The question of human control is a key concern in autonomous military systems debates. Our research qualitatively and quantitatively investigates values and concerns of the general public, as they relate to autonomous military systems, with particular attention to the value of human control. Using participatory value evaluation (PVE), we consulted 1980 Australians about which values matter in relation to two specific technologies: an autonomous minesweeping submarine and an autonomous drone that can drop bombs. Based on value sensitive design, participants were (...) tasked to enhance the systems with design features that can realize values. A restriction (limited budget) in each design task forced participants to make trade-offs between design options and the values that these options realize. Our results suggest that the ‘general public’ has diverse and nuanced stances on the question of human control over autonomous military systems. A third of participants that is opposed to autonomous military systems when asked directly, selected different combinations of design features realizing varying degrees of human control. Several contextual factors, technology-specific concerns, and certain values seemed to explain these different choices. Our research shows that a focus on human control might overlook other important values that the general public is concerned about, such as system reliability, verifiability, and retrievability. (shrink)

In this broad consideration of American criminal justice today, Allen suggests that the way to a more effective penal policy can be found in a closer adherence to the law rather than in the current tendency to bypass certain laws in the name of the "war on crime".

How might the anthropological study of cosmologies – the ways in which the horizons of human worlds are imagined and engaged – illuminate understandings of the contemporary world? This book addresses this question by bringing together anthropologists whose research is informed by a concern with cosmological dimensions of social life in different ethnographic settings. Its overall aim is to reaffirm the value of the cosmological frame as a continuing source of analytical insight. Attending to the novel cosmological formations that emerge (...) in such fields as modern markets, political landscapes, digital media and popular cinema, the book's key task is to explore how modern circumstances are constituted within the variable imagination of worlds and their horizons. It will be of interest to all students and researchers in anthropology, as well as scholars in fields as diverse as film studies, cultural studies, comparative religion, science and technology studies, and broader social theory. (shrink)

This paper concerns the conjunction of naturalism---the thesis that the methods of science, and those alone, provide the basic sources of evidence of what there is in the world-with various types of realism. First, I distinguish different forms of naturalist realism on the basis of their ontological commitments in terms of five existential presuppositions about the entities and processes which exist independently of the mind. I then argue that some of these presuppositions are in prima facie conflict with the naturalists’ (...) endorsement of the methods of science, since certain current empirical theories could not be true if these metaphysical presuppositions are correct. Given that these ontological presuppositions have already been criticized by antirealists and supernaturalists on philosophical grounds, I suggest that realism may be more defensible from a naturalist perspective if the realist abandons, or remains agnostic about the truth of the problematic presuppositions and thereby minimizes commitment to mind-independent entities. (shrink)

In writing this paper I am reminded of a conference that I once attended. On that panel, the Jewish scholar spoke first. he began, and he gave a wonderful talk full of references to the legal rulings and stories of the Jewish tradition. Then the Catholic priest spoke. he began, and he gave a wonderful talk carefully attentive to the moral tradition of the Catholic Church. Finally, a Protestant spoke. he began, I didn't know whether to laugh or cry, but (...) now I find myself in a similar situation. (shrink)

Hannah Arendt was one of the most original and influential social and political theorists of the 20th century. This volume brings together important English-language essays on Arendt's contributions to social and political philosophy.

Through exploring multiple contemporary conceptions of justice, this article illustrates that justice matters when considering outcomes in nongovernmental organization assistance. In environmental justice scholarship, the term justice has been underproblematized, assuming a tacit understanding of the concept as fairness or equitable distribution of environmental harms. Using the rebuilding of two heavily damaged poor and minority neighborhoods in post–Katrina New Orleans as case studies, this article makes evident the different conceptualizations of justice embedded within the strategies and techniques of NGOs and (...) community organizations. Examining both practices and outcomes, I argue that the definition of justice that NGOs implicitly or explicitly adopt in their strategies and technologies of assistance can lead to very different results in postdisaster neighborhood revitalization. For science and technology studies, conceptions of justice can help articulate a more critical social science that opens up the descriptive/normative divide. This is important in thinking about equitable social change and allied policy—as it applies not only to NGO assistance but also to other science and technology issues that intersect with marginalized communities as well. (shrink)

