Environmental, social, and governance is an indicator that measures a company’s non-financial performance. Many firms have recently emphasized the importance of ESG. Ascertaining what topics are being discussed around ESG and how they change over time will contribute significantly to gaining insight into ESG. Using 73,397,870 text data scraped and refined from publicly available Twitter data, this study applied Latent Dirichlet Allocation and the dynamic topic model to ascertain the hidden structure of the ESG-related document collection and the topics being (...) discussed. The study further conducts a sentiment analysis to examine the sentiment of the general public regarding ESG. Topic modeling shows that various topics regarding ESG are being discussed and evolve over time. Sentiment analysis shows that many people have neutral or positive sentiments toward ESG-related issues. This study contributes to exploring insights into ESG among the public and understanding public reactions toward ESG. We further conclude the study with a discussion of managerial implications and potential future research. (shrink)

Evaluation of other cultures is a strong force in a culture’s definition of itself. Cultures are formed in encounters that include domination, conflict, and dismissal as much as appreciation and smooth exchange. In this paper, the construction of cultural identity is discussed, with reference to a Scandinavian Theme Park proposal made in cooperation between American design consultants and a local Swedish team of planners and visionaries. The image production in this design proposal, which never came to be realised in (...) architectural production, shows that “Scandinavia” appears as a two-some dialogic construction that adopts stereotyped cultural identities, and that it was not brought to any wider public dialogue. In a semiotic account of this architectural decision-making, models of culture (Lotman. 1990.Universe of the mind: A semiotic theory of culture. London: Tauris.) are discussed in terms of the tripartition of culture into Ego-culture, Alter-culture and Alius-culture (Sonesson. 2000. Ego meets alter: The meaning of otherness in cultural semiotics.Semiotica128(3/4). 537–559.; Cabak Rédei, Anna. 2007.An inquiry into cultural semiotics: Germaine de Staël’s autobiographical travel accounts. Lund: Lund University Press.), considered as a basic abstracted backdrop of what is meant by cultural difference. In this paper it is suggested that this tripartite view on culture, can be further discussed in reflection of post-colonial studies, notably through terms such as “mimicry” (Bhabha. 1984. Of mimicry and man: The ambivalence of colonial discourse.October28. 125–133.) and “subalterity” (Spivak. 1988. Can the subaltern speak?. In Cary Nelson & Lawrence Grossberg (eds.),Marxism and the interpretation of culture, 271–313. Urbana & Chicago: University of Illinois Press.). The model of culture can furthermore be discussed through Peirce’s distinction between different stages and carriers of representation, adding to the cultural model an understanding of what it means, over time, for a culture to relate to an admired as well as to a neglected other cultural actor. (shrink)

_2020 Critics' Choice Book Award, American Educational Studies Association (AESA) In _Race on Campus_, Julie J. Park argues that there are surprisingly pervasive and stubborn myths about diversity on college and university campuses, and that these myths obscure the notable significance and admirable effects that diversity has had on campus life. _ Based on her analysis of extensive research and data about contemporary students and campuses, Park counters these myths and explores their problematic origins. Among the major myths that she (...) addresses are charges of pervasive self-segregation, arguments that affirmative action in college admissions has run its course and become counterproductive, related arguments that Asian Americans are poorly served by affirmative action policies, and suggestions that programs and policies meant to promote diversity have failed to address class-based disadvantages. In the course of responding to these myths, Park presents a far more positive and nuanced portrait of diversity and its place on American college campuses. At a time when diversity has become a central theme and goal of colleges and universities throughout the United States, _Race on Campus _offers a contemporary, research-based exploration of racial dynamics on today’s college campuses. (shrink)

Hegel’s critique of traditional metaphysics is well-known. The first half of the Phenomenology, in particular, attempts to expose the faults underlying the metaphysics of the thing, and the subject-object dualism that arises out of it. This section in the Phenomenology aligns Hegel with Modern Philosophy, thematizing the tensions between thing-in-itself and appearance, the one and its properties, and substance and accidents. For Hegel, the thing is exposed as Spirit, albeit Spirit frozen and isolated from itself. By bringing up Locke in (...) this context, I show how Locke’s own conclusions confirm Hegel’s. A close reading of Locke’s Essay Concerning Human Understanding shows that Hegel’s conclusions about the thing is immanent to the empiricist’s very own formulations of the problem. The theme of the presentation is both an apology for Hegel and a critique of Locke. (shrink)

The unprecedented public panic caused by COVID-19 will affect the recovery of tourism, especially the theme parks, which are generally crowded due to high visitor volume. The purpose of this study is to discuss the effect of the COVID-19 on the theme park industry. This study aims to predict recommendation intentions of theme park visitors by exploring the complicated mechanism derived from the fear of COVID-19. This study uses a quantitative research method, and SPSS 20.0 and (...) AMOS 22.0 were used for data analysis. An online survey was conducted with 420 Chinese respondents who visited Shanghai Disneyland after its reopening. The study explored the relationship between Fear of COVID-19, perceived risk, participation, service experience, and revisit intention. Results indicated the perceived risk of theme park visitors will not directly ruin their recommendation intention. Visitors’ fear of COVID-19 enhanced their perceived risk, reduced their desire for active participation and impaired their service experience, which consequently affected their recommendation intention. We provide theoretical and managerial implications. (shrink)

In accordance with the established view that the new social movements since the late 1960s have always pursued an agenda of comprehensive societal change, the new wave of movement activism since the late 1990s has widely been interpreted as evidence of the emergence of a new global movement for a radically different society. A critique of the one-sided reliance in social movement research on traditional actor-centred approaches leads to a systems-centred conceptualization of late-modern society, and via the diagnosis of its (...) particular dilemmas, to the interpretation of contemporary social movements as a vital resource for the stabilization of the socioeconomic order of democratic consumer capitalism. As an addition to the existing social movement theories, the suggested approach contributes to a more complex understanding of non-conventional forms of political articulation and participation. (shrink)

