‘Terminal discharges’ are carried out in Singapore for patients who wish to die at home. However, if due diligence is not exercised, parallels may be drawn with euthanasia. We present a theoretical discussion beginning with the definition of terminal discharges and the reasons why they are carried out in Singapore. By considering the intention behind terminal discharges and utilising a multidisciplinary team to deliberate on the clinical, social and ethical intricacies with a patient- and context-specific approach, euthanasia is avoided. It (...) is hoped that this will provide a platform for professionals in palliative medicine to negotiate challenging issues when arranging a terminal discharge, so as to avoid the pitfall of committing euthanasia in a country such as Singapore where euthanasia is illegal. It is hoped that a set of guidelines for terminal discharges may someday be realised to assist professionals in Singapore and around the world. (shrink)

Epilepsy surgery is the most effective therapeutic approach for children with drug resistant epilepsy. Recent advances in neurosurgery, such as the Laser Interstitial Thermal Therapy, improved the safety and non-invasiveness of this method. Electric and magnetic source imaging plays critical role in the delineation of the epileptogenic focus during the presurgical evaluation of children with DRE. Yet, they are currently underutilized even in tertiary epilepsy centers. Here, we present a case of an adolescent who suffered from DRE for 16 years (...) and underwent surgery at Cook Children's Medical Center. The patient was previously evaluated in a level 4 epilepsy center and treated with multiple antiseizure medications for several years. Presurgical evaluation at CCMC included long-term video electroencephalography, magnetoencephalography with simultaneous conventional EEG and high-density EEG in two consecutive sessions, MRI, and fluorodeoxyglucose - positron emission tomography. Video long-term EEG captured nine focal-onset clinical seizures with a maximal evolution over the right frontal/frontal midline areas. MRI was initially interpreted as non-lesional. FDG-PET revealed a small region of hypometabolism at the anterior right superior temporal gyrus. ESI and MSI performed with dipole clustering showed a tight cluster of dipoles in the right anterior insula. The patient underwent intracranial EEG which indicated the right anterior insular as seizure onset zone. Eventually LITT rendered the patient seizure free. Retrospective analysis of ESI and MSI clustered dipoles found a mean distance of dipoles from the ablated volume ranging from 10 to 25 mm. Our findings highlight the importance of recent technological advances in the presurgical evaluation and surgical treatment of children with DRE, and the underutilization of epilepsy surgery in children with DRE. (shrink)

Rationale: Deep brain stimulation (DBS) of the hippocampus is proposed for enhancement of memory impaired by injury or disease. Many pre-clinical DBS paradigms can be addressed in epilepsy patients undergoing intracranial monitoring for seizure localization, since they already have electrodes implanted in brain areas of interest. Even though epilepsy is usually not a memory disorder targeted by DBS, the studies can nevertheless model other memory-impacting disorders, such as Traumatic Brain Injury (TBI). Methods: Human patients undergoing Phase II invasive monitoring for (...) intractable epilepsy were implanted with depth electrodes capable of recording neurophysiological signals. Subjects performed a delayed-match-to-sample (DMS) memory task while hippocampal ensembles from CA1 and CA3 cell layers were recorded to estimate a multi-input, multi-output (MIMO) model of CA3-to-CA1 neural encoding and a memory decoding model (MDM) to decode memory information from CA3 and CA1 neuronal signals. After model estimation, subjects again performed the DMS task while either MIMO-based or MDM-based patterned stimulation was delivered to CA1 electrode sites during the encoding phase of the DMS trials. Each subject was sorted (post hoc) by prior experience of repeated and/or mild-to-moderate brain injury (RMBI), TBI, or no history (control) and scored for percentage successful delayed recognition (DR) recall on stimulated vs. non-stimulated DMS trials. The subject’s medical history was unknown to the experimenters until after individual subject memory retention results were scored. Results: When examined compared to control subjects, both TBI and RMBI subjects showed increased memory retention in response to both MIMO and MDM-based hippocampal stimulation. Furthermore, effects of stimulation were also greater in subjects who were evaluated as having pre-existing mild-to-moderate memory impairment. Conclusion: These results show that hippocampal stimulation for memory facilitation was more beneficial for subjects who had previously suffered a brain injury (other than epilepsy), compared to control (epilepsy) subjects who had not suffered a brain injury. This study demonstrates that the epilepsy/intracranial recording model can be extended to test the ability of DBS to restore memory function in subjects who previously suffered a brain injury other than epilepsy, and support further investigation into the beneficial effect of DBS in TBI patients. (shrink)

