code directly applicable to senior financial officers; (3) codes of ethics waivers; and (4) substantive code changes. The overall trend is for fewer 8-Ks to be filed in recent years, with updates and clarifications becoming the predominant filing type. Our results further indicate that Item 5.05s related to updates and clarifications, and those related to combined or split codes, use fewer words and are more easily readable than those disclosing waivers or material code changes. Although we find no significant price reaction to Item 5.05 8-K filings, we find significant trading volume and volatility reactions, suggesting that these disclosures could give rise to differences in opinion among investors, which is consistent with the US Senate's assertion that these disclosures are of interest to investors. (shrink)

Background: The formulation and implementation of national ethical regulations to protect research participants is fundamental to ethical conduct of research. Ethics education and capacity are inadequate in developing African countries. This study was designed to develop a module for online training in research ethics based on the Nigerian National Code of Health Research Ethics and assess its ease of use and reliability among biomedical researchers in Nigeria.MethodologyThis was a three-phased evaluation study. Phase one involved development of an online training (...) module based on the Nigerian Code of Health Research Ethics (NCHRE) and uploading it to the Collaborative Institutional Training Initiative (CITI) website while the second phase entailed the evaluation of the module for comprehensibility, readability and ease of use by 45 Nigerian biomedical researchers. The third phase involved modification and re-evaluation of the module by 30 Nigerian biomedical researchers and determination of test-retest reliability of the module using Cronbach’s alpha. Results: The online module was easily accessible and comprehensible to 95% of study participants. There were significant differences in the pretest and posttest scores of study participants during the evaluation of the online module (p = 0.001) with correlation coefficients of 0.9 and 0.8 for the pretest and posttest scores respectively. The module also demonstrated excellent test-retest reliability and internal consistency as shown by Cronbach’s alpha coefficients of 0.92 and 0.84 for the pretest and posttest respectively. Conclusion: The module based on the Nigerian Code was developed, tested and made available online as a valuable tool for training in cultural and societal relevant ethical principles to orient national and international biomedical researchers working in Nigeria. It would complement other general research ethics and Good Clinical Practice modules. Participants suggested that awareness of the online module should be increased through seminars, advertisement on government websites and portals used by Nigerian biomedical researchers, and incorporation of the Code into the undergraduate medical training curriculum. (shrink)

This article contributes to the project of historicizing the emergence of printed books as a mass cultural form in the 20th century and after, in addition to exploring the political-economic struggles both occasioning and occasioned by their constitution as such. In doing so, it both models and reflects on what a possible historiography of technology "after social constructionism" might look like. More specifically, it attempts to account for the behind-the-scenes or "back office" processes through which commodification takes place in the (...) sphere of book distribution, and it does so by focusing principally on communication and information technologies such as the international standard book number (ISBN) and machine readable bar codes. This history, overall, complements the more hopeful narratives of mass culture's democratizing potential, by telling a story about how increased opportunities for middle class social advancement depend on intensified - and intensely technological - work processes for those employed in the sphere of commodity distribution. This essay demonstrates, moreover, how dominant metaphors and frameworks that have guided Social Construction of Technology (SCOT) research (e.g., "actor-networks," "seamless webs," and so forth) must be amended to account better for power, contradiction, and antagonism within the history of technology. (shrink)

Written in a relaxed, readable style, A Concise Introduction to Pure Mathematics leads students gently but firmly into the world of higher mathematics. It provides beginning undergraduates with a rigourous grounding in the basic tools and techniques of the discipline and prepares them for further more advanced studies in analysis, differential equations, and algebra. This edition contains additional material on secret codes, permutations, and prime numbers. It features more than 200 exercises, with many completely new. The text is organized into (...) relatively independent chapters, allowing instructors to tailor the book to meet their individual course needs. · Contains extra material concerning prime numbers, forming the basis for data encryption · Explores "Secret Codes" - one of today's most spectacular applications of pure mathematics Discusses Permutations and their importance in many topics in discrete mathematics. (shrink)

Whether one's interests lie in psychological practice, counseling, research, or the classroom, psychologists today must deal with a broad range of ethical issues--from charging fees to maintaining a client's confidentiality, and from conducting research to respecting clients, colleagues, and students. Now in a new edition, Ethics in Psychology, the most widely read and cited ethics textbook in psychology, considers many of the ethical questions and dilemmas that psychologists encounter in their everyday practice, research, and teaching. The book has been completely (...) updated in response to evolving trends in psychological research and practice, as well as extensive changes in the American Psychological Association's ethics code. Taking a practical, common sense approach to ethics in modern-day psychological practice, this useful book offers constructive means for both preventing problems and resolving ethical predicaments. This new edition retains the key features which have contributed to its popularity, including extensive case studies that provide illustrative guidance on a wide variety of topics, such as fee setting, advertising for clients, research ethics, sexual attraction, classroom ethics, managed care issues, confidentiality, and much more. Highly readable, the book unites an accessible style with humorous anecdotes that highlight the human side of ethics and make the book a pleasure to read. Ethics in Psychology will be an indispensable guide to ethical decision-making for all psychologists and students in psychology. (shrink)