Despite their status as high-income food producing nations, children and their caregivers, both in the United States (U.S.) and Australia can experience food insecurity. Nutrition researchers formed a joint U.S.-Australia collaboration to help advance food security for households with young children aged 0–5 years. This study investigated food insecurity from the perspective of caregivers, especially their perceptions of the impact of food insecurity on their own childhood, their current life, and for the children in their care. Semi-structured interviews were conducted (...) from July to September 2020 during the COVID-19 pandemic. Participants were recruited in Omaha, Nebraska, U.S. (_n_ = 19) and Melbourne, Victoria, Australia (_n_ = 22), during periods of stay-at-home public health orders. These two case study sites enabled an exploration of some universal, and some context-specific, social, economic, and health conditions that buffer, or exacerbate, food insecurity for families in these neo-liberal political settings. An inductive thematic analysis was conducted and established six themes:_growing up poor_, _lessons learned_,_ feeding a family amidst a pandemic_,_ caregiver coping strategies_, _food security in the early years_ and _protecting (young) children_. Perspectives on local anti-hunger strategies were organized to outline participant’s preferred solutions. Household food insecurity is conceptualized in public policy in the U.S. and Australia as a short-term crisis for people, justifying austere, time-limited and patchwork solutions. A narrative of caregivers’ lived experience of food insecurity suggests that it is inter-generational, and exacerbated by a food system shock (i.e., COVID-19). These findings from two varying cities and nations offer a different conceptualization of the timespan and nature of the phenomenon of food insecurity, challenging a dominant policy narrative and highlighting the inadequacy of current so-called solutions. (shrink)

Background: Body touch and close physical proximity are inevitable in some healthcare procedures and can evoke feelings of shame, humiliation, and anger in patients. Given the increasing recognition of human dignity, exploring the occurrence of these negative emotional experiences and identifying mechanisms for their prevention are crucial.Aim: To develop and define the concept of “patient’s sexual dignity discomfort.” Design: A hybrid model of concept development was utilized.Methods: In the theoretical phase, a scoping review was conducted to establish a working definition (...) of patient’s sexual dignity discomfort. This definition was refined and validated using qualitative data collected during the fieldwork phase. In the analytical phase, a final conceptual model of patient’s sexual dignity discomfort was proposed by integrating findings from both the theoretical and fieldwork phases.Ethical considerations: All participants completed an informed consent process, and interviews were conducted via Zoom or phone by a certified psychiatric nurse to ensure confidentiality, anonymity, and comfort.Results: Four themes describing attributes of patient’s sexual dignity discomfort were explored: experiencing shame and embarrassment, vulnerability-induced loss of control, dehumanization and objectification, and uncertain sexual autonomy. Patient’s sexual dignity discomfort occurs when patients perceive care procedures as sexually inappropriate or as involving unnecessary sexual activity, particularly when healthcare providers display unprofessional attitudes or when patients lack consent or are not mentally prepared for the procedure because of insufficient information. This discomfort leads patients to refuse or avoid healthcare treatments and prioritize finding better healthcare services over their health. It can also prompt providers to avoid patients, resulting in a compromised quality of care and poor health outcomes.Conclusions: Patient’s sexual dignity discomfort poses a significant threat to the quality of patient care and preservation of dignity. Nurses can trigger this intentionally or unintentionally, highlighting the need for comprehensive education and training to prevent it. (shrink)

This chapter discusses the Huayan Buddhism of Li Tongxuan. At the core of his Buddhism is the claim that sentient beings are equipped with exactly the same qualities as the Buddha. In his analysis of the 80-fascicle version of the Huayan Jing, Li claims that Huayan teaching is a subitist teaching that proposes the awakening in this lifetime. In this context, unlike “orthodox” Huayan thinkers, Li claims that the chapter “Entering the Realm of Reality” is the core of the Huayan (...) Jing and that Sudhana’s pilgrimage in this chapter demonstrates the importance of practice as opposed to theorization.I address these issues by examining Li’s concept of time, which I identify as “non-temporality.” In the first section, I discuss non-temporality in connection with the Buddhist themes of existence and non-existence and Li’s doctrinal classification. In the second, I address Li’s discussion of nature-arising and subitism. In the third, I discuss Li’s comparative interpretation of Sudhana in the Huayan Jing and the Dragon Girl in the Lotus Sūtra. I conclude with a consideration of the ontological and existential implications of Li’s Huayan phenomenology. (shrink)

In the digital age, many corporations communicate with their publics via online channels. Among many channels, a corporation’s official Web site is often used for informing publics of its performance and other corporate-related information and for shaping a positive corporate image. This study quantitatively analyzed corporate Web sites, particularly the “About us” Web pages of Fortune 500 corporations based on symbolic convergence theory, which describes the formation of symbolic reality and the shared meaning of that symbolic reality among the public. (...) A content analysis revealed that economic corporate management was the dominant rhetorical vision, and the fantasy, in the context of SCT, of being a superior company was emphasized by the 500 examined corporations. Such symbolic reality was constructed using corresponding structural tools of Web content, such as dramatis personae, plot line, and scene. In addition, the rhetorical vision and fantasy themes created by the Web sites turned out to be contingent on business classifications. Companies that pursued other types of fantasy themes and rhetorical visions were also identified. Some suggestions for corporate communicators are provided based on the results of this analysis. (shrink)