Long noncoding RNAs have been described in cell lines and various whole tissues, but lncRNA analysis of development in vivo is limited. Here, we comprehensively analyze lncRNA expression for the adult mouse subventricular zone neural stem cell lineage. We utilize complementary genome-wide techniques including RNA-seq, RNA CaptureSeq, and ChIP-seq to associate specific lncRNAs with neural cell types, developmental processes, and human disease states. By integrating data from chromatin state maps, custom microarrays, and FACS purification of the subventricular zone lineage, we (...) stringently identify lncRNAs with potential roles in adult neurogenesis. shRNA-mediated knockdown of two such lncRNAs, Six3os and Dlx1as, indicate roles for lncRNAs in the glial-neuronal lineage specification of multipotent adult stem cells. Our data and workflow thus provide a uniquely coherent in vivo lncRNA analysis and form the foundation of a user-friendly online resource for the study of lncRNAs in development and disease. © 2013 Elsevier Inc. (shrink)

A number of attempts have been made to construct a plausible ontology of rock music. Each of these ontologies identifies a single type of ontological entity as the “work” in rock music. Yet, all the suggestions advanced to date fail to capture some important considerations about how we engage with music of this tradition. This prompted Lee Brown to advocate a healthy skepticism of higher-order musical ontologies. I argue here that we should instead embrace a pluralist ontology of rock, an (...) ontology that recognizes more than one kind of entity as “the work” in rock music. I contend that this approach has a number of advantages over other ontologies of rock, including that of allowing us to make some comparisons across ontological kinds. (shrink)

I propose an adjunct to the two models presented in the target articles, a function of music that is ubiquitous and would have solved a clear adaptive problem, that of transmitting important survival information among pre-literate humans. This class ofknowledge songsuniquely preserved cultural, botanical, medical, safety, and practical information that increased the adaptive fitness of societies.

This essay is a study of the three-fold theme of nature, humanity, and love in Song of Songs and an investigation into the ways nature imagery is used to evoke human love. The work further examines the nature of the highly erotic yet restrained love that is evoked.

This thesis argues that Dame Iris Murdoch’s writings portray a dialectical picture of morality that invites the reader to acknowledge the presence of evil and reflect upon the necessarily ‘opposing forces’ of good and evil. Murdoch’s engagement with both historical and contemporary discussions of evil is traced through close reading of both her published texts, including fiction and philosophy, and her unpublished and recently published texts and resources, including annotations, interviews and letters. These close readings are focused on the theological, (...) psychological and literary aspects of the contemporary problem of evil. The perspectives offered within this study all transcend the focus on goodness invited by Murdoch’s fiction and philosophy, thus challenging the biased perspective of scholars of the late-twentieth century who sought to elevate Murdoch’s good characters by drawing equations between her moral philosophy and her fiction. This study begins, first, by demonstrating how Murdoch’s writings engage with the problem of evil, with the theological attempt to reconcile goodness with the presence of evil and suffering in the world, by drawing on her allusions to the Book of Job and to the writings of Simone Weil and Dame Julian of Norwich, all of which assert the necessary presence of evil and suffering in the moral life. Second, I interrogate the inconsistencies between Murdoch’s fictional and philosophical pictures of evil to illustrate how her fictional and philosophical engagement with Saint Paul’s writings reveals that she adopted the same dialectical picture of morality for which she critiqued Jung in her moral philosophy. For her, Jung’s picture of morality merges aspects of dualism and monism, both of which, traditionally speaking, offer two countervailing ways in which to picture the moral life, where evil represents, respectively, either an independent moral force separate from the good or a failure to carry out the moral iii ideals of goodness. Third, I identify and develop a link between contemporary moral, psychological and sociological discourses on psychopathy and the evil characters, both male and female, within Murdoch’s novels: not only do her antagonists and demons, often called ‘enchanter’ figures by scholars, echo the psychopath’s moral psychology, but so too do her saintly figures. Such an ambiguous picture resonates with contemporary interpretations of psychopathy, such as those offered by Robert D. Hare, Kevin Dutton, or Simon Baron- Cohen, which highlight the complex role of compassion, empathy and emotion on the individual’s moral awareness, whether they are saintly or psychopathic. In the final chapter, I argue that Murdoch’s dialectical picture of morality is indebted to Blake, whose The Songs of Innocence and of Experience and The Marriage of Heaven and Hell illustrates the necessity of the ‘contrary’ pairs of innocence and experience, reason and passion, and good and evil. While Murdoch may praise goodness, her complex engagement with evil reveals a dialectical task for the moral agent in which they have to appreciate the complexity of the moral life, with its inherently ambiguous mixtures of emotion and rationality, the saintly and the psychopathic, and goodness and evil. (shrink)