Background Informed consent is often cited as the “cornerstone” of research ethics. Its intent is that participants enter research voluntarily, with an understanding of what their participation entails. Despite agreement on the necessity to obtain informed consent in research, opinions vary on the threshold of disclosure necessary and the best method to obtain consent. We aimed to investigate Australian researchers’ views on, and their experiences with, obtaining informed consent. Methods Semi-structured interviews were conducted with 23 researchers from NSW institutions, working (...) in various fields of research. Interviews were analysed and coded to identify themes. Results Researchers reported that consent involved information disclosure, understanding and a voluntary decision. They emphasised the variability of consent interactions, which were dependent on potential participants’ abilities and interests, study complexity and context. All researchers reported providing written information to potential participants, yet questioned the readability and utility of this information. The majority reported using signed consent forms to ‘operationalise’ consent and reported little awareness of, and lack of support in implementing more dynamic informed consent procedures, such as verbal informed consent, that was fit for the purposes of their studies. Views on Human Research Ethics Committees varied. Some reported inconsistent, arduous inputs on the information form and consent process. Others expressed reliance on HRECs for guidance, viewing them as institutional safeguards. Conclusions This study highlights the importance of transparent relationships, both between researchers and participants, and between researchers and HRECs. Where the relationship with study participants was reported as more robust, researchers felt that they were better able to ensure participants made better, more informed decisions. Where the relationship with HRECs was reported as more robust, researchers were more likely to view them as institutional safeguards, rather than as bureaucratic hindrances. Conscientious and mindful researchers are paramount to ensuring the procedure accommodates individual requirements. This study advocates that when designing ethical informed consent practices, researchers should be integrated as autonomous players with a positive input on the process, rather than, in the worst case, predatory recruiters to be curtailed by information forms and oversight. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Truth Shall Make You FreireRobert CanterTeaching Contemporary Theory to Undergraduates, edited by Dianne F. Sadoff and William E. Cain; 271 pp. New York: Modern Language Association of America, 1994; $19.75, paper.IThe newest title in the MLA’s Options for Teaching series, this publication is well-timed. Concerns about “classroom advocacy” and “politicized teaching” have recycled into near-critical mass, even in the mass media. The book is well-arranged, too, with a (...) solid sample of deconstructionist, New Historicist, Marxist, feminist, and cultural studies, and more mix-and-match theorists describing their classroom aims and means in twenty-one essays grouped into four sections. Sadoff and Cain offer elegantly evasive introductions—not only to these essays per se, but to the issues these essays purport to address. In “Surveying Theory,” David B. Downing, John Kucich, Susan S. Lanser, Lynette Felber, Donald G. Marshall, and Gary Waller lay broadly “anti-foundational” groundwork. In “Focusing,” Diana Fuss, Sandra A. Grayson, Beverly Lyon Clark, Evan Carton, Laurie A. Finke, Jonathan Arac, and Cary Nelson deconstruct things in more detail. In “Theory and Culture,” Huston Diehl, Cannon Schmitt and Donald Ulin, Lindon Barrett, Simon Gikandi, D. N. Rodowick, and Jan Gorak again widen the scope of “theorized teaching,” aiming regulation anticanonical shrapnel at every bastion of coded convention. And while readers may pause over [End Page 336] its backcover promise of “lively and accessible prose,” on the whole, the book is unusually readable for an MLA publication about theory.Since Teaching Contemporary Theory to Undergraduates is a how-to directed at true-believers, it might seem like critical blindsiding to address its fundamental assumptions rather than its tactical suggestions, to focus on its “theory” rather than on its pedagogy. Yet such a focus is not only fair but necessary. The pedagogy is in this book a pawn of the theory. And the theory is, at best, a lesson in how not to teach students how to learn. For despite all its noisy celebrations of methodological, cultural, ontological, and occasionally even human “difference,” the anthology is really a chorus of self-defeating dogma. 1 Like the virtue of variety, even the relative absence of jargon here works as much against as for the book, revealing self-contradictions so perfectly unwitting that they are twice as funny. It is a good thing, then, that the authors eventually contradict these claims, too—even if they know not that they do.The canon? In accordance with postmodern tradition, “the canon” can be calibrated to be whatever best attacks whatever other tradition a particular theorist is aiming at. It is a very modular “monolith.” And theorists never try to “overdetermine” definitions, anyway. The classroom? As an “overdetermined” site of class-struggle, “the classroom (and the academy at large) is... a social institution designed to reproduce the interests, values, and politics of the dominant social classes” (p. 104). Convention? Anything “mainstream” is so polluted with “the notion of mastery, of total and complete knowledge” that even assigning “mainstream” theorists in a theory class “reproduces that hegemony, no matter how critically we read them” (pp. 105, 61). The runoff of mainstream theorists quoted here—conventional MLA Style—makes the same point. Culture? As always already—and only—“a struggle between power and its disenfranchised shadow,” culture “systematically excludes and marginalizes disenfranchised social members” (pp. 263–64, 20–21).Education? As Paulo Freire has revealed, 2 on the one, bad, goatish, wrong Right-wing hand of God, there is the repressive “banking” model of education; on the other, good-shepherdish, right Left-wing side, there is the liberating “problem-posing” model. You are either a droning clerk bent on subduing students into serfdom, or you are a resistance fighter lighting fuses of freedom. “Instrumental activity” does “pedagogical violence,” making the teacher a tyrant and the student a victim, a “submissive imitator” in a “system” that’s “abidingly committed [End Page 337] to the vision of a white-supremacist oligarchy.” Even asking students what level of “guidance” they feel they need is imposing “rhetorical control” (pp. 32, 23, 222, 135).Facts? The fact is, they are “the discursive gestures of the dominant groups” (p. 222). Unless they are... (shrink)