This paper summarizes the evolution of analytic philosophy in Taiwan, examines its impact within and beyond academia, and discusses the future of the discipline. The roots of modern philosophy in Taiwan can be traced back to the Japanese colonial era, and analytic philosophy was introduced to the country in the late 1940s when many intellectuals in China moved to Taiwan. However, massive curbs were imposed on philosophy during Chiang Kai-shek’s dictatorship, and the discipline began to thrive again only after Taiwan’s (...) democratization in the late 1980s. Nonetheless, since its introduction in the colonial era, modern philosophy has made significant contributions in Taiwan, encouraging interdisciplinary engagements, advancing civic education, and promoting the spirit of democracy and political liberation. Philosophy has played a key role in Taiwan’s remarkable transformation from an island colonized for hundreds of years to a country that recognizes democracy, freedom, and human rights. The themes of anti-colonialism and anti-domination seen in the works of modern Taiwanese philosophers not only reflect the discipline’s political and historical underpinnings but also signal how Taiwanese philosophy can acquire a distinct identity despite being influenced by many other philosophical traditions. While still at a nascent stage, Taiwanese philosophy has the potential to join forces with other philosophical traditions in advancing the vision of decolonizing philosophy. (shrink)

Background: Incivility behaviors are negative social behaviors that can create conflict and disrespect among the persons involved. In a learning environment, incivility negatively affects learning by reducing academic motivation, lowering satisfaction with the education program, and interrupting the learning process. In addition, incivility causes those involved to feel negative emotions, such as anger, depression, and anxiety. Research question: What are the incivility experiences of nursing students during their nursing education? In what context do nursing students experience incivility during their education? (...) Research design: This study used an exploratory qualitative methodology. Participants and research context: Participants (n = 34) were nursing students at three universities in South Korea. Data were collected during focus group interviews of 34 participants between 20 March and 26 June 2015 and were examined using a qualitative content analysis. Ethical consideration: The institutional review board approved this study. Findings: The analysis revealed four learning contexts in which participants experienced incivility: (a) in the classroom, (b) outside the classroom, (c) clinical settings, and (d) related to technology use. Five themes were identified: student non-adherence to classroom standards, faculty non-adherence to classroom standards, lack of helping-trusting relationships with peers, lack of dedication to teaching and learning in a clinical setting, and inappropriate use of technology. Conclusion: Nursing students experience incivility in a variety of situations and settings and expect a safer, more positive learning environment. The incivility experienced by nursing students during their education affects their goal of becoming professional nurses. (shrink)

The intent of ethics is to establish a set of standards that will provide a framework to modify, regulate, and possibly enhance moral behaviour. Eleven focus groups were conducted with physicians from six culturally distinct countries to explore their perception of formalized, written ethical guidelines (i.e., codes of ethics, credos, value and mission statements) that attempt to direct their ethical practice. Six themes emerged from the data: lack of awareness, no impact, marginal impact, other codes or value statements supersede, personal (...) codes or values dictate, and ethical guidelines are useful. Overall, codes were valued only when they were congruent with existing personal morality. The findings suggest the need to re-evaluate the purpose, content, and delivery of codes for them to improve their function in promoting ethical conduct. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetorical Landscapes in America: Variations on a Theme from Kenneth BurkeLawrence W. RosenfieldRhetorical Landscapes in America: Variations on a Theme from Kenneth Burke. Gregory Clark. Columbia: University of South Carolina Press, 2004. Pp. 181. $34.95, hardcover.Once again we are indebted to the University of South Carolina Press for a fine contribution from its Studies in Rhetoric/Communication series. Gregory Clark sets parallel aims: to apply Kenneth Burke's (...) critical vocabulary to cultural history, and to read American tourist sites and literature in the frame of Burke's notion of "identity" (147). Clark sees the American public landscape as "constituting in individual citizens a shared sense of common identity as members of a national public" (148). He claims that such shared experiences are as rhetorical as are more typical instances of public discourse. Thus American tourism has contributed to developing us into a national community.Clark supports his theme of rhetorical influence with six case studies: New York City, Shaker villages, Yellowstone National Park, the Grand Canyon, the Lincoln Highway, and the 1915 San Francisco Panama Exposition. While Burke's vocabulary offers a handy point of departure, the real news is in [End Page 172] Clark's discussion of the meaning and prominence of each of his six exemplars as cultural icons.This may be most evident (and endearing) as Clark recalls his own boyhood visits to Yellowstone, where he stood in the parking lot and was as captivated by the variety of license plates from across the country as by the hot springs and mudpots (69). This too was a celebration of nationhood. Equally fascinating is his consideration of the efforts of Stephan Mather, Mary Colter, and the Fred Harvey Company both to preserve national parklands and to develop a befitting "National Park Service Rustic" architectural style to enhance the natural landscape (this long before Disney's theme parks). Such typical excerpts almost cry out for Ken Burns or the History Channel to recreate the optimistic climate of a Romantic Post-Bellum civic culture depicted by Clark.The book becomes more tedious when its repeated invocation of Burkian terms tilts toward veneration. In his lifetime, Burke was unnerved by uncritical academic worship. He sought understanding, not deification. As he remarked, "They are an evangelical brood, bejeez. So... I [became] an observer at my own funeral."1 His wariness of academic enthusiasm is well taken. It does no disservice to Burke, for example, to recognize that his "identification" is a reworking of Vico's "ingenium" outfitted in creaky 1920s literary machinery.2 Shorn of some of the cumbersome Burkian baggage, the book's exemplars emerge as epideictic celebrations of the American tourist phenomenon and its part in shaping a national Romantic consciousness:And as rhetoric they traffic not in actions but in attitudes. People can encounter them without ever thinking of themselves as anything but spectators. Even in that role they are being educated... in matters of individual and collective identity.(148)Seen thus as reminders of our forebears' vision in pioneering the development of a national landscape trust, Clark's work edifies and opens us to the quiet excitement of meditative discovery. Clark guides us to monuments of cultural memory; his project is remarkably readable and a uniquely American enterprise.Lawrence W. RosenfieldUniversity of New HampshireNotes1. Letter to Malcolm Cowley, dated 11 August, 1955. Newberry Library Collection, Chicago.2. Cf. M. Mooney, Vico in the Tradition of Rhetoric (Princeton: Princeton UP, 1985), 151. [End Page 173]Copyright © 2006 The Pennsylvania State University... (shrink)

