In lieu of an abstract, here is a brief excerpt of the content:Setting the Stage for a Dialogue:Aesthetics in Drama and Theatre EducationAlistair Martin-Smith (bio)For us, education signifies an initiation into new ways of seeing, hearing, feeling, moving. It signifies the nurture of a special kind of reflectiveness and expressiveness, a reaching out for meanings, a learning to learn.—Maxine Greene, Variations on a Blue Guitar1Examining the aesthetics of the complementary fields of educational drama and theatre is like looking through (...) a kaleidoscope. If you turn it one way, you see one colorful pattern; if you turn it the other way, you see yet another. The multiplicity of approaches to drama and theatre education, each with its own aesthetic pattern, often obscures the common ground they all share. As a result, in its unique emphasis on art, pedagogy, and society, each may have its own aesthetic pattern; yet only by looking closely at each distinct pattern can we understand more of the power of drama and theatre to develop human consciousness.In Western education, aesthetic learning seems incidental to the assessment of learning. How did this happen? For Descartes, whose Cartesian philosophy dissociated mind from body, aesthetic feelings are irrational, since they originate in the body's senses rather than in the mind. Theories of education focused on the primacy of cognition, denying feelings in the erroneous belief that learning is independent of its context. Conversely, aesthetic education is concerned with the quality of experience, how it is felt. Dewey believed that "learning by doing" was a "consummatory" experience for the learner; it was dramatic, dialogic, and felt. The confusion between subjective and objective aspects of the aesthetic experience makes aesthetic evaluation difficult, and this may be why cognitively dominated education has steered clear of aesthetics. Richard Courtney recognized that there is an important distinction to be made between aesthetic symbols and [End Page 3] artistic symbols: "Aesthetic symbols emphasize feeling; artistic symbols are context-dependent—they only have meaning in the context of art."2David Best argues that "the failure to recognise the distinction between the aesthetic and the artistic contributes largely to the trivialisation of the potential of the arts in education."3 He points out that "... it may often be necessary to take into account, at least implicitly, wider factors... in order to judge whether [an] appraisal was aesthetic or artistic."4 What are these wider factors, and how can audiences attend to them? As Christopher Havell reminds us,There is increasing pressure on drama teachers to use their teaching expertise purely for the development of social and life-skills training. This instrumental work may, at times, closely resemble the drama process, but the intentions will be confined to an experience that simulates or resembles those "real-life situations" that it is expected students will encounter. The aesthetic search for the "universal" at the centre of the particular will not be a relevant aim in any vocational training! One can only hope that the emerging interest in the aesthetic nature of drama and its place in a coherent arts education will encourage teachers and students to reflect on the final inadequacy of any instrumental view.5I believe that it is through the power of aesthetic education that audiences for drama and theatre will come to appreciate the artistic.In Caravaggio's painting David with the Head of Goliath (1606-10), the viewer is confronted with three time periods simultaneously. In his depiction of David, Caravaggio paints the shepherd-king of the Old Testament who prefigures Christ, but he is also modeled on Caravaggio's lover. David holds the severed head of Goliath down low in such a way as to engage the private viewer rather than to evoke the public spectacle.6 As I understood that the head of Goliath was actually a self-portrait of the painter not long before his death, I experienced a moment of instantaneity that shocked me into a new awareness of my own mortality, my relation to life and death. As it is Caravaggio's last journey, so is it our own. While Caravaggio's penultimate painting is recognized in terms of its artistic achievement, the moment of self-recognition on the part of the... (shrink)

A review of C. W. Smith's "Empiricist Devotion".

In 2018, the first full year of the Trump presidency, it became abundantly clear that the transatlantic relationship had entered a period of intense discord, causing a series of pessimistic reports and commentary in the mainstream Anglo-American media. With this as the starting point, the article re-examines the study of the ‘transatlantic’ as a region. It engages with thinking of time (periodisation), space (scale), and discipline (methodology) in order to question standard assumptions and open up new avenues for research, identity-formation, (...) and emancipatory commitment. (shrink)