Outlining an improved approach that meets the expectations of 21st-century students and teachers, the author proposes a new definition of that object of study which addresses inconsistencies in the literary canon by including nontraditional narratives such as films, comic books and pop songs.

The empire/servility syndrome -- How to read the Bible -- Reimagining the world -- Justice, Bible-style -- Prophets : the connoisseurs of Tsedaqah -- If you want peace, build it -- Peace : how ideals die-- and can be reborn -- Truth and the tincture of the will -- When freedom is a virtue -- Hope vs. the cringe -- Exploring love -- Song of joy.

Are similar, or even identical, mechanisms used in the computational modeling of speech segmentation, serial image processing, and music processing? We address this question by exploring how TRACX2, a recognition‐based, recursive connectionist autoencoder model of chunking and sequence segmentation, which has successfully simulated speech and serial‐image processing, might be applied to elementary melody perception. The model, a three‐layer autoencoder that recognizes “chunks” of short sequences of intervals that have been frequently encountered on input, is trained on the tone intervals of (...) melodically simple French children's songs. It dynamically incorporates the internal representations of these chunks into new input. Its internal representations cluster in a manner that is consistent with “human‐recognizable” melodic categories. TRACX2 is sensitive to both contour and proximity information in the musical chunks that it encounters in its input. It shows the “end‐of‐word” superiority effect demonstrated by Saffran et al. (1999) for short musical phrases. The overall findings suggest that the recursive autoassociative chunking mechanism, as implemented in TRACX2, may be a general segmentation and chunking mechanism, underlying not only word‐ and image‐chunking, but also elementary melody processing. (shrink)

This book is a philosophical account of a Central American immigrant's personal experience in the United States. Narrative and reflective at once, it is written from the standpoint of American philosophy enriched by fiction, poetry, song lyrics and memoirs from the Americas. It recommends an ethic of love—resilient loving—for the interpersonal relations and day-to-day interactions between immigrants and hosts in the United States today.

Pelkey’s anchoring of the semiotic square in embodiment is excellent news for cognitive literary theory, a dynamic field still in search of itself. However, his validation of the square, though theoretically unexceptionable, suffers in the execution, for his interpretation of the country song “Follow your Arrow” is less successful. The present article benefits from Pelkey’s validation as it organizes a tool of cultural-semantic analysis (CS-tool) as a ‘deviant’ semiotic square. The article then shows how this particular semiotic square allows (...) us to analyze the song in terms which build on Pelkey’s analysis, but also arrive at more satisfying results. Where Pelkey sees liberation in the song and the square, the tool uncovers manipulation in the former and closure in the latter. The article then assesses the complementarity of and differences between the two squares: Pelkey works on a local sentence-level through direct implicature, thus following the narrative/authorial voice of the poem. The CS-tool starts from a position of higher abstraction requiring a less defined, but still sufficient and more wide-ranging, three-step implicature. This allows the tool to step back from the song’s authorial voice and uncover its manipulations. The article closes by discussing the deviant features of the present square. (shrink)