The context of the target article is delimited again, underlining the intended locationof the argument in the bottomup hierarchy of brain study. The central message is that collective delay activity distributions (reverberations) in cortical modules extend the role of a spike (a potentialinformation carrier across long distances) to an active memory of structured, learned information that can be carried across long time intervals. Moreover, the population code of the reverberations makes them readable down the cortical processing stream. Most of (...) the critical comments are then interpreted and addressed in relation to misreading of the proper context. The price for the limitation of the context (in cognitive, behavioral, and computational terms) is compared with the advantages of a clear, direct contact with experiment on the one hand and with a well controlled body of modeling and analysis on the other. (shrink)

Psychologists today must deal with a broad range of ethical issues--from charging fees to maintaining a client's confidentiality, and from conducting research to respecting clients, colleagues, and students. As the field of psychology has grown in size and scope, the role of ethics has become more important and complex whether the psychologist is involved in teaching, counseling, research, or practice. Now this most widely read and cited ethics text in psychology has been revised to reflect the ethics questions and dilemmas (...) that psychologists encounter in their everyday work. Ethics in Psychology has been completely updated in response to evolving trends in psychological research and practice, as well as extensive changes in the American Psychological Association's ethics code. Gerald P. Koocher and Patricia Keith-Spiegel take a practical, commonsense approach to ethics in modern-day psychological practice, and offer constructive suggestions for both preventing problems and resolving ethical predicaments. In this book, their main intent is to present the full range of contemporary ethical issues in psychology as not only relevant and intriguing, but also as integral and unavoidable aspects of the profession. The authors make extensive use of actual case studies in order to illustrate how the APA guidelines apply to specific situations, such as fee setting, advertising for clients, research ethics, sexual attraction, classroom ethics, managed care issues, confidentiality, and much more. The most recent ethics code of the American Psychological Association (1992) is used here only as a starting point. The authors go well beyond the APA code and incorporate the input of many experts. In addition to the analysis of a wide variety of general situations, new problematic areas are identified and explored. The book includes two appendixes - Ethical Principles of Psychologists and Code of Conduct, adopted by American Psychological Association, Rules and Procedures of the Ethics Committee of the American Psychological Association - both in an easy-to-use format. In addition, each chapter lists summary guidelines along with current and valuable references. Highly readable, the book unites a straightforward, lively writing style with humorous anecdotes that highlight the human side of ethics and make the book a pleasure to read. Ethics in Psychology will be an indispensable guide to ethical decision-making for all psychologists and students in psychology. (shrink)

In social work there is seldom an uncontroversial `right way' of doing things. So how will you deal with the value questions and ethical dilemmas that you will be faced with as a professional social worker? This lively and readable introductory text is designed to equip students with a sound understanding of the principles of values and ethics which no social worker should be without. Bridging the gap between theory and practice, this book successfully explores the complexities of ethical issues, (...) while recognising the real-world context in which social workers operate. Key features of the text include: - Full of hands-on advice and tips for professional practice. - Engaging and student-friendly. Each chapter is packed with case studies, reader exercises, key definitions and useful summaries. - Comprehensive content. The book explores core issues such as moral philosophy; professionalism; religion; power; oppression; difference and diversity; and ethical codes of practice. - Satisfies all the curriculum and training requirements for the new social work degree. Mapping directly on to first year courses, this text is essential reading for all social work undergraduates. It is an ideal refresher text for upper-level undergraduates, postgraduate and post-qualifying students, and for professionals. `This introductory text succeeds in providing an accessible introduction to the subject area. The book is consistently structured, well planned and uniformly written in a conversational and immediate style…. The discussion manages to combine a sense of engagement with a balanced treatment of the issues. Readers who apply themselves will be well sensitised to the matters under discussion and should be able to take their understanding into the practical arena' - Chris Clark, University of Edinburgh. (shrink)