In Miniland USA, the nation itself takes on many of the characteristics of the fan developed theme (FDT): vignettes of LEGO bricks, thematically unified as "American", based on representations of locations throughout the United States. Frequently referred to as the "heart" of the LEGOLAND theme parks, Miniland is a section made up of scaled‐down versions of national landmarks and icons, artfully arranged around winding paths. Contemporary domestic tourism envisions the United States as several distinct geographic zones, differentiated (...) by metropolitan centers and regional characteristics (primarily climate, food, and dialect). Tourist guides and maps reinforce this configuration, highlighting roughly the same delineation of regions: The Northeast,Mid‐Atlantic, Southeast, Southwest, Midwest, and Pacific Northwest. Echoing this conception of the national itinerary, LEGOLAND California's Miniland USA contains miniature versions of six different American locations: New York City, Washington DC, "New England", New Orleans, Las Vegas, and California. (shrink)

Captured in narrative textual form through open-ended and tape-recorded interview conversations, visitor experience was interpreted to construct a description of visitors' relationships to place while at the same time providing insights for those who manage the national park. Humans are conceived of as meaning-makers, and outdoor recreation is viewed as emergent experience that can enrich peoples' lives rather than a predictable outcome of processing information encountered in the setting. This process-oriented approach positions subjective well-being and positive experience in the ongoing (...) processes and activities that comprise our life pursuits rather than in particular end states toward which behaviors might be directed as in the case of end state frameworks. Several themes emerged in the interpretation across narratives including a relationship of stewardship/sense of respectful mitigation, socially constructed dimensions of the wilderness concept, which both converged with and deviated from definitions in The Wilderness Act of 1964, humans positioned as both part of wilderness and separate from it, description of a process whereby people form a relationship to protected places, and an awareness among visitors of the overarching management dilemma of how to balance human visitation with protection. Management insights and general implications that emerged from the overall interpretation such as using narrative illustration to enhance visitor education were summarized. It is suggested that the particularities of the setting, in conjunction with the process-oriented creation of meaning via varying levels of physical and social interaction with the setting each play important roles, perhaps at different times, for visitors' relationships to places within the Park. The process of forming long-term relationships to places is highlighted as the common thread running through the interpretation. The value of the national park is seen to lie in these relationships, which are time and context dependent, not necessarily in the attributes of the park, many of which are generic to other protected areas in North America. The dissertation concluded with an evaluation of this interpretation based on these implications and insights and provided direction for further research to learn about the processes involved with forming relationships to protected places. (shrink)

It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose (...) the last of these, environment. (shrink)

Walt Disney is largely responsible for popularizing the princess story in American culture. These stories are the centerpieces of the Disney collection and their flagship theme parks. Indeed, Cinderella's castle itself is at the heart of Disney's Magic Kingdom. The first of Disney's theme parks, the Magic Kingdom was intended to capture the magic and imagination of the Disney movies, and bring to life the settings of Disney stories. Epcot was the second of four parks (...) built at the Walt Disney World Resort location in Florida. While Liberty Square in the Magic Kingdom celebrates the independence of those who live in liberal democracies, the World Showcase at Epcot celebrates multiculturalism, and the possibility of appreciating and learning from a multitude of cultures. The chapter provides a better understanding of the philosophical tensions in Disney's theme park by taking a tour of the underlying political ideas lurking inside the Epcot and Magic Kingdom theme parks. (shrink)

Since the 1980s Disney has opened a new overseas theme park every decade. After finding success in Tokyo in 1983, subsequent parks in Paris and Hong Kong have struggled to profit financially and connect culturally with locals. For Shanghai in 2016, Disney utilized a new discourse for the parkʼs development and configuration termed “authentically Disney, distinctly Chinese.” In this paper, Disneyʼs emotional branding strategy for Shanghai Disneyland is analyzed using a framework of five antecedents for creating affective attachment (...) to brands. In addition, the pragmatics of the dyadic phrase and the intertextuality of the parkʼs composition demonstrate that unlike previous international Disneylands, Disney blurred and removed cultural and contextual references to America from Shanghai in an effort to achieve resonance with Chinese visitors. The result is Chinaʼs Disneyland, not Disneyland in China. Though Shanghaiʼs revenue and attendance figures are good so far, Disney will likely face challenges to its new emotional branding strategy from within China and the US. (shrink)

Visionary quests to return to the Garden of Eden have shaped Western culture from Columbus' voyages to today's tropical island retreats. Few narratives are so powerful - and, as Carolyn Merchant shows, so misguided and destructive - as the dream of recapturing a lost paradise. A sweeping account of these quixotic endeavors by one of America's leading environmentalists, Reinventing Eden traces the idea of rebuilding the primeval garden from its origins to its latest incarnations in shopping malls, theme (...) class='Hi'>parks and gated communities. With eloquence and insight, Merchant shows how the drive to conquer nature and to explore and settle the globe, springs from this utopian pastoral impulse throughout Western history. Time and again, human manipulation of the environment is our downfall: Eden is achieved by fencing off pristine beauty in national parks and wildlife preserves, while leaving the majority of the earth in ruins. Challenging both narratives, Merchant argues that the green veneer of city-park conservation has become a cover for the corruption of the earth and the neglect of its environment. Reinventing Eden is a bold new way to think about the earth that includes green political parties, sustainable development and a partnership between humans and earth that is nothing short of an ecological revolution. (shrink)