The _Analects_ is a compendium of the sayings of Confucius (551-479 b.c.e.), transcribed and passed down by his disciples. How it came to be transformed by Zhu Xi (1130-1200) into one of the most philosophically significant texts in the Confucian tradition is the subject of this book. Scholarly attention in China had long been devoted to the _Analects._ By the time of Zhu Xi, a rich history of commentary had grown up around it. But Zhu, claiming that the _Analects_ was (...) one of the authoritative texts in the canon and should be read before all others, gave it a still more privileged status in the tradition. He spent decades preparing an extended interlinear commentary on it. Sustained by a newer, more elaborate language of metaphysics, Zhu's commentary on the _Analects_ marked a significant shift in the philosophical orientation of Confucianism--a shift that redefined the Confucian tradition for the next eight centuries, not only in China, but in Japan and Korea well. Gardner's translations and analysis of Zhu Xi's commentary on the _Analects_ show one of China's great thinkers in an interesting and complex act of philosophical negotiation. Through an interlinear, line-by-line "dialogue" with Confucius, Zhu effected a reconciliation of the teachings of the Master, commentary by later exegetes, and contemporary philosophical concerns of Song-dynasty scholars. By comparing Zhu's reading of the _Analects_ with the earlier standard reading by He Yan (190-249), Gardner illuminates what is dramatically new in Zhu Xi's interpretation of the _Analects._ A pioneering study of Zhu Xi's reading of the _Analects,_ this book demonstrates how commentary is both informed by a text and informs future readings, and highlights the importance of interlinear commentary as a genre in Chinese philosophy. (shrink)

If a reliable testifier tells you that a song is beautiful or that an act is wrong, do you thereby have a reason to approve of the painting and disapprove of the agent's action? Many insist that we don’t: normative testimony does not give us reasons for affective attitudes like approval. This answer is often treated as a datum in the literatures on moral and aesthetic testimony. I argue that once we correct for a common methodological mistake in these (...) literatures, the answer must be Yes. I then show why this matters for the broader discussion of the puzzle(s) posed by deference to moral and aesthetic testimony. (shrink)

ABSTRACT In this paper, the aim is to demonstrate the ethical-semantic impact of great time in the reaccentuation of two reformulations of the expression “let this cup pass from me.” Theoretically, we describe great time as semantic sectors of existence which frame the possibilities of meaning actualized in speech genres and concrete utterances. Methodologically, the song Cálice by Chico Buarque and Gilberto Gil and the RAP Cálice by Criolo are dialogically disposed in relation to their context of production, to (...) one another and to the biblical narratives Jesus in the Garden of Gethsemane and The Last Supper, which simultaneously convey status of utterance to the expression of which cup configures a metonym and fix the expression as an item of a cultural memory that we can now name Roman Catholic memory.1 The discussion shows that the transposition of this utterance from one semantic sector of existence to another alters the reflection and refraction processes of ideological signs through a game of memories. (shrink)

_Dark Tongues _constitutes a sustained exploration of a perplexing fact that has never received the attention it deserves. Wherever human beings share a language, they also strive to make from it something new: a cryptic idiom, built from the grammar that they know, which will allow them to communicate in secrecy. Such hidden languages come in many shapes. They may be playful or serious, children's games or adults' work. They may be as impenetrable as foreign tongues, or slightly different from (...) the idioms from which they spring, or barely perceptible, their existence being the subject of uncertain, even unlikely, suppositions. The first recorded jargons date to the time of the Renaissance, when writers across Europe noted that obscure languages had suddenly come into use. A varied cast of characters -- lawyers, grammarians, and theologians -- denounced these new forms of speech, arguing that they were tools of crime, plotted in tongues that honest people could not understand. Before the emergence of these modern jargons, however, the artificial twisting of languages served a different purpose. In epochs and regions as diverse as archaic Greece and Rome and medieval Provence and Scandinavia, singers and scribes also invented opaque varieties of speech. They did so not to defraud, but to reveal and record a divine thing: the language of the gods, which poets and priests alone were said to master. _Dark Tongues _moves among these various artificial and hermetic tongues. From criminal jargons to sacred idioms, from Saussure's work on anagrams to Jakobson's theory of subliminal patterns in poetry, from the arcane arts of the Druids and Biblical copyists to the secret procedure that Tristan Tzara, founder of Dada, believed he had uncovered in Villon's songs and ballads, Dark Tongues explores the common crafts of rogues and riddlers, which play sound and sense against each other. (shrink)