Lewis was not, and is not, very popular in the academy. I think there are three reasons.First, he did not stick to his subject, which was medieval and Renaissance literature. He wrote highly successful children's books, theological works, and articles accessible to nonspecialists, and was an acclaimed broadcaster. All this allowed his critics to suggest that he was not a proper academic, because proper academics do not throw their nets so wide.Second, he was good at everything he did (except perhaps (...) some areas of philosophy: he was famously bested by Elizabeth Anscombe when he ventured onto her home ground). This was perhaps the most infuriating thing about him. The justification for academic superspecialization is that one cannot do more than one thing really well. But Lewis did. He was a better Renaissance scholar than those who criticized him, moaned about him in the Oxford cloisters, and blackballed him for appointments. He is relentlessly readable; therefore (said his detractors) his scholarship must be shoddy.Lewis infuriates me too. Often, when I think I have had an original thought in some domain a million miles from Renaissance literature, I discover not only that Lewis had had that thought already, but had explicated it, seeing angles I never noticed, and more often than not he had exploded it, using a tenth of the words I used, and all in devastatingly simple prose that would entertain and illuminate the most uninterested plumber.And third, of course, he was a Christian, which was then becoming an unforgivable sin, as it remains now in the humanities (though not the physical sciences or mathematics). The usual (stated) objection to academic Christians is that their theological commitment precludes objectivity, but Lewis's academic writing (notably his English Literature in the Sixteenth Century: Excluding Drama [1954]) was so good that that indictment could not stick, and his opponents descended into incoherent fulmination about superannuated paradigms.These reasons help to explain the chilly reception (or, more often, nonreception) by self-billed “serious thinkers” of Lewis's “space trilogy”: Out of the Silent Planet, Perelandra, and That Hideous Strength (hereafter THS). In relation to THS there is another reason: the novel is about them. No, about us. Lewis's view of us is just too keen, his diagnosis too alarming.The main concerns of THS are dehumanization, the role of institutions in that dehumanization, and the desire of individuals to be part of an esoteric circle. More broadly, it concerns the nature of evil. Its debt to the Divine Comedy and to Charles Williams, Lewis's fellow Inkling, are clear.The central character is a young academic, Mark Studdock. We all know him. His education had been “neither scientific nor classical—merely ‘Modern.’ That left him pathetically manipulable. The severities both of abstraction and of high human tradition had passed him by: and he had neither peasant shrewdness nor aristocratic honour.” Studdock was “a man of straw, a glib examinee in subjects that require no exact knowledge.” He stood for nothing; he weighed nothing.Humans are not supposed to be weightless. We will do anything to convince ourselves that we have mass. Many of our strategies are counterproductive. Some are disastrous and lead to dissolution. Studdock's strategy is one of the commonest and most catastrophic: he tries to get to the center of things—to the “Inner Ring” whose geography is described by Lewis in his 1944 lecture (and later essay) of that name. At some level, at least occasionally, Studdock knows the stupidity of this ambition, but he closes his eyes and his mind. And he begins to be used by forces far greater than any he had dreamed of.The book opens with a merciless (and horribly entertaining) account of academic politics. Read it and cringe in recognition: the mechanics of toadyism; the devices for getting your own way with a committee (put the real business in coded form at the end of an agenda, to be dealt with on a hot day after lunch); infuse everything with an appeal to self-interest, but never put it quite like that, for fear of awakening long-dormant altruism. Obfuscate: do not call the sale of an ancient woodland in which Merlin's body lies “the sale of Bragdon Wood” but the sale of “the area coloured pink on the plan.” Learn to talk like the bursar of Studdock's college, for each of his sentences was “a model of lucidity: and if his hearers found the gist of his whole statement less clear than the parts, that may have been their fault.” As a manual for getting your own way in institutions, The Prince is artless and benign beside THS.Studdock becomes a pawn in a big and diabolical game. A vast organization, the National Institute for Coordinated Experiments, known, of course, as “NICE” (never underestimate the importance of an acronym), which turns out to be the instrument of dark supernatural forces, is becoming a state within a state. It is unaccountable. That is its tagline, indeed: it will be free of the red tape that inhibits the research of more conventional institutions. And who can define with sufficient exactitude the difference in principle between tedious administrative red tape and moral stricture? If you are in with the NICE, anything goes.The NICE's project is the unmaking of everything that is quintessentially human and, eventually, everything that is biological. Life itself is just too unhygienic. Beauty is a joke. Sentiment a delusion. Love merely a result of chemical interactions in the brain. Nothing signifies.The NICE has a handful of opponents—a raggedy bunch (including a bear) under the direction of Ransom, who has traveled outside planet Earth in the previous two books in the trilogy. The company, it turns out, is the remnant of the old Arthurian kingdom of Logres, which has always been in tension, if not war, with the modern kingdom of Britain: “Haven't you noticed that we are two countries? After every Arthur, a Mordred; behind every Milton, a Cromwell: a nation of poets, a nation of shopkeepers: the home of Sidney—and of Cecil Rhodes.” They recruit Studdock's wife, Jane, who can spy clairvoyantly on the NICE, and then a revived Merlin comes from his tomb to their aid.THS is strong meat. Many will balk at its supernaturalism, and perhaps in particular its complementarian view of the relationship between the sexes. But hear Lewis out: you might not agree with him, but he is always interesting. When I read THS thirty years ago, I thought it a ripping yarn. It still is. But now I see it as prescient, prophetic, and profoundly important. It should be on every university reading list, for every subject, and no one should be allowed to hold any kind of public office until they have shown that they have assimilated its lessons. (shrink)