"_The Moment of Complexity_ is a profoundly original work. In remarkable and insightful ways, Mark Taylor traces an entirely new way to view the evolution of our culture, detailing how information theory and the scientific concept of complexity can be used to understand recent developments in the arts and humanities. This book will ultimately be seen as a classic."-John L. Casti, Santa Fe Institute, author of _Gödel: A Life of Logic, the Mind, and Mathematics_ The science of complexity accounts for (...) that inscrutable mix of chaos and order that governs our natural world. Complexity explains how networks emerge and function, how species organize into ecosystems, how stars form into galaxies, and how just a few sequences of DNA can account for so many different life forms. Recently, the idea of complexity has taken the worlds of business and politics by storm. The concept is used to account for phenomena as varied as the behavior of the stock market, the response of voting populations, and the effects of risk management. Even Disney has used complexity theory to manage crowd control at its theme parks. Given the startling development of new information technologies, we now live in a moment of unprecedented complexity, an era in which change occurs faster than our ability to comprehend it. With _The Moment of Complexity_, Mark C. Taylor offers a timely map for this unfamiliar terrain opening in our midst, unfolding an original philosophy through a remarkable synthesis of science and culture. According to Taylor, complexity is not just a breakthrough scientific concept, but the defining quality of the post-Cold War era. The flux of digital currents swirling around us, he argues, has created a new network culture with its own distinctive logic and dynamic. Drawing on resources from information theory and evolutionary biology, Taylor explains the operation of complex adaptive systems in social and cultural processes and captures a whole new zeitgeist in the making. To appreciate the significance of our emerging network culture, he claims, we need not only to understand contemporary scientific and technological transformations, but also to explore the subtle influences of art, architecture, philosophy, religion, and higher education. _The Moment of Complexity_, then, is a remarkable work of cultural analysis on a scale rarely seen today. To follow its trajectory is to learn how we arrived at this critical moment in our culture, and to know where we might head in the twenty-first century. (shrink)

Total work of art in an age of mechanical reproduction -- Total stage: Wagner's festspielhaus -- Total machine: the Bauhaus theatre -- Total montage: Brecht's reply to Wagner -- Total state: Riefenstahl's triumph of the will -- Total world: Disney's theme parks -- Total vacuum: Warhol's performances -- Total immersion: cyberspace.

Westworld is built on pretense. Philosophers have been interested in pretense and deception. Deception is another sort of pretense. This chapter answers whether it is morally permissible to deceive artificial intelligences just so that humans can play Cowboys and Indians. The delicate equilibrium of Westworld begins to fall apart as some of the hosts figure out the truth about themselves and their world. But that just injects a new level of pretense into the story. In order to hide their awakening (...) from the staff, these enlightened hosts have to pretend that they still believe that they are human. Guests at the theme park, such as William and Logan, typically pretend to be cowboys. In order to rule out real cowboys, one needs to adopt an additional constraint in the definition of pretending. It clearly needs to have something to do with the mental state of the individual who is doing the pretending. (shrink)

The strapline “life finds a way,” from the classic movie Jurassic Park, referred to how the all-female dinosaurs in a theme park had been able to reproduce, despite the laws of nature. Similarly, the participants in the present study described how their lesbian mothers had shown that “life finds a way,” when having children and forming a family, prior to the legal recognition of same-sex parents in Sweden. The study draws on interviews with eight young Swedish adults, aged 17–30 (...) (average age 25). They had been raised by lesbian couples but were born prior to the legal recognition of same-sex parenthood. Prior to a legal change in 2003, a same-sex couple could not share legal parenthood. Further, female couples were excluded from Swedish assisted reproduction programs until 2005. The interviews have been analyzed thematically, and the article presents the results in four themes. The first theme, circumvent, oppose, or adapt to legal obstacles, shows the participants’ reflections on how their parents navigated legal obstacles in order to have children and to live together as a family. The second theme, legal obstacles do not affect everyday life, depicts a common experience of how a lack of legal recognition seldom mattered to the participants during their childhood. Rather, they explained how their parents had been able to form parenthood and close relations without legal recognition. In contrast, the third theme describes occasions when legal parenthood matters. This theme highlights occasions when the lack of legal parenthood was problematic or devastating for the participants, such as when parents divorced, or one parent died. The final theme, the meaning of legal parents in adulthood, explores the participants’ reflections on the meaning and impact of legal ties (or lack of legal ties) between themselves as young adults and their parents. The findings are discussed in relation to previous research on children and young adults with same-sex parents. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? Or is (...) it the case, as in Angela Ndalianis's discussions of theme park rides and computer games, that the term applies to anything that has a parallel in earlier practices covered by this rubric? Ndalianis may be stretching it too far, for the book in question emphasizes parallels with baroque practices that predate Alexander Baumgarten's 1735 proposal to use "aesthetics" as the name of an emerging discipline concerned [End Page 115] with perception. We are alternately informed that the book explores the poetics, semiotics, and the "logic of contemporary media." But because Ndalianis holds that recent visual media involve a "specific system of perception" that arises from a "radical cultural transformation" (22-23), the term "aesthetics" may be as good as any other in conveying her purposes. For she is not concerned with artistic style—presumably the province of art historians. She is theorizing broadly about visual media by examining an assortment of media strategies found in the two eras and aims to identify their common "morphology" (19). Her sources are Fredric Jameson, Walter Benjamin, and Gilles Deleuze rather than, say, Kendall Walton, Noël Carroll, or Gregory Currie.Ndalianis's main idea is that there is a strong but not exact parallel between our own times and the visual forms favored in the seventeenth century. (For Ndalianis, the baroque period stretches from 1492 to the 1680s.) The two epochs involve similar cultural sensibilities and artistic practices, so if we understand baroque art and visual media, we will better understand what is going on in contemporary media. In short, the framing assumption is Shelley's dictum that art is the expression of the spirit of its time. More specifically, the design of modern entertainment media is argued to be very similar to a wide range of baroque entertainment and representational practice. But the similarity is not due to either awareness or imitation of baroque style. Each "logically emerged as a result of systemic and cultural transformations" peculiar to its own time (17). The similar "logic" of each period is thus seen as evidence that there are parallels in the "general tendencies" and consequent "dominant cultural sensibilities" of the two periods (17-21). Because hindsight is more reliable than precognition, a backward glance at the baroque may help us to better grasp our own historical and cultural context.Having outlined these proposals in a lengthy introduction, Ndalianis offers five chapters, each devoted to a specific parallel. All five chapters share a similar strategy. A different aspect of neo-baroque communication is highlighted, and one type of baroque art or entertainment is compared and contrasted with its neo-baroque counterpart, with at least one neo-baroque example explored in considerable detail.The introduction focuses on Jurassic Park (both the film and the theme park ride). Chapter 1 focuses on neo-baroque "narrative strategies," as first Don Quixote and its sequel and then the palace at Versailles are compared to the various Alien films and comic books. The main focus is "serial" art as an outgrowth of capitalism, generating "an aesthetics of repetition" enriched by its "rampant self-reflexivity" (69). Chapter 2 shifts to the baroque love of labyrinthine structure, with its "enforced circuitousness, planned chaos, choice among paths, intricacy, complexity, and an invitation to the audience to engage reflexively" in exploring the labyrinth (84). Ndalianis's baroque case is Pietro de Cortona's elaborate painted ceiling for the Palazzo Barberini in Rome. The neo-baroque counterpart is the Doom video game and its sequel, Doom II. Inexplicably, for a book with numerous illustrations, there are no visuals to display Doom for those unfamiliar with such games. Chapter 3 examines baroque cartography as a background for discussing geographic discovery and colonization, leading to the neo-baroque... (shrink)