It is common for young Christians to go off to college assured in their beliefs but, in the course of their first year or two, they meet what appears to them to be powerful defenses of scientific naturalism and crushing critiques of the basic Christian story (BCS), and many are thrown into doubt. They think to themselves something like this: "To be honest, I am troubled about the BCS. While the problem of evil, the apparent cultural basis for the diversity (...) of religions, the explanatory breadth of contemporary science, naturalistic explanations of religious experience and miracle reports, and textual and historical criticism of the Bible, among other things, don’t make me believe the BCS is false , I am in serious doubt about it, so much so that I lack belief of it. In that case, how can I have Christian faith? And if I don’t have faith, how can I keep on praying, attending church, affirming the creed, confessing my sins, taking the sacraments, singing the hymns and songs, and so on? I can’t, unless I’m a hypocrite. So integrity requires me to drop the whole thing and get out." Of course, our student is not alone. Many Christians find themselves for some portion of their lives somewhere on the trajectory from doubt to getting out. Indeed, Christians in the West struggle with intellectual doubt more than they used to, especially university-educated Christians. What should we say to them? Some will say “Get out!,” welcoming the development as a path to liberation. We explore a different response in this essay. (shrink)

Throughout the Old Testament, the stories, laws, and songs not only teach a way of life that requires individuals to be moral, but they demonstrate how. In biblical studies, character ethics has been one of the fastest-growing areas of interest. Whereas ethics usually studies rules of behavior, character ethics focuses on how people are formed to be moral agents in the world. This book presents the most up-to-date academic work in Old Testament character ethics, covering topics throughout the Torah, the (...) Prophets, and the Writings, in addition to the use of the Bible in the modern world. In addition to Carroll and Lapsley, contributors are Denise M. Ackermann, Cheryl B. Anderson, Samuel E. Balentine, William P. Brown, Walter Brueggemann, Thomas B. Dozeman, Bob Ekblad, Jose Rafael Escobar R., Theodore Hiebert, Kathleen O'Connor, Dennis T. Olson, J. David Pleins, Luis R. Rivera Rodriguez, J. J. M. Roberts, and Daniel L. Smith-Christopher. (shrink)

The essays in Powerful Arguments reconstruct the standards of validity underlying argumentative practices in a wide array of late imperial Chinese discourses, from the Song through the Qing dynasties. The fourteen case studies analyze concrete arguments defended or contested in areas ranging from historiography, philosophy, law, and religion to natural studies, literature, and the civil examination system. By examining uses of evidence, habits of inference, and the criteria by which some arguments were judged to be more persuasive than others, (...) the contributions recreate distinct cultures of reasoning. Together, they lay the foundations for a history of argumentative practice in one of the richest scholarly traditions outside of Europe and add a chapter to the as yet elusive global history of rationality. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires (...) two identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Despite several decades of criticism, dichotomous thinking about behavioral development remains widespread and influential. This is particularly true in study of birdsong development, where it has become increasingly common to diagnose songs, elements of songs, or precursors of songs as either innate or learned on the basis of isolation-rearing experiments. The theory of sensory templates has encouraged both the dichotomous approach and an emphasis on structural rather than functional aspects of song development. As a result, potentially important lines of (...) investigation have been overlooked and the interpretation of existing data is often flawed. Evidence for a genetic origin of behavioraldifferencesis frequently interpreted as evidence for the genetic determination of behavioralcharacters. The technique of isolation rearing remains the methodology of choice for many investigators, despite the fact that it offers only a rather crude analysis of the contribution of experience to song development and provides no information at all about genetic contributions to development. The latter could in principle be elucidated by the application of developmental-genetic techniques, but it is unlikely that these can easily be applied to the study of birdsong. Because developmental questions are so often posed in terms of the learned–innate dichotomy, “experience” is taken to be synonymous with “learning” and the possible role of nonobvious contributions to song development has largely been ignored. An alternative approach, based on Daniel Lehrman's interactionist theory of development, permits a more thorough appreciation of the problems that have yet to be addressed, and provides a more secure conceptual foundation for theories of song development. (shrink)