The task of philosophy is examined in reference to the actual circumstances of academic philosophy, principally in the United States. The author challenges the still prevalent tendency to conceive academic philosophy as an affair split into two camps—most often identified as analytic and Continental philosophy. Moreover, he proposes a distinctive understanding of the dialectical approach to philosophical query, one attuned to the traditional character of the relevant alternatives and also to the ideological dimension of contemporary disputes, but not one necessarily (...) undertaken for sake of resolving disagreements or achieving consensus. The very goals animating the process of working through substantive, methodological, and other differences (in a word, animating dialectic) are themselves critical foci of an ongoing process open not only to question but also alteration: the aims of query are being continuously transformed or redefined in course of this undertaking. In proposing this understanding of dialectic, he draws heavily on the examples of Richard J. Bernstein, John McCumber, and especially John E. Smith. Finally, the author offers an example of how such an approach can be effectively eliminated, even by an individual who in almost every other respect is an exemplary philosopher. If (as John Courtney Murray, S.J., asserts) civility “dies with the death of dialogue,” philosophy can live only by the continual renewal of genuine dialogueacross diverse traditions. (shrink)

Introduction: The limits of poetics -- For the first time -- The naming power of the word -- Heidegger's figures -- Reading Heidegger reading -- Conclusion: A poetics of limit?.

Reviews the book, Ethics and values in psychotherapy by Alan C. Tjeltveit . Many psychologists are aware of the ethical and inescapably value-laden nature of psychotherapy . Despite this awareness about values, however, much confusion persists about the nature and management of values in practice. Tjeltveit's text seeks to address such questions among many others. This fine book is one of the first works to comprehensively integrate the research regarding values inescapability with broader ethical theory and philosophy and its potential (...) impact on psychology. In his extensive review, Tjeltveit explores the meaning of "psychotherapist as ethicist," the varied definitions of values, the relationship between science and ethics, the ethical nature of therapy goals and practice, and implications of these issues for public philosophy and professional ethics . Tjeltveit's text is an extremely significant contribution to the discipline, because it is one of the first works to explicitly discuss the value-infused nature of psychotherapy and the consequences that this brings to individual practice, professional standards, and societal expectations. 2012 APA, all rights reserved). (shrink)

It is one of the questions that has baffled economists, cultural commentators and consumer-watchers: why are people who drive a hard bargain in all other parts of their lives willing to spend £3 on a shot of coffee and some hot, frothy milk in a very large cardboard cup? The reason for the remarkable growth of one of the social markers of the past two decades - upmarket coffee shops such as Starbucks and Caffe Nero - could now be a (...) little clearer thanks to an American academic who has undertaken a remarkable personal odyssey to try to get to the bottom of the conundrum. Bryant Simon spent a year visiting more than 400 of its coffee shops in several countries, observing customers for around 12 to 15 hours a week. He went to 25 branches outlets during four days in London, but admitted: 'I tried to have a drink in every one, but it was too painful on my system.'. (shrink)

On a rational model of science (cf. Lakatos or Laudan), to decide on the appropriate type of explanation of a given scientific change requires a normative assessment made by reference to the model. Showing that a transition fits the model, displays it to be rational and thereby explains it. On the strong programme in the sociology of scientific knowledge (cf. Bloor and Barnes), normative assessment is irrelevant to explanation. All changes require the same type of explanation (the symmetry thesis); namely, (...) a sociological one. The symmetry thesis is false. Scientific change can be explained rationally but without extensive normative assessment using the minimal rationality model (minirät). However, explaining scientific progress as opposed to mere change, requires a maximal rationality model (maxirat) which involves normative assessment. (shrink)

This is the first serious intellectual biography of Guy Debord, prime mover of the Situationist International and author of _The Society of the Spectacle_, perhaps the seminal book of May 1968 in France. Anselm Jappe rejects recent attempts to set Debord up as a "postmodern" icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of _History and Class Consciousness _. Neither hagiographical nor sectarian, _Guy (...) Debord_ places its subject squarely in his historical context: the politicizing Letterist and Situationist "anti-artists" who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's "last avant-garde" on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists. (shrink)

As physicians, the supreme importance of health and its integral role in any individual’s pursuit of life, liberty and happiness is exhibited on a daily basis. It is abundantly clear that without h...