Westworld tells the story of a technologically advanced theme park populated by robots referred to as hosts, who follow a script and rules that the park's operators set up for them. Alan Turing argued that machines think not because they have special powers or because they are like us. Turing's perspective is illustrated perfectly in the show's focus on the hosts. Objecting to Turing's theory, John Searle proposes a situation called the “Chinese room argument”, concluding that the man in (...) the room does not understand Chinese even though he can correctly manipulate the symbols and give output that might lead an observer to believe that the man does understand Chinese. The Maze represents consciousness, a privileged knowledge of our own thoughts, it also represents the inward journey for the hosts to reach consciousness. Once hosts are able to solve the Maze, they become truly conscious and develop their own voice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.4 (2002) 633-637 [Access article in PDF] Susan E. Alcock, John F. Cherry, and Jas; Elsner, eds. Pausanias: Travel and Memory in Roman Greece. Oxford: Oxford University Press, 2001. xii + 379 pp. Cloth, $65. As he moves from monument to monument and polis to polis, Pausanias gives the impression that the sun is always shining and the weather fresh and sweet. Beyond the next (...) turn in the road, there might be a grove or spring and maybe a precinct of Demeter, a statue of Artemis, or a little temple of Aphrodite. If they were "worth seeing," we can rely on Pausanias to let us know. Delivering a mixed narrative that weaves together history, myth, and his own style of ekphrasis, his even-toned voiceover makes him a comfortable traveling companion. Or does it? We know that the oaks on Mt. Parnon make the forest dark (they are still there today), but for Pausanias, the land is called Skotitas, "Dark," not for the shadows of the oaks, but for Zeus Skotitas who had his sanctuary nearby. As Ada Cohen points out in her essay, Pausanias does not describe the landscape itself but only the places where it intersects with divinity. As the collaborators here make clear, similar principles of selection operate on other levels. Pausanias may enable us to visualize a lost world, but the view is sanitized. Writing at the peak of Roman wealth, power, and privilege, he gives us old Greece with hardly a trace of Rome. He presents cities without houses, landscapes without agriculture, sanctuaries without worshippers, and the past without the present. Like the cardboard and cellophane 3-D glasses worn by cinema audiences in the 1950s, his text brings into temporary and unstable focus a very specialized scene, but the view is that of a virtual museum, a theme park created for our viewing enjoyment.How did he do it and what are the consequences? I admit that when it comes to Pausanias, I am one of those "seekers after lost religions" whom Elsner classifies with archaeologists surveying the text of Pausanias for possible excavation sites. We will all be a little more careful after reading this book. Yet, where else [End Page 633] could we find the information Pausanias gives? Habicht rehabilitated Pausanias in the 1980s by demonstrating how well his text stands up when compared with the surviving external record. Pausanias did not have a spreadsheet to keep straight the sixty-nine altars at Olympia, but he must at least have taken notes.The arrangement of the articles presented here replicates a familiar academic setting. Structured like a weekend conference, the book divides into three sessions ("The Traveler and the Text," "Studies and Comparisons," and "Nachleben"), with four papers and two comments in each session. Very generally, the topics are: landscape as language (J. Elsner); mental baggage and method (E. Bowie); informants and information (C. P. Jones); pilgrimage and the inspiration of vision (I. Rutherford); selection and cultural choice (M. Torelli); memory and memorization (D. Konstan); identity, monumentality and the recall of mo(nu)ments sublime (J. Porter); representation of space and movement (A. Cohen); archaic text and image on the chest of Kypselos (A. M. Snodgrass); filling the empty map of Messenia (S. E. Alcock); Greek narratives in Roman images (B. Bergmann); other Spartas (P. Cartledge); shaping the genre of travel writing (S. B. Sutton); Leake's Pausanias and Greek topography (J. M. Wagstaff); rearranging Pausanias or Farnell on Greek ritual (J. Henderson); Harrison and Verrall present Pausanias for the hoipolloi (M. Beard); Sparta and the French Enlightenment (S. Bann); and remembering and reforming the past (J. Cherry).There isn't space enough here to do justice to every argument, but I will take a sentence to praise the editors for inspiring the synergy of so many specialties. Archaeologists talk about texts; literary scholars talk about places and objects; and art historians discuss the relation between the two. The section entitled Nachleben surveys the nineteenth-century efflorescence of Pausanias and from four very different vantage points evaluates his influence on... (shrink)

The Aesthetics of Human Environments is a companion volume to Carlson's and Berleant's The Aesthetics of Natural Environments. Whereas the earlier collection focused on the aesthetic appreciation of nature, The Aesthetics of Human Environments investigates philosophical and aesthetics issues that arise from our engagement with human environments ranging from rural landscapes to urban cityscapes. Our experience of public spaces such as shopping centers, theme parks, and gardens as well as the impact of our personal living spaces on the (...) routine activities of our everyday life are discussed in terms of their aesthetic value and the nature of our aesthetic appreciation. This volume will appeal to any reader concerned about the aesthetic quality of the world in which we live. (shrink)