Premodern Buddhists are sometimes characterized as veritable "mind scientists" whose insights anticipate modern research on the brain and mind. Aiming to complicate this story, Dan Arnold confronts a significant obstacle to popular attempts at harmonizing classical Buddhist and modern scientific thought: since most Indian Buddhists held that the mental continuum is uninterrupted by death, they would have no truck with the idea that everything about the mental can be explained in terms of brain events. Nevertheless, a predominant stream of Indian (...) Buddhist thought, associated with the seventh-century thinker Dharmakirti, turns out to be vulnerable to arguments modern philosophers have leveled against physicalism. By characterizing the philosophical problems commonly faced by Dharmakirti and contemporary philosophers such as Jerry Fodor and Daniel Dennett, Arnold seeks to advance an understanding of both first-millennium Indian arguments and contemporary debates on the philosophy of mind. The issues center on what modern philosophers have called _intentionality_--the fact that the mind can be about other things. Tracing an account of intentionality through Kant, Wilfrid Sellars, and John McDowell, Arnold argues that intentionality cannot, in principle, be explained in causal terms. Elaborating some of Dharmakirti's central commitments, Arnold shows that despite his concern to refute physicalism, Dharmakirti's causal explanations of the mental mean that modern arguments from intentionality cut as much against his project as they do against physicalist philosophies of mind. This is evident in the arguments of some of Dharmakirti's contemporaneous Indian critics, whose critiques exemplify the same logic as modern arguments from intentionality. Elaborating these various strands of thought, Arnold shows that seemingly arcane arguments among first-millennium Indian thinkers can illuminate matters still very much at the heart of contemporary philosophy. (shrink)

We extend the work of Ivancovsky et al. by proposing that in addition to novelty seeking, mood regulation goals – including enhancing positive mood and repairing negative mood – motivate both creativity and curiosity. Additionally, we discuss how the effects of mood on state of mind are context-dependent (not fixed), and how such flexibility may impact creativity and curiosity.

Whether or not trait affiliation correlates with human behaviour needs investigating. One should be careful generalizing neuropsychological mechanisms for affiliation, and generalizing an analysis based on one or two neuropsychological mechanisms and mostly studies on rodents, to complex human social interactions. Serotonin is an example of a neurotransmitter playing an important role in cooperation and interacting with the dopaminergic system.

This text focuses on the theory of popular politics constructed within the context of analytical Marxism, and asks if rational choice theory provides an adequate basis for explaining patterns of social, political and economic behaviour in traditional China.

Much has been written about the fittingness, epistemic, and standing norms that govern blame. In this paper, we argue that there exists a norm of blame that has yet to receive philosophical discussion and without which an account of the ethics of blame will be incomplete: a norm proscribing comparatively arbitrary blame. By reflecting on the objectionableness of comparatively arbitrary blame, we stand to elucidate a substantive, and thus far overlooked, norm governing our attributions of responsibility. Accordingly, our aim in (...) this paper is to develop a comparative non-arbitrariness condition on blame that can enrich our understanding of the ethics of blame. (shrink)