continent. 1.1 (2011):26. As perhaps all things do, digital graphics provide ground for our clambering attempts to interrelate the ideal and the real. Computational “3D models” don’t actually model any thing. They are assumed imitative, but in contemporary production, these are vectorized thought- objects, prototypes of notions and design ideals. The photographic image on the other hand, as a pipeline of indexical pixels, is the apogee of our attempts to describe and represent the world outside. 65,536 levels of red, green (...) and blue, rendered into and out of the real world of electrons, photons and “live-action.” But synthetic thought-vectors are often found pushing their way into divergent, pixelated visual realities. And sometimes when pixels fall asleep, they dream of renders into flawless artificiality. In Guy Schofield's “Sleepers” all are dreaming: the vectors, the pixels and you. (shrink)

Student-generated video creation assessments are an innovative and emerging form of assessment in higher education. Academic staff may be understandably reluctant to transform assessment practices without robust evidence of the benefits and rationale for doing so and some guidance regarding how to do so successfully. A systematic approach to searching the literature was conducted to identify relevant resources, which generated key documents, authors and internet sources which were thematically analysed. This comprehensive critical synthesis of literature is presented here under the (...) headings of findings from literature, relevance of digital capabilities, understanding the influence of local context and resources, and pedagogical considerations. Student-generated video creation for assessment is shown to have several benefits, notably in supporting development of digital and communication skills relevant to today’s world and in enhancing learning. As an emerging innovation within assessment, intentionally planning and supporting a change management process with both students and staff is required. The importance of alignment to learning outcomes, context and resources, choice of video format to desired skills development, and to relevance beyond graduation is emphasised for video creation in assessment to be used successfully. Video creation for assessment is likely to grow in popularity and it is hoped the evidence of benefits, rationale and guidance as to how to do this effectively presented here will support this transformation. Further research to consider video creation for assessment with individuals rather than collaborative group assessments, and to establish academic rigour and equivalence would be beneficial. (shrink)

Gandhi scholars agree that he was a critic of capitalism, if not capital or capitalists. Nevertheless, they disagree about his relationship to socialism. Some emphasize Gandhi’s claim that the modern Western canon of socialism is incompatible with the philosophy of nonviolence. Others emphasize his occasional affirmation that he is a socialist, regarding socialism as a beautiful ideal of equality. Gandhi moves back and forth between conditional endorsements of capitalists and socialism’s beautiful ideal. In this article, I ask why Gandhi never (...) specifies any clear economic preference for the philosophy of nonviolence. Is he confused and incapable of reaching practical judgments about what nonviolence demands in terms of economics? I answer this question in two ways. First, I argue that passing back and forth over the partial and fallible viewpoints of capitalists and socialists of various stripes is consistent with Gandhi’s method of experiments in truth. The passing-over method extends from experiments in devotion to constructive experiments in economics, laying the foundation for integrating distinctively human life goals or puruṣārthas. Second, and perhaps more surprisingly, I consider the background to Gandhi’s use of this method as applied to economics in Kauṭilya’s classical Arthaśāstra. Scholars often characterize Kauṭilya as both a socialist and a realist. While establishing the world’s first welfare state, his Arthaśāstra is also tied deeply into the material-spiritual concerns of the puruṣārthas, combining economics with duty, earthly pleasure, and transcendence. In this latter respect, however, Kauṭilya’s realism concedes too much to the contextual realities of his time concerning imperial conquest and caste. Gandhi emerges from this inquiry as another kind of realist in his constructive experiments with diverse economic perspectives, equally attuned to the contextual realities of his age. Gandhi succeeded—where Kauṭilya failed—to integrate economics with the spiritual goals of the puruṣārthas. I contend that Gandhi’s back and forth method in economics provides contemporary Gandhians with a way to address new contextual realities of the digital or “gig” economy through techno-satyagraha. (shrink)

There is a gap between politicians and the general public. The current British political class is widely viewed as uniform in who they are, what they think, and how they behave. A more diverse pool of politicians would not only better reflect democratic principles of equality, but may even result in better political outcomes.