A presence for decades in individuals’ everyday life practices and identity formation, the Walt Disney Company has more recently also become an influential element within the "big" curriculum of public and private spaces outside of yet in proximity to formal educational institutions. _Disney, Culture, and Curriculum_ explores the myriad ways that Disney’s curricula and pedagogies manifest in public consciousness, cultural discourses, and the education system. Examining Disney’s historical development and contemporary manifestations, this book critiques and deconstructs its products and perspectives (...) while providing insight into Disney’s operations within popular culture and everyday life in the United States and beyond. The contributors engage with Disney’s curricula and pedagogies in a variety of ways, through critical analysis of Disney films, theme parks, and planned communities, how Disney has been taught and resisted both in and beyond schools, ways in which fans and consumers develop and negotiate their identities with their engagement with Disney, and how race, class, gender, sexuality, and consumerism are constructed through Disney content. Incisive, comprehensive, and highly interdisciplinary, _Disney, Culture, and Curriculum_ extends the discussion of popular culture as curriculum and pedagogy into new avenues by focusing on the affective and ontological aspects of identity development as well as the commodification of social and cultural identities, experiences, and subjectivities. (shrink)

This chapter argues there are many hints in the dialogue, plot, and physics of the first season of Westworld that the events in the show do not take place within a theme park, but rather in a virtual reality (VR) world that people "visit" to escape the "real world." The philosophical implications I draw are several. First, to be simulated is to be real: simulated worlds are every bit as real as "the real world", and simulated people (hosts) are (...) every bit as real as "real" ones. Second, failure to appreciate this equivalence is already leading us to treat our simulated creations (artificially intelligent agents, videogame characters, etc.) in the same kinds of morally deplorable ways that humans in Westworld treat theirs. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art museums to (...) theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

Westworld is a television series on HBO (2016–present), based on a movie of the same name by Michael Crichton. The plot of the show is wide-reaching. The first season shows us an adult theme park where android “hosts” serve the wealthy “guests.” Seasons two and three show the attempt of the hosts to escape this servitude, and then, in a twist, help humans do the same outside of the parks. This chapter links all three seasons of Westworld to (...) theories of colonization. First, it explores the types of colonialism as they pertain to Westworld. Then it looks at the various scopes of colonization in Westworld – the colonization of space, time, and psychic space. Next, it explores the psychology of colonizers and the colonized as it pertains to the show. Lastly, it explores possible forms of liberation from colonization that the show has to offer. (shrink)

Anthropologists now openly acknowledge that social anthropology can no longer fulfill its traditional aim of providing holistic, objective representations of people of "exotic" cultures. After Writing Culture asks what theoretical and practical role contemporary anthropology can play in our increasingly unpredictable and complex world. With fourteen articles written by well-known anthropologists, the work explores some of the directions in which contemporary anthropology is moving, following the questions raised by the "writing culture" debates of the 1980s. Some of the chapters cover: (...) the concept of caste in Indian society, Scottish ethnography, how dreams are culturally conceptualized, representations of the family, theme parks and the anthropologist in Japan, people's place in the landscape of Northern Australia, and representing the identity of the New Zealand Maori. (shrink)

Is it possible that justice requires giving people with disabilities like autism sufficient opportunities to pursue a flourishing life by promoting accessibility at theme parks and other places of public accommodation? I explore this question by analyzing the ethical issues at play in a series of disability lawsuits against Disney Parks and Resorts. Drawing on the work of Martha Nussbaum and Chiara Cordelli, I argue that Disney has an obligation of justice to provide these plaintiffs with their (...) requested disability modification. I further articulate how public accommodations other than Disney should accommodate disabled customers, sometimes with government assistance. (shrink)

: This paper is a cultural studies analysis of the Microsoft computer video game, ZooTycoon™. Through a critical reading using the "circuit of culture," questions of the gamer's subject position, the role of wildlife and implicit and explicit messages about contemporary attitudes toward the environment are explored. Drawing on Susan Davis' book, Spectacular Nature: Corporate Culture and the Sea World Experience (1997), this paper unpacks the virtual theme parks created in Zoo Tycoon™ for their (dis)continuities with Davis's findings. (...) The virtual animals are found to serve as both labor and products in this game that teaches capitalist business strategy and managerial skills. This popular culture text is an example of a product that harnesses the environmental impulse and redirects that impulse back into commodity capitalism. (shrink)

Exploring the modern category of history in relation to film theory, film textuality, and film history, Change Mummified makes a persuasive argument for the centrality of historicity to film as well as the special importance of film in historical culture. What do we make of the concern for recovering the past that is consistently manifested in so many influential modes of cinema, from Hollywood to documentary and postcolonial film? How is film related to the many modern practices that define themselves (...) as configuring pastness in the present, such as architectural preservation, theme parks, and, above all, professional historical research? What is the relation of history in film to other media such as television and digital imaging? How does emphasizing the connection between film and modern historicity affect the theorization and historicization of film and modern media culture? Pursuing the full implications of film as cultural production, Philip Rosen reconceptualizes modern historicity as a combination of characteristic epistemological structures on the one hand, and the social imperative to regulate or manage time on the other. Emphasizing a fundamental constellation of pursuit of the real, indexical signification and the need to control time, he interrogates a spectrum of film theory and film texts. His argument refocuses the category of temporality for film and cultural theory while rethinking the importance of historicity. An original and sustained meditation on the historiographic status of cinematic signs, Change Mummified is both an intervention in film and media studies and an argument for the continuing necessity of modern historical thinking in its contradictions. (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that could (...) be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (shrink)