This chapter begins with a putative puzzle between non-reductive physicalism according to which psychological properties are distinct from, yet metaphysically necessitated by, physical properties, and Hume's dictum according to which there are no necessary connections between distinct existences. However, the puzzle dissolves once care is taken to distinguish between distinct kinds of distinction: numerical distinctness, mereological distinctness, and what the chapter calls ‘weak modal distinctness’ and ‘strong modal distinctness’. For each of these notions, it turns out that either it makes (...) no sense according to non-reductive physicalism or else it is unclear whether Hume's dictum is true. The chapter then deploys these distinctions to argue first that unlike the dualist, the non-reductive physicalist can reject the exclusion principle in the causal exclusion argument, and second that emergentism can be distinguished from non-reductive physicalism. (shrink)

Recent medical and bioethics literature shows a growing concern for practitioners’ emotional experience and the ethical environment in the workplace. Moral distress, in particular, is often said to result from the difficult decisions made and the troubling situations regularly encountered in health care contexts. It has been identified as a leading cause of professional dissatisfaction and burnout, which, in turn, contribute to inadequate attention and increased pain for patients. Given the natural desire to avoid these negative effects, it seems to (...) most authors that systematic efforts should be made to drastically reduce moral distress, if not altogether eliminate it from the lives of vulnerable practitioners. Such efforts, however, may be problematic, as moral distress is not adequately understood, nor is there agreement among the leading accounts regarding how to conceptualize the experience. With this article I make clear what a robust account of moral distress should be able to explain and how the most common notions in the existing literature leave significant explanatory gaps. I present several cases of interest and, with careful reflection upon their distinguishing features, I establish important desiderata for an explanatorily satisfying account. With these fundamental demands left unsatisfied by the leading accounts, we see the persisting need for a conception of moral distress that can capture and delimit the range of cases of interest. (shrink)

Artificial intelligence and robotic technologies have become nearly ubiquitous. In some ways, the developments have likely helped us, but in other ways sophisticated technologies set back our interests. Among the latter sort is what has been dubbed the ‘severance problem’—the idea that technologies sever our connection to the world, a connection which is necessary for us to flourish and live meaningful lives. I grant that the severance problem is a threat we should mitigate and I ask: how can we stave (...) it off? In particular, the fact that some technologies exhibit behavior that is unclear to us seems to constitute a kind of severance. Building upon contemporary work on moral responsibility, I argue for a mechanism I refer to as ‘technological answerability’, namely the capacity to recognize human demands for answers and to respond accordingly. By designing select devices—such as robotic assistants and personal AI programs—for increased answerability, we see at least one way of satisfying our demands for answers and thereby retaining our connection to a world increasingly occupied by technology. (shrink)

Journal of Experimental Social Psychology, 44, 2-9.

Koriat & Goldsmith's distinction between the correspondence and storehouse metaphors is valuable for both memory theory and methodology. It is questionable, however, whether this distinction underlies the heated debate about so called “everyday memory” research. The distinction between experimental and naturalistic methodologies better characterizes this debate. I compare these distinctions and discuss how the methodological distinction, between experimental and naturalistic designs, could give rise to different theoretical approaches.

This collaborative publication offers salient instructional models, methods, and modalities centered on the whole person.

Attentional capture by schematic emotional faces was investigated in two experiments using the flanker task devised by Eriksen and Eriksen (1974). In Experiment 1, participants were presented with a central target (a schematic face that was either positive or negative) flanked by two identical distractors, one on either side (schematic faces that were positive, negative, or neutral). The objective was to identify the central target as quickly as possible. The impact of the flankers depended on their emotional expression. Consistent with (...) a threat advantage hypothesis (negative faces are processed faster and attract more processing resources), responses to positive faces were slower when these were flanked by (response incompatible) negative faces as compared with positive or neutral faces, whereas responses to negative faces were unaffected by the identity of the flankers. Experiment 2 was a standard flanker task with letter stimuli except that the task-neutral flankers were schematic faces that were either positive, negative, or emotionally neutral. In this case, in which faces and emotional expressions were to be ignored, performance seemed entirely unaffected by the faces. This result suggests that attentional capture by emotional faces is contingent on attentional control settings. (shrink)