In the long river of human history, if one person can represent the civilization of a whole nation, it is perhaps Master Kong, better known as Confucius in the West. If there is one single book that can be upheld as the common code of a whole people, it is perhaps Lun Yu, or The Analects. Surely, few individuals in history have shaped their country's civilization more profoundly than Master Kong. The great Han historiographer, Si-ma Qian, writing 2,100 years (...) ago said, "He may be called the wisest indeed!" And, as recently as 1988, at a final session of the first international conference of Nobel prize-winners in Paris, the seventy-five participants, fifty-two of whom where scientists, concluded: "If mankind is to survive, it must go back twenty- five centuries in time to tap the wisdom of Confucius." This a man whose influence in world history is truly incomparable. His sayings form the basis of a distinct social, ethical, and intellectual system. They have retained their freshness and vigor for two and a half millennia, and are still admired in today's China. Compiled by pupils of Confucius's disciples half a century after the Master's death, The Analects of Confucius laid the foundation of his philosophy of humanity--a philosophy aimed at "cultivating the individual's moral conduct, achieving family harmony, bringing good order to the state and peace to the empire. Containing 501 very succinct chapters and organized into twenty books, the collection comprises mostly dialogues between the Master and his disciples and contemporaries. The ethical tenets Confucius put forth not only became the norm of conduct for the officialdom and intelligentsia, but also profoundly impacted the behavior of the common people. The great sage's unique integration of humanity and righteousness struck a powerful chord in all who attempted to understand his moral philosophy. As translator Chichung Huang contends, "What ethical principle laid down by man could be more sensible that none which blends the best our heart can offer with the best our mind can offer as the guiding light for our conduct throughout our lives?" Ever timely, Confucius's teachings on humanity and righteousness may well serve as a ready-made cure for today's ills in an era which human beings are blinded by force and lust, not unlike Confucius's own day. Far more literal than any English version still in circulation, this brilliant new rendition of The Analects helps the reader not only to acquire and accurate and lucid understanding of the original text, but also to appreciate the imagery, imagery, parallelism, and concision of its classical style. The translator Chichung Huang, a Chinese scholar born in a family of Confucian teachers and schooled in one of the last village Confucian schools in South China, brings to this treasure of world literature a sure voice that captures the power and subtleties of the original. Vivid, simple, and eminently readable, this illuminating work makes the golden teachings of the sage of the East readily available to anyone in search of them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crafting Marks Into MeaningsJoseph S. CatalanoIn his fascinating book about the Mayan Code, Michael D. Coe writes, “I challenge any native English speaker to avoid thinking of the word ‘twelve’ when looking at ‘12,’ or an Italian to avoid the utterance ‘dodici’ when going through the same performance.” 1 I accept the challenge, and claim that I have done just that. What shall the reply be—“I should not (...) have done so?” One suspects that linguists confuse theoretical problems about writing and reading with the experience itself.The nature of reading and writing is difficult to understand because on the one hand it seems to involve a complex of conventional marks, but on the other hand these marks seem capable of being understood independently of their relationship to speech or to things. One can claim, of course, that the competent reader works under an illusion: meaning comes to a script through spoken language, through a deep-structured language, through concepts, or through the way the neurons work in the brain. Without denying that the written word enters into many relations, I want to make a case that the history of writing shows that we have crafted marks into meanings and, therefore, that a text is meaningful on the level of the script itself.Before proceeding, I want both to clarify my use of the term “script,” and to give the basic outline of this essay. Studies on writing frequently distinguish among writing systems, scripts, and orthographies. Writing system is the most general of these terms. For example, the alphabet forms one writing system, and Chinese characters another. A script is a particular form of writing system; examples are the Roman alphabetic script and the Greek alphabetic script. An orthography is the way a particular language uses a script; for example, the way the English or [End Page 47] French languages use the Roman alphabetic script. In the concrete, however, there are only orthographies, and without wishing to challenge the traditional distinction, I will frequently interchange script and orthography.The first part of the essay is a discussion of my perspective on writing. My perspective is a substantive part of my case about writing, and I will clarify it at some length. Then I will examine some of the steps that led to our ability to read and write fluently. I will be recommending that in reading histories about writing, we view speech merely as a mediation through which written marks are crafted into meanings. My claim is that every artifact, indeed, every thing, needs to be correctly “read” in order to be used, and that the invention of an elegant system of writing lifts this readability from its specific materiality. For example, to use a fork properly one must be able to read this use in the fork. Language lifts this readability from the matter of the fork, the silver or stainless steel, and makes the readability itself an object.IRecall the last time you were engrossed while reading a novel. Most likely, you were not concerned with questions about the meaning of meaning or the difference between meaning and signification. But did your engaged reading and writing involve an inner speech and, if it did, how did you recognize homonyms, for example the difference between there and their? I suspect that only a small part of our vocabulary is acquired by vocalization. But more importantly, I want to question whether writing must be related to speech to be understood.Frank Smith has persistently questioned the belief that reading must involve vocalizations, and he has criticized the notion that the best way to proceed with reading instruction is by mapping speech onto print. In Understanding Reading, he writes: “Phonics is complicated.... We now know that if we really expect to give children a mastery of phonetics, that we are not talking about a dozen or so rules. We are talking about 166 rules, which will still not account for hundreds of the words they might expect to meet in their early reading.” 2In Reading, he notes: “How is it possible to recognize written words without sounding them out? The answer is that we recognize words in... (shrink)