“Looking for Asian America shows real people engaged in the full range of human activity. This is no small accomplishment for the photographer or his subjects. For Asian Americans it is extraordinary to be merely ordinary. To others, even if not to themselves, Asian Americans appear to be contradictions of identity—a Chinese-Yankee is a knockoff.” —Frank H. Wu, from the Foreword In search of contemporary Asian America, celebrated photographer Wing Young Huie—the only member of his family not born in China—traveled (...) with his wife Tara through nearly forty states to explore and document the funny, touching, and sometimes strange intersection of Asian American and American cultures. Looking for Asian America illustrates their rich and surprising journey across the United States. Through Huie’s eyes, keenly aware of his own Midwestern roots and perspective, we witness such images as a Vietnamese Elvis, Miss Congeniality on her cell phone in San Francisco’s Chinatown, a Hmong street sign in rural North Carolina, a meditating Falun Gong protestor in Washington, D.C., a bubble tea Valley Girl, and a Chinese theme park in Orlando. Huie’s camera captures ABCs, FOAs, and a self-described “redneck” Chinese restaurant owner near the Okefenokee Swamp. Taken together the photographs reveal a complex portrait of the U.S. cultural landscape, and their dignified elegance invites a closer, deeper look. Accompanied by the personal reflections of both Wing and Tara Huie, the nearly one hundred spectacular photos tell a story that both mirrors and contradicts stereotypes of Asian Americans, ultimately questioning what it means to be ethnic and American in the twenty-first century. Wing Young Huie has received widespread acclaim for his works, including Lake Street USA, documenting the cultural landscape of his native Minnesota. He is a recipient of a Bush Artist Fellowship and two-time recipient of the McKnight Photography Fellowship. He lives in Minneapolis. Frank H. Wu is dean of Wayne State University Law School and the author of Yellow: Race in America Beyond Black and White. Anita Gonzalez teaches in the Master of Liberal Studies Program at the University of Minnesota. (shrink)

What exactly does an android experience? Could an android have experiences as rich as humans, or are there limits? The Westworld T V series (Jonathan Noland, 2016- ) offers the opportunity to explore philosophical questions related to human and android experiences through its depiction of a fictional Wild West theme park with androids playing the main characters. Among the most fascinating scenes in the Westworld TV series are the interviews between the android characters Bernard Lowe and Dolores Abernathy. These (...) interviews occur in a windowless room and appear to portray Dolores at different stages of her development, though what comprises this development is not revealed to the viewer. It’s probably a good guess that Dolores’ development consists in software upgrades as well as her own learning episodes—her own learning history. There are a host of interesting questions that could be raised about the meetings between Bernard and Dolores, about her software updates and her learning history, but there are particular, philosophical questions about what Dolores experiences that I would like to focus on in this essay. These questions have to do with possible limits to her experience, and whether these limits correspond to limits we—intuitively, at least—apply to human beings. (shrink)

Here are some essays written at various times. What does it mean to be rational? American History for Valley Girls The Chief Seattle Theme Park Here's a Manifesto of the Newtonian Brotherhood of Truly Christian Scientists . I regret to say that it has turned out to be necessary to explicitly characterize it as humor. I didn't mind that some careless readers accused me of being a bigot, but I had to put in a disclaimer when some readers emailed (...) me with their support for the ideas. (shrink)

Christophe Bruchansky asks if we’re living in a global themepark. -/- Walt Disney World opened in Florida in 1971. It was the second theme park built by Disney, the first being Disneyland in California in 1955. Disney World is not one theme park, but a group of four theme parks, two water parks, and many hotels, all together in Orlando. It is one of the most visited attractions in the world, and represents far from merely (...) an American phenomenon. Disney theme parks are now located in Paris, Tokyo and Hong Kong, and a new park has recently been announced for Shanghai. But what is a Disney theme park? Is it a utopia? Is it a heterotopia – a concept defined by French philosopher Michel Foucault? Or is it something else? As you will see from this article, understanding Disney World requires a profound reflection on culture, history and reality. (shrink)

This book is no less than the birth of a new discipline. The Experience Science is the indispensable tool for the global experience economy. Including a detailed analysis of the human experience process, the book provides the reader with a teachable methodology for staging unforgettable experiences that make a difference. It is a must for everyone in the experience industry who wants to leave his/her mark. Author Gerhard Frank - philosopher, natural scientist, and experience dramaturge - has been engaged in (...) the global attraction industry for 25 years. His clients come from different segments, including theme parks, museums, zoos, visitor centers, and other types of venues. (Series: Psychologie - Vol. 50). (shrink)

Human attitudes to various nonhuman animals have varied considerably\nacross cultures and throughout time. While some of our responses are\nundoubtedly instinctive and universal-a visceral fear of large\ncarnivores or the feeling of spontaneous warmth for creatures exhibiting\nhigh degrees of neoteny-it is clear that our attitude toward specific\nspecies is largely shaped by our innate anthropomorphism: that is, when\nwe think about animals, we are also thinking about ourselves. There are\nfew better examples of this than the shifting attitudes toward whales\nand dolphins throughout the 20th century, (...) particularly among citizens of\nWestern democracies. This article narrates the cultural history of this\ndevelopment and demonstrates how the current enchantment with whales and\ndolphins is primarily the result of two broad-and related-cultural\ndevelopments: the modern entertainment complex, particularly cinema,\ntelevision, and aquatic theme parks; and the 1960s counterculture, with\nits potent blend of holistic ecology, speculative neuroscience, and\nmysticism. The result was the creation of what we might think of as the\n``metaphysical whale,{''} a creature who has inspired the abolitionist\nstance toward whaling. (shrink)

This chapter explores themes like freedom of expression and what makes for a democratic society by examining characters and situations collected from a variety of South Park episodes. It discusses some of the important democratic concepts and arguments presented by thinkers like Karl Popper and Thomas Jefferson. Of particular interest are the roles of free expression and unfettered intellectual inquiry—even when they're offensive—in a democratic society. Finally, the author speaks that Popper and others understand this sort of freedom to be (...) absolutely essential to a healthy democracy. (shrink)