In 1882, the South Australian Baptist Missionary Society sent off its first missionaries to Faridpur in East Bengal. Miss Marie Gilbert and Miss Ellen Arnold were the first of a stream of missionary women who left the young South Australian colony to work in India. Scores of women from other Christian denominations and from other Australian colonies also went to India and indeed to other mission fields in the nineteenth and twentieth centuries. As with other western women missionaries, these women (...) intended to save souls and to bring India's daughters to Christ, often by means of medical work. But unlike their British sisters, these women came from the edge of empire to intervene in another, but different, colonial site. These missionary ventures coincided with efforts of the Australian settlers to elaborate for themselves an identity separate from and against that of the metropolitan centre. Within these debates, contestations over the meaning of ‘the colonial girl’ and ‘the Australian girl’ played a key role. The article explores why the women were drawn to India rather than to working with Aboriginal people in Australia. It begins to investigate how in seeking to reconstruct Indian womanhood they elaborated for themselves a separate colonial, Australian identity and how much in their missionary endeavours they affirmed an identity as white, Christian and ultimately British. (shrink)

Have humans evolved as violent and warlike? Studies of peaceful societies, historical trends of warfare and violence, and cooperation say otherwise. Evolution is not destiny; human choices are important interventions in the process. A science of intentional change, using alternative learning techniques that support human interactions based on nonviolence and peaceful coexistence, might help to evolve a culture of peace.

Most of us came into ecology with memories of special personal places. A cliff top that Claude Monet might have painted. Allen as a youth spent his holidays on the Dorset Coast near Swanage; he can still smell the sea breeze of his childhood. Curtin grow up on a farm in southwestern Wisconsin, the dew of the grass and the bright green on a June morning remains vivid. The catching of reptiles and insects for him awakened a curiosity about (...) the natural world that has remained to this day. But once into the field there came the scholarship. With ever tighter grant monies, the pressure to publish takes so much of the fun out of it. A climate of unbridled careerism prevails and shows itself in the incremental state of the literature: little things to list on this year's activities report. There are now even predatory journals that cynically do not seriously review submissions, and only collect page charges. As journal editors have a desperate time getting reviews done by mature scholars, instead of a hand off to their overworked graduate students. So what is to be done - how can we bring the joy and importance of discovery back into it all? After all ecology is done by human beings. Mostly it is a personal mission, for what great ecologists write is frequently personal and life changing. So an undercurrent of this book is to remind and reveal the original purpose of science. Not professional advancement, but the genuine search for novel ideas and the imperative to share hard won insights and personal passions. (shrink)

In 1980, Michel Foucault's work makes two decisive turns. On the one hand, as announced at the start of his course at the Collège de France for that year, Le Gouvernement des vivants, his topic will be the modalities through which power constitutes itself in relation to truth. On the other hand, the texts on which he will concentrate will no longer be those of the early modern period. Rather, he begins with one by Dio Cassius on the emperor Septimius (...) Severus and then proceeds to spend the next two sessions offering a reading of Oedipus Tyrannus. He will concentrate on works from antiquity for the rest of his life. This book will offer the first detailed account of these lectures, examining both the development of their philosophical argument and the ancient texts on which that argument is based. This is the period during which Foucault also began work on Volumes 2 and 3 of the History of Sexuality. Yet, while there are clear overlaps between the work he was presenting in his course and the last books he published before his death, nonetheless the seminars are anything but rough drafts for the published work. Instead they offer a sustained encounter with the texts of the classical and early Christian era while seeking to trace a genealogy of the western subject as a speaker of truth. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Research integrity is core to the mission of higher education. In undergraduate student samples, self-reported rates of data fabrication have been troublingly high. Despite this, no research has investigated undergraduate data fabrication in a more systematic manner. We applied duplication screening techniques to 18 data sets submitted by psychology honors students for assessment. Although we did not identify any completely duplicated cases, there were numerous partial duplicates. Rather than indicating fabrication, however, these partial duplicates are likely a consequence of poor (...) measure selection, insufficient data screening, and/or participant characteristics. Implications for the teaching and supervision of honors students are discussed. (shrink)