In this article, we suggest that one of the unexplored paths toward collaboration between firms and civil society organizations starts with confrontation or potential conflict, and that the transition toward collaboration can be further understood if one focuses on triadic relationships rather than dyadic ones. We analyze the presence of third parties and their different roles to explain how collaboration is facilitated. The article aims at bringing together the bodies of research on business–civil society confrontation and on business–civil society collaboration. (...) It offers a comparative analysis of four case studies, and proposes a typology of third parties composed of facilitating allies, participating allies, mediators, and solution seekers. We conclude with some implications for further research as well as for practice. (shrink)

A growing interest across disciplines in the nature of empathy has sparked a debate over the place of empathy in morality. Proponents are eager to capitalize on the apparent close connection between empathy and altruism, while critics point to serious problems in our exercise of empathy - we are naturally biased, empathize too much or too little, and prone to making all sorts of mistakes in empathizing. The proponents have a promising response, that it is not empathy simpliciter, but empathy (...) in some “proper” form, that does the work they claim for it. This paper aims to propose a cautiously optimistic position for the proponent by rethinking the suggested approach. I argue that empathy plays two important roles in morality, one epistemic and the other relational, but the proponent must be careful not to exaggerate the contribution that empathy, even in its “proper” form, can make to our moral life. (shrink)

The goal of this article is to evaluate the future of Corporate Social Responsibility (CSR) reporting in terms of the harmonization of reporting standards. The evolution and convergence of financial reporting standards are compared to that of CSR reporting standards. In addition, four globally recognized CSR reporting standards are evaluated. The content of each standard is reviewed, a representative from each standard organization is interviewed, and the standards are evaluated for decision usefulness. This research suggests that the Global Reporting Initiative (...) (GRI) would be the best standard to provide decision useful information. This analysis is reinforced by recent events in the transformation of CSR reporting standards and provides insight into the possible future development of CSR reporting standards. (shrink)

The majority of workplace incivility research has focused on implications of such acts for victims and observers. We extend this work in meaningful ways by proposing that, due to its norm-violating nature, incivility may have important implications for perpetrators as well. Integrating social norms theory and research on guilt with the behavioral concordance model, we take an actor-centric approach to argue that enacted incivility will lead to feelings of guilt, particularly for prosocially-motivated employees. In addition, given the interpersonally burdensome _as (...) well as_ the reparative nature of guilt, we submit that incivility-induced guilt will be associated with complex behavioral outcomes for the actor across both home and work domains. Through an experience sampling study (Study 1) and two experiments (Studies 2a and 2b), we found that enacting incivility led to increased feelings of guilt, especially for those higher in prosocial motivation (Studies 1 and 2a). In addition, supporting our expectations, Study 1 revealed that enacted incivility—via guilt—led to increased venting to one’s spouse that evening at home, increased performance the next day at work, as well as decreased enacted incivility the next day at work. Our findings demonstrate that enacted incivility has complex effects for actors that span the home and work domains. We discuss the theoretical and practical implications of our results. (shrink)

In this paper I examine Albert’s (2000) claim that the low entropy state of the early universe is sufficient to explain irreversible thermodynamic phenomena. In particular, I argue that conditionalising on the initial state of the universe does not have the explanatory power it is presumed to have. I present several arguments to the effect that Albert’s ‘past hypothesis’ alone cannot justify the belief in past non-equilibrium conditions or ground the veracity of records of the past.

This article explores two consequences of intentionalism. My first line of argument focuses on the impact of intentionalism on the ‚hard problem’ of phenomenal character. If intentionalism is true, the phenomenal supervenes on the intentional. Furthermore, if physicalism about the intentional is also true, the intentional supervenes on the physical. Therefore, if intentionalism and physicalism are both true, then, by transitivity of supervenience, physicalism about the phenomenal is true. I argue that this transitivity argument is not persuasive, because on any (...) interpretation of its central terms, at least one of its premises is as controversial as its conclusion already is. My second line of argument is about the consequences of intentionalism for the error theory of color perception. I suggest that if intentionalism is true, projectivism must be true also, because under this condition there is no single concept of color that can be used for the qualification of objects as well as for the characterization of experiences. (shrink)