Biometrics is often described as `the next big thingin information technology'. Rather than IT renderingthe body irrelevant to identity – a mistaken idea tobegin with – the coupling of biometrics with ITunequivocally puts the body center stage. The questions to be raised about biometrics is howbodies will become related to identity, and what thenormative and political ramifications of this couplingwill be. Unlike the body rendered knowable in thebiomedical sciences, biometrics generates a readable body: it transforms the body's surfaces andcharacteristics into (...) digital codes and ciphers to be`read' by a machine. ``Your iris is read, in the sameway that your voice can be printed, and yourfingerprint can be read'', by computers that, in turn,have become ``touch-sensitive'', and endowed with seeingand hearing capacities. Thus transformed into readable``text'', the meaning and significance of the biometricbody will be contingent upon ``context'', and therelations established with other ``texts''. Thesemetaphors open up ways to investigate the differentmeanings that will become attached to the biometricbody and the ways in which it will be tied toidentity. This paper reports on an analysis of plans andpractices surrounding the `Eurodac' project, aEuropean Union initiative to use biometrics (specif.fingerprinting) in controlling illegal immigration andborder crossings by asylum seekers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:breatheJohn Cayley (bio)To view the current version of John Cayley's digital work "breathe" as a standalone website, please visit https://work.programmatology.com/breathe/. Use of a Chrome browser is advised, and, for mobiles, the site has only been tested for iOS devices. On the desktop, switching to full screen will avoid having to manually resize the browser window to a more or less 16:9 aspect. To view Cayley's notebook with digital (...) class='Hi'>code, visit https://observablehq.com/@shadoof/breathe.breathe is a brief, prose-poetic essay in explicitly paragrammatic language art. The 'supply text' that underlies a fundamentally dynamic, temporal making of meaning is what in other contexts might be read as an original composition by myself, its subject the interior oceanscape of breath that we experienced during the pandemic year of 2020, our respiratory rhythms threatened, invisibly, by disease. The piece is also representative of a category of still largely potential poetic artifacts to which computation lends a dynamic and here, a paragrammatic concretism.Despite Julia Kristeva having made a convincing formalist-polemical case for the paragram,1 it seems to be more or less absent from most contemporary milieux of poetic praxis as an explicit, generative principle.2 For 'poetic praxis' I might have said 'writing' or 'literary practice' but the common usage of the former is overly constrained, and its sense after Derrida is, perforce, radically ambiguous. 'Literary' (with its root and other derivations) I now tend to reserve for language art practices within the domain of which the letter is properly and compositionally constitutive. Is breathe an instance of 'writing' or 'literary practice'? Well, literary practice: yes, but not as usually conceived. 'Letteral,' definitely.In Kristeva's abstracted models of poetic language, the paragram is everywhere in both prose and poetry as such: the (chiefly) literal inscription of alternate, multiplied, yet readable 'grams,' at once within and beyond those of the text as received, generative of new meanings, and of various modes for the aestheticization of poetic objects. In subsequent or adjacent criticism–regardless of whether or not it is psychoanalytically inclined–paragram may be further associated with Lacan's "lalangue" (surfacing in breathe as 'lalanguage'), that part of Language (an anglophone term, distinctly capitalized) which clearly exceeds and eludes most of the dubious, fundamentally orthographic, or designative 'sciences' of linguistics.3 But even lalanguage is only ever at best commensurate with [End Page 97] the 'not all,' despite (or perhaps due to) the ineluctable fact that, as T. S. Eliot's Sweeney puts it, "I gotta use words when I talk to you." What should be clear, however, even from this most cursory of outlines, is that paragrams should be read as poetic and that–particularly if allowed to embrace non-literal, metaphoric instances–a case may be (has been) made that paragrams are (Kristeva would have written =) poetic language.In actually existing 'literature' we might suggest that paragrams are hypostasized or stunned (historically, by literal inscription) in latency or in hiding but, clearly, there are potential movements and/or transformative processes, realized through reading, from the 'grams' of the received text to their paragrams. While the usual sense of the prefix 'para-' is "parallel to, separate from or going beyond" (OED), Kristeva and others call attention to this real if usually implicit movement. (I quote extensively from her essay without further comment except to point out that these words are highly suggestive of other aspects of language art in digital media which are not directly addressed in the present, more focused remarks.)[...] the literary text presents itself as a system of multiple connections that could be described as a structure of paragrammatic networks. [...] The term network replaces univocity (linearity) by encompassing it, and suggests that each set (sequence) is the outcome and the beginning of a plurivalent relation. In this network, the elements will be presented as the peaks of a graph ( [...] ), enabling us to formalize the symbolic operation of language as a dynamic mark, as a moving 'gram' (hence as a paragram) which makes rather than expresses a meaning.4The movements-as-transformative(or deformative)-process in breathe are various modes of letteral replacement, particularly of letters... (shrink)

Abstract“Applications” of knowledge symbolically and structurally “codify” thinking, often displacing the human who is relegated to passive, routine reproduction of operations and left with no space or time to understand or question the relations underlying the processes. This is both mirrored and augmented by the schematic narrowing of computational, calculative reason and nebulous or hidden code that is often read-only if human-readable at all. According to French philosopher Bernard Stiegler, this has toxic effects on learning, systemically and progressively embedding (...) failures to think, hindering the potential for the collective and individual human adoption and adaptation of the knowledge of life. This article presents a process-based model to care for this problem through Stieglerian critical pedagogy, phenomenography, and process philosophy. The model evolved out of a course with the aim to achieve collective cultural literacy in that which “goes without saying” in the increasingly ubiquitous digital design of everyday life. (shrink)

This article discusses the ideological character of the notion of functional differentiation. According to Luhmann, the development of worldwide social differentiation (that is, the rise of the world society) leads to different regional developments and generates, through the inclusion/exclusion code, a division of the world between places where the functional differentiation operates appropriately and inappropriately. This paper argues, however, that functional differentiation is only readable as an ensemble of relations of power and ideological discourses. This subject is developed in (...) light of theoretical approaches from the Marxist tradition and from postcolonial studies. Regarding the first, the functional differentiation is reread as an abstract and generic equality, which permits the material reproduction of regional inequality. This idea provides a background for discussing the ideological features of the functional differentiation which serves the dominant position of Western countries in the international arena since it enables the maintenance of a ruling ideology, according to which the world is differentiated between the ‘civilized’ West (where democracy performs positively) and the ‘uncivilized’ non-West (where democracy performs negatively). (shrink)

The archive is a cultural institution that creates a framework for the social and collective memory and as such is one of the collection of knowledge institutions that not only preserves and classifies “texts” but uses them to re-create collective memory and sometimes to invent cultural histories. Like all knowledge institutions, the archive is also a construction deeply implicated in knowledge politics or what Foucault calls power/knowledge. In the past the archive has functioned as a central metaphor for the construction (...) of human knowledge in all it is different institutional forms and like the encyclopedia and the camera, the archive produces highly coded representations that make implicit validity claims to the truth and justice of the past. Politically speaking, those who control the archive control the past. In the digital world, the archive is used to describe a machine-readable location as a store for “data” and “information.” Digital technologies radically alter our existing institutions,... (shrink)