Cognitive categories in the geographic realm appear to manifest certain special features as contrasted with categories for objects at surveyable scales. We have argued that these features reflect specific ontological characteristics of geographic objects. This paper presents hypotheses as to the nature of the features mentioned, reviews previous empirical work on geographic categories, and presents the results of pilot experiments that used English-speaking subjects to test our hypotheses. Our experiments show geographic categories to be similar to their non-geographic counterparts in (...) the ways in which they generate instances of different relative frequencies at different levels. Other tests, however, provide preliminary evidence for the existence of important differences in subjects’ categorizations of geographic and non-geographic objects, and suggest further experimental work especially with regard to the role in cognitive categorization of different types of object-boundaries at different scales. (shrink)

This paper examines the shareholder primacy norm as a widely acknowledged impediment to corporate social responsibility and explores the role of business schools in promoting the SPN but also potentially as an avenue for change by addressing misconceptions about shareholder primacy and the purpose of business. We start by explaining the SPN and then review its status under US and UK laws and show that it is not a likely legal requirement, at least under the guise of shareholder value maximization. (...) This is in contrast to the common assertion that managers are legally constrained from addressing CSR issues if doing so is inconsistent with the economic interests of shareholders. Nonetheless, while the SPN might be muted as a legal norm, we show that it is certainly evident as a social norm among managers and in business schools—reflective, in part, of the sole voting rights of shareholders on corporate boards and of the dominance of shareholder theory—and justifiably so in the view of many managers and business academics. We argue that this view is misguided, not least when associated with claims of a purported legally enforceable requirement to maximize shareholder value. We propose two ways by which the influence of the SPN among managers might be attenuated: extending fiduciary duties of executives to non-shareholder stakeholders and changes in business school teaching such that it covers a plurality of conceptions of the purpose of the corporation. (shrink)

Defining terms -- The real world -- The news -- Reading as vacation -- Uses of culture -- The postmodern smirk -- The corporate gallery -- Icons and idols -- Man as Romanian -- Dowsing and science -- Origin myths -- Diplomatic memoir -- A syndrome of simile and metaphor -- Three dreams, one trip -- My obituaries -- Salt water -- My coronation -- Representations -- The pornographic dream -- Against art fairs -- Rescuing the subject from the picture (...) -- Branding the arts -- The end of the affair -- A defense of virtuosity -- Mere esthetics. (shrink)

While research has focused on why certain entrepreneurs elect to create innovative solutions to social problems, very little is known about why some social entrepreneurs choose to scale their solutions while others do not. Research on scaling has generally focused on organizational characteristics often overlooking factors at the individual level that may affect scaling decisions. Drawing on the multidimensional construct of moral intensity, we propose a theoretical model of ethical decision making to explain why a social entrepreneur’s perception of moral (...) intensity of the social problem, coupled with their personal desire for control, can significantly influence scaling decisions. Specifically, we propose that higher levels of perceived moral intensity will positively influence the likelihood of scaling through open as opposed to closed modes in order to achieve greater speed and scope of social impact. However, we also propose this effect will be negatively moderated by a social entrepreneur’s higher levels of desire for control. Our model has implications for research and practice at the interface of ethics and social entrepreneurship. (shrink)

Proponents of empirically supported treatment have argued that psychotherapists have an ethical obligation to make an EST the first choice in clinical practice. This paper challenges this idea. The EST program assumes a model of therapy as technology or applied science that poorly fits the reality of psychotherapeutic practice. The problems brought to therapy implicate fundamental questions regarding what constitutes a good life. A therapeutic response to such problems is not a technical means to change a circumscribed disorder, but an (...) engagement with the client that has relevance to broader moral concerns. Further, the picture of therapy as technology of change implicitly proposes views of a good life, while not acknowledging that it is doing so. 2012 APA, all rights reserved). (shrink)