The ever-increasing volume of electronic legal documents calls for effective, language-specific summarization and headline generation techniques to make legal content more accessible and easy-to-use. In the context of Italian law existing summarization models are either extractive or focused on abstracting long-form summaries. As a result, the generated summaries have a low level of readability or are not suited to summarize common legal documents such as norms. This paper proposes LegItBART, a new abstractive summarization model. It leverages a BART-based sequence-to-sequence (...) architecture that is specifically pre-trained on Italian legal corpora. To enable the generation of concise summaries and headlines, we release two new annotated datasets tailored to the Italian legal domain, namely LawCodes and LegItConcepts. To successfully handle input documents exceeding the maximum token length such as verbose norms, codes, or legal articles, we also extend BART by integrating a global-sparse-local attention mechanism. We empirically analyze the performance of different pretraining and fine-tuned model combinations. The results show that using a mix of general-purpose and domain-specific pre-training yields relevant summarization performance improvements. The fine-tuned version of LegItBART outperforms all the tested baselines even those characterized by a significantly higher number of model parameters. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

An excellent introduction to communication theory, this book is a comprehensive study of its subject; fields such as linguistics, logic, mathematics, and psychology are considered in terms of their relevance for communication theory. No material that appeared in the first edition has been deleted from this second edition, but some comments have been added, some figures updated, and the bibliography extended to include the new publications in the field. Cherry begins with an examination of the concept of "communication"; he also (...) discusses social structures, considering the pattern of communication within a social group. After this introductory chapter, Cherry presents an historical review of the evolution of communication theory; he discusses codes, signs, brains, and machines, mentioning the work of such scientists as Shannon, Zipf, and Wiener. Topics such as phonetics, phonemics, object language and metalanguage, Zipf's Law, and semantics are also considered, as well as the role of the telecommunication engineer, who describes and analyzes the physical signals themselves without reference to their meanings. In the concluding chapter, psychological considerations concerning the reception of information are presented: recognition, for example, of universals, of geometric figures, of speech sounds, of distorted speech, the relevance of past experience, and the intake of information by the senses. Although technical material is presented, the book is very readable; jargon is kept at a minimum. The result is an exceedingly interesting and stimulating book.—E. M. (shrink)

In this lively and accessible book Lorraine Code addresses one of the most controversial questions in contemporary theory of knowledge, a question of fundamental concern for feminist theory as well: Is the sex of the knower epistemologically significant? Responding in the affirmative, Code offers a radical alterantive to mainstream philosophy's terms for what counts as knowledge and how it is to be evaluated. Code first reviews the literature of established epistemologies and unmasks the prevailing assumption in Anglo-American (...) philosophy that "the knower" is a value-free and ideologically neutral abstraction. Approaching knowledge as a social construct produced and validated through critical dialogue, she defines the knower in light of a conception of subjectivity based on a personal relational model. Code maps out the relevance of the particular people involved in knowing: their historical specificity, the kinds of relationships they have, the effects of social position and power on those relationships, and the ways in which knowledge can change both knower and known. In an exploration of the politics of knowledge that mainstream epistemologies sustain, she examines such issues as the function of knowledge in shaping institutions and the unequal distribution of cognitive resources. What Can She Know? will raise the level of debate concerning epistemological issues among philosophers, political and social scientists, and anyone interested in feminist theory. (shrink)

Having adequate knowledge of the world is not just a matter of survival but also one of obligation. This obligation to "know well" is what philosophers have termed "epistemic responsibility." In this innovative and eclectic study, Lorraine Code explores the possibilities inherent in this concept as a basis for understanding human attempts to know and understand the world and for discerning the nature of intellectual virtue. By focusing on the idea that knowing is a creative process guided by imperatives (...) of epistemic responsibility, Code provides a fresh perspective on the theory of knowledge. From this new perspective, Code poses questions about knowledge that have a different focus from those traditionally raised in the two leading epistemological theories, foundationalism and coherentism. While not rejecting these approaches, this new position moves away from a primary concentration on determinate products and towards an examination of ever-changing processes. Arguing that knowledge never exists as an ungrounded abstraction but rather emerges through dialogue between variously authoritative "knowers" situated within particular social and historical contexts, she draws extensively on examples from lived social experience to illustrate the ways in which human beings have long tried to recognize and meet their epistemic responsibilities. This edition of Epistemic Responsibility includes a new preface from Lorraine Code"--Provided by the publisher. (shrink)

Arguing that ecological thinking can animate an epistemology capable of addressing feminist, multicultural, and other post-colonial concerns, this book critiques the instrumental rationality, hyperbolized autonomy, abstract individualism, and exploitation of people and places that western epistemologies of mastery have legitimated. It proposes a politics of epistemic location, sensitive to the interplay of particularity and diversity, and focused on responsible epistemic practices. Starting from an epistemological approach implicit in Rachel Carson’s scientific projects, the book draws, constructively and critically, on ecological theory (...) and practice, on (post-Quinean) naturalized epistemology, and on feminist and post-colonial theory. Analyzing extended examples from developmental psychology, from medicine and law, and from circumstances where vulnerability, credibility, and public trust are at issue, the argument addresses the constitutive part played by an instituted social imaginary in shaping and regulating human lives. The practices and examples discussed invoke the responsibility requirements central to this text’s larger purpose of imagining, crafting, articulating a creative, innovative, instituting social imaginary, committed to interrogating entrenched hierarchical social structures, en route to enacting principles of ideal cohabitation. (shrink)

Feminist epistemologists who attempt to refigure epistemology must wrestle with a number of dualisms. This essay examines the ways Lorraine Code, Sandra Harding, and Susan Hekman reconceptualize the relationship between self/other, nature/culture, and subject/object as they struggle to reformulate objectivity and knowledge.

The arguments in this book are informed at once by the moral-political implications of how knowledge is produced and circulated and by issues of gendered subjectivity. In their critical dimension, these lucid essays engage with the incapacity of the philosophical mainstream's dominant epistemologies to offer regulative principles that guide people in the epistemic projects that figure centrally in their lives. In its constructive dimension, ____Rhetorical__ ____Spaces__ focuses on developing productive, case-by-case analyses of knowing other people in situations where social-political inequalities (...) create asymmetrical patterns of epistemic power and privilege. (shrink)

I evaluate post-Quinean naturalized epistemology as a resource for postcolonial and feminist epistemology. I argue that naturalistic inquiry into material conditions and institutions of knowledge production has most to offer epistemologists committed to maintaining continuity with the knowledge production of specifically located knowers. Yet naturalistic denigrations of folk epistemic practices and stereotyped, hence often oppressive, readings of human nature challenge the naturalness of the nature they claim to study. I outline an ecologically modelled epistemology that focuses on questions of epistemic (...) responsibility and community, while refusing the reductivism of totalizing theory, and producing realistic moral-epistemic analyses of specific, local epistemic resources to ground its normative injunctions. (shrink)

Assumptions about what it is to be human are implicit in most philosophical reflections upon ethical and epistemological issues. Although such assumptions are not usually elaborated into a comprehensive theory of human nature, they are nonetheless influential in beliefs about what kinds of problem are worthy of consideration, and in judgments about the adequacy of proposed solutions. Claims to the effect that one should not be swayed by feelings and loyalties in the making of moral decisions, for example, presuppose that (...) human beings are creatures whose nature is amenable to guidance by reason rather than emotion and are creatures capable of living well when they act as impartially as possible. Analogously, claims to the effect that knowledge, to merit that title, should be acquired out of independent cognitive endeavour uncluttered by opinion and hearsay, suggest that human beings are creatures who can come to know their environment through their own unaided efforts. And claims to the effect that knowledge, once acquired, is timelessly and universally true depend upon assumptions about the constancy and uniformity of human nature across historical and cultural boundaries. (shrink)

Who is the autonomous moral agent? The individual? The exemplary/typical knowing, acting, suffering, or thriving human being? Such questions in diverse modalities, originating in multiple circumsta...

Abstract Taking my point of entry from George Eliot's reference to ?the power of Ignorance?, I analyse some manifestations of that power as she portrays it in the life of a young woman of affluence, in her novel Daniel Deronda. Comparing and contrasting this kind of ignorance with James Mill's avowed ignorance of local tradition and custom in his History of British India, I consider how ignorance can foster immoral beliefs which, in turn, contribute to social-political arrangements of dominance and (...) subordination. Yet I ask, too, how judgements of culpability can be sustained when ignorance is culturally induced. (shrink)

Aristotle shares with Plato the attitude that the world, ‘the all,’ is a kosmos, a well-ordered and beautiful whole which, as such, can be rendered intelligible, or understood, by the intellect. One understands things, generally speaking, by tracing them back to their sources, origins or principles and causes or explanatory factors, and seeing in what manner they are related to these principles. We know, or understand, a thing when we grasp ‘the why’ or cause. Consequently, understanding is systematic. Some things (...) we understand through themselves - these are the first principles and as such are not understood by tracing them back to causes. We understand other things by systematically relating them in appropriate ways to what is known through itself. These other things are known through, or by means of, their causes and principles. (shrink)

Since Sun-Joo Shin's groundbreaking study (2002), Peirce's existential graphs have attracted much attention as a way of writing logic that seems profoundly different from our usual logical calculi. In particular, Shin argued that existential graphs enjoy a distinctive property that marks them out as "diagrammatic": they are "multiply readable," in the sense that there are several di erent, equally legitimate ways to translate one and the same graph into a standard logical language. Stenning (2000) and Bellucci and Pietarinen (2016) have (...) retorted that similar phenomena of multiple readability can arise for sentential notations as well. Focusing on the simplest kinds of existential graphs, called alpha graphs (AGs), this paper argues that multiple readability does point to important features of AGs, but that both Shin and her critics have misdiagnosed its source. As a preliminary, and because the existing literature often glosses over such issues, we show that despite their non-linearity, AGs are uniquely parsable and allow for inductive de nitions. Extending earlier discussions, we then show that that in principle, all propositional calculi are multiply readable, just like AGs: contrary to what has been suggested in the literature, multiple readability is linked neither to non-linearity nor to AGs' dearth of connectives. However, we argue that in practice, AGs are more amenable to multiple readability than our usual notations, because the patterns that one needs to recognize to multiply translate an AG form what we call complex symbols, whose structural properties make it easy to perceive and process them as units. Nevertheless, we show that such complex symbols, though largely absent from our usual notations, are not inherently diagrammatic and can be found in seemingly sentential languages. Hence, while ultimately vindicating Shin's idea of multiple readability, our analysis traces it to a di erent source and thus severs its link with diagrammaticity. (shrink)

Here I discuss some epistemological questions posed by projects of attempting to think globally, in light of the impossibility of affirming universal sameness. I illustrate one strategy for embarking on such a project, ecologically, in a reading of an essay by Chandra Talpade Mohanty. And I conclude by suggesting that the North/South border between Canada and the U.S.A. generates underacknowledged issues of cultural alterity.

Fifteen essays examine the work of German philosopher Hans Georg Gadamer to provide feminist interpretations of his views on science, language, history, ...