No one has ever seen a quark. Yet physicists seem to know quite a lot about the properties and behavior of these ubiquitous elementary particles. Here a top researcher introduces us to a fascinating but invisible realm that is part of our everyday life. Timothy Smith tells us what we know about quarks--and how we know it. Though the quarks that make science headlines are typically laboratory creations generated under extreme conditions, most quarks occur naturally. They reside in the (...) protons and neutrons that make up almost all of the universe's known matter, from human DNA to distant nebulae, from books and tables to neutron stars. Smith explains what these quarks are, how they act, and why physicists believe in them sight unseen. How do quarks arrange themselves? What other combinations can nature make? How do quarks hold nuclei together? What else is happening in their hidden worlds? It turns out that these questions can be answered using a few simple principles, such as the old standby: opposites attract. With these few principles, Smith shows how quarks dance around each other and explains what physicists mean when they refer to "up" and "down" quarks and talk about a quark's color, flavor, and spin. Smith also explains how we know what we know about these oddly aloof particles, which are eternally confined inside larger particles. He explains how quark experiments are mounted and how massive accelerators, targets, and detectors work together to collect the data that scientists use to infer what quarks are up to. A nonmathematical tour of the quark world, this book is written for students, educators, and all who enjoy scientific exploration--whether they seek a taste of subnuclear physics or just wonder about nature on the smallest of scales. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Preface: Variations of Archiving the Anarchive Through Editorial Witnessing by April Vannini “a diagram is a map, or rather several superimposed maps.” 1 What do we do with essays, art, artefacts, and practices that go against, resist, challenge and reject archival capture or documentation since they do not fit within the screen or manage to move beyond conventional scales? What do we do with an essay or artefact that is the event of the event becoming-event itself, or how do we move from volumetric space to two-dimensional space? How do editors, curators, participants, etc. become witness to an anarchive? And most importantly, what are the potential and unanticipated ways in which a volumetric submission can be diagrammed within a two- dimensional space? In short, how do we archive the anarchive? These are questions that have emerged and have been consciously and purposely activated by Sean Smith’s thinkpiece for this issue, The Garage (Take One) . Sean, as part of his contribution to the special issue of drift within the thread in between space and place , created an artefact that emerged out of an event held during May 2013, titled Cottage University: Topology and Immanence . The visual documentation of The Garage (Take One) is not an archive but an anarchive due to its multimodal form, non-representational diagramming, and its reactivation of non-representational folding which animates its non-representational or more-than -representational condition. In short, The Garage (Take One) stymies attempts to be translated into digital text, representationally. As a reader of Sean’s submission you will only have access to a portion of the original submitted contribution (see “Take One”). At this time, I remain the only witness of The Garage (Take One) in its entirety: I was present at the original event, Cottage University: Topology and Immanence , and I was the sole receiver of the original package because of my role as editor for the thread, in between space and place . However, I would like to stress that I was unaware of what Sean would submit as his contribution to the special issue. What is presented here is an emergent rippling of the event that was not predetermined or arranged in advance ... a drifting of sorts! As for now, the artefact sits here on my desk next to a pile of books—folded, creased and somewhat lost in its translation into digital form. Questions of transcribing, translating and converting volumetric space to two-dimensional space have been considered throughout this process. And more importantly this artefact and its processes raise the issue of not what has been saved and included but what has been left out in each conversion of the original into the academic publication. What follows this preface are various “cuts” or “takes” from The Garage: Take One . Each take or cut is merely an interpretive and representational rendering of the original volumetric submission. Although with that said I would like to propose they are more than just representations or interpretations: each take or cut works as rippling variations of the event itself . It is important to acknowledge that much has been lost in the creases and much still lingers which will never be archived within an academic journal. Hence, a discussion of how to archive the anarchive is so crucial to para-academic “scholarship”. I will sum up the process that has emerged from The Garage (Take One) with a final word from Brian Massumi, written in his foreword to Deleuze and Guattari’s A Thousand Plateaus : Each 'plateau' is an orchestration of crashing bricks extracted from a variety of disciplinary edifices. They carry traces of their former emplacement, which give them a spin defining the arc of their vector. The vectors are meant to converge at a volatile juncture, but one that is sustained, as an open equilibrium of moving parts each with its own trajectory. The word 'plateau' comes from an essay by Gregory Bateson on Balinese culture, in which he found a libidinal economy quite different from the West's orgasmic orientation. In Deleuze and Guattari, a plateau is reached when circumstances combine to bring an activity to a pitch of intensity that is not automatically dissipated in a climax. The heightening of energies is sustained long enough to leave a kind of afterimage of its dynamism that can be reactivated or injected into other activities, creating a fabric of intensive states between which any number of connecting routes could exist. 2 The Garage (Take One) Double Take 2:31pm/5:31pm Sean Smith You there? I just wanted to emphasize a couple of things about the process of the submission: 2:31pm/5:31pm April Warn-Vannini Yes, listening. 2:36pm/5:36pm Sean Smith 1.When you describe feeding forward from the CU (Cottage University) event, it is a WALKING ACTIVITY that reinvests/reactivates the intensive energies of the event. that is what my photos are in Take One......it connects the intensive state of CU to my "one-take" writing on construction paper experience. i'm not sure if i adequately conveyed that or not, or if you did, or how important that is. 2. In doing so, it ruptures open the "space" and "place" of material practice ...and how these may enter into the mediated production of academic journal work...and its flattened two-dimensional experience. 3. the abstract machines of CU (i.e.coming out of silence) are invested with a new diagramming practice (the photo walk) to produce a new text that is neither-nor: "spaced" as a content of that walk (garages), but "placed" as a technical question (coming out of silence to language). 4. the new text is precisely diagrammatic, non-representational, anarchival. ....multimodal. ok, that's all that comes to mind right now. appreciating your efforts. 5. oh, finally, i think you might need a better definition of "anarchive" here..... it was hard to pin them down in montreal on what this is, so you wouldn't be wrong, per se, but more require a working definition for the reader. obviously, as you say, without getting too academic/citations, etc. know what i am saying? 2:46pm/5:46pm April Warn-Vannini 1. Totally got it but I think I did because of our many past conversations about how to archive the event 2. Yes this is what I love about this. And I think you speak to this very carefully in your writing on the Garage. Now whether others pick up on this I don't know. This is why I wanted to see what it would look like if I flattened it (take 3). 5. I agree that a better definition is needed. This is where I've been stumbling because I have not found anything that clearly defines what is meant by anarchive. 2:47pm/5:47pm Sean Smith "with take one being the only remainder of the original submission left to reveal...." precisely because of its digitality!!! yeah, i would probably just append an edited version of what we are saying here, as if the editing process was still a ripple of the event. me "adding" new text later i think defeats the purpose, but if you were to take snippets of this dialogue as part of the anarachive/ 2:48pm/5:48pm April Warn-Vannini Totally! 2:49pm/5:49pm Sean Smith and just *use them*, i think that's fair game. that way i won't be crafting my words with intent. you can even use this profile pic. 2:50pm/5:50pm April Warn-Vannini Okay perfect. With that said, do you think I should just discuss your process further in the preface or include an introduction that would be in take one? 2:51pm/5:51pm Sean Smith could it be Take Two in its own right, like an atemporal ripple that coexists with the others and bumps them to Three, Four and Five? Or could it be called "Double Take" and leave the others as Two, Three, Four? 2:53pm/5:53pm April Warn-Vannini Perfect. I like double take 2:53pm/5:53pm Sean Smith and it's us hashing through this discussion 2:53pm/5:53pm April Warn-Vannini Double take will follow take one. i like this. The Garage (Take Two) Folded, taped (scotch and duct), folded recycled chart paper previous emergent thoughts: performed, inscribed and made anew Red jiffy, black jiffy, blue ink pen cursive writing/block writing diagramming amplification dilated » » » » directional arrows « « « « Moistened, torn, crinkled Ruptures Anarchive of thought events Deciphering language/writing Exchanged as a volumetrics of new spaces Performing tactics of “writing off the page” on the page Enclosed [OPEN THE DOORS, MOVE FROM SURFACE TO VOLUME…AND THE CONVERSATION JUST MIGHT BEGIN ANEW. *stamped* SEAN SMITH] Drifting Drifting Drifting The Garage (Take Three) 6 Sean Smith video from April Vannini on Vimeo . The Garage (Take Four) The Garage (Take Five). (shrink)

Ann. 11.11: nam is quoque edidit ludos saecularis iisque intentius adfui sacerdotio quindecimvirali praeditus ac tune praetor; quod non iactantia refero sed quia collegio quindecimvirum antiquitus ea cura et magistratus potissimum exequebantur officia caerimoniarum.