The purpose of this article is to incorporate trans‐national actors and institutions into citizenship theory both theoretically and empirically. We analyze three cases of recognition movements promoting gender, ethnic/minority and indigenous rights. Using one societal context, Sweden, we map the processes and mechanisms of power and agency (boundary‐making and brokering) that shape how trans‐national institutions and actors offer new forms of leverage politics to recognition movements as well as constrain their agency. These mechanisms of power are formalized in a model (...) showing the multi‐level effects of leverage politics on recognition movements. Our three cases of recognition politics demonstrate the increasingly complex links between actors in policy communities across regional, national, European and international levels. They also reveal the processes implicit in our model: that policy imports are reframed when translated into specific national political cultures; and more broadly, that national citizenship frames of membership and inclusion are not easily dislodged. (shrink)

Dynamically transforming the elements of any performing artist’s craft, this practical guide is a must-have for musicians, dancers, and actors. The handbook shows how artistic performance is embodied in the unification of three critical elements—motion, emotion, and love—demonstrating how it offers experiences and opportunities distinct from the nonperforming arts. Step-by-step guidelines are provided for building intentional and inspirational practice time, thereby enhancing the relationships between the source, the performer, and the audience. Illustrating how intentional movement invokes emotions from both the (...) performer and the audience and how the concept of love gives a performance humanity and life, this eye-opening exploration creates pathways for achieving true artistry. (shrink)

There is a long tradition, in the history and philosophy of science, of studying Kant’s philosophy of mathematics, but recently philosophers have begun to examine the way in which Kant’s reflections on mathematics play a role in his philosophy more generally, and in its development. For example, in the Critique of Pure Reason , Kant outlines the method of philosophy in general by contrasting it with the method of mathematics; in the Critique of Practical Reason , Kant compares the Formula (...) of Universal Law, central to his theory of moral judgement, to a mathematical postulate; in the Critique of Judgement , where he considers aesthetic judgment, Kant distinguishes the mathematical sublime from the dynamical sublime. This last point rests on the distinction that shapes the Transcendental Analytic of Concepts at the heart of Kant’s Critical philosophy, that between the mathematical and the dynamical categories. These examples make it clear that Kant's transcendental philosophy is strongly influenced by the importance and special status of mathematics. The contributions to this book explore this theme of the centrality of mathematics to Kant’s philosophy as a whole. This book was originally published as a special issue of the Canadian Journal of Philosophy. (shrink)

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

Alternative readings of quantification are considered. The absence of an unequivocal translation into ordinary speech is noted. Some examples are cited which, in the opinion of the author, are a result of equivocal readings of quantification, or unnecessarily restrictive readings which obscure its primary function.

This essay analyzes the use of military robots in terms of the jus in bello concepts of discrimination and proportionality. It argues that while robots may make mistakes, they do not suffer from most of the impairments that interfere with human judgment on the battlefield. Although robots are imperfect weapons, they can exercise as much restraint as human soldiers, if not more. Robots can be used in a way that is consistent with just war theory when they are programmed to (...) avoid using force against all but the most clearly hostile targets. However, the essay also cautions against using robots for counterinsurgency because they may alienate people in the contested area and lead to an escalation of hostilities. (shrink)

My interest in the issues considered here arose out of my great frustration in trying to attack the all-pervasive relativism of my students in introductory ethics courses at Virginia Polytechnic Institute and State University. I am grateful to my students for forcing me to take moral relativism and skepticism seriously and for compelling me to argue for my own dogmatically maintained version of moral objectivism. The result is before the reader. The conclusions reached here (which can be described either as (...) a minimal objectivism or as a moderate verson of relativism) are considerably weaker than those that I had expected and would have liked to have defended. I have arrived at these views kicking and screaming and have resisted them to the best of my ability. The arguments of this book are directed at those who deny that moral judgments can ever be correct (in any sense that is opposed to mistaken) and who also deny that we are ever rationally com pelled to accept one moral judgment as opposed to another. I have sought to take their views seriously and to fight them on their own grounds without making use of any assumptions that they would be unwilling to grant. My conclusion is that, while it is possible to refute the kind of extreme irrationalism that one often encounters, it is impossible to defend the kind of objectivist meta-ethical views that most of us want to hold, without begging the question against the non-objectivist. (shrink)

In this article I explore ways to argue about punishment of personal representations in virtual reality. I will defend the idea that such punishing might sometimes be morally required. I offer four different lines of argument: one consequentialistic, one appealing to an idea of appropriateness, one using the notion of organic wholes, and one starting from a supposed inability to determine the limits of the extension of the moral agent. I conclude that all four approaches could, in some cases, justify (...) punishing a virtual reality representation; an avatar. As a consequence of my conclusion, I suggest that our institutionalized criminal justice system must be broadened in scope and punitive measures, in order to cover the new and difficult cases arising in virtual reality. (shrink)

The aim of this article is to explain the transition from implicit CSR to explicit CSR that has taken place in Scandinavia over the last two decades. Matten and Moon’s distinction between implicit and explicit CSR is the point of departure for the analysis, which is based on case studies of two Norwegian companies: HÅG and Hydro. On the basis of these case studies, we identify two forces that are pushing the transition from implicit to explicit CSR in Scandinavia: Organizational (...) expressiveness and Re-legitimizing. Both of these measures are adjustments to the globalization of the economy, altering the competitive situation even in highly institutionalized, Scandinavian economies. HÅG, a midsized Norwegian manufacturer of office chairs, made CSR and environmental values an integral part of their expressive strategy in the early 1990s. Hydro, a big Norwegian aluminium producer, made CSR an explicit issue around the turn of the millennium, in an attempt to re-legitimize their business operations in a new market situation where plants in local communities in Norway were shut down and relocated to less regulated regimes in low-cost regions abroad. (shrink)

In this article, I reconstruct and evaluate Merleau-Ponty’s main responses to philosophical skepticism in the relevant parts of his work. To begin with, I introduce the skeptical argument that Merleau-Ponty most often tried to refute, namely, the dream argument. Secondly, I show how Merleau-Ponty, in his initial works, excludes the skeptical problem by appealing to a general contact with the world guaranteed by perception. Finally, I analyze how in his last texts Merleau-Ponty considers at least some uses of the skeptical (...) arguments as tools to make our opaque contact with being explicit. (shrink)

The ethics of sales is an important, but neglected, topic in business ethics. I offer criticisms of what others have said about themoral duties of salespeople and formulate what I take to be a more plausible theory. My theory avoids the objections I raise againstothers and yields plausible results when applied to cases. I also defend my theory by appeal to the golden rule and offer a justificationfor the version of the golden rule to which I appeal. I argue that (...) salespeople have prima facie duties to do the following: 1. warncustomers of potential hazards, 2. refrain from lying and deception, 3. fully and honestly answer questions about what they are selling,and 4. refrain from steering customers toward purchases they have reason to think will harm the customers. The paper concludes with a brief appendix that discusses the implications of the ethics of sales for the social responsibilities of business. (shrink)

Standard definitions of lying imply that intending to deceive others is a necessary condition of one's telling a lie. In an earlier paper, which appeared in this journal, Wokutch, Murrmann and I argued that intending to deceive others is not a necessary condition of one's telling a lie and proposed an alternative definition. In a reply which also appeared in this journal, Gary Jones argues that our arguments fail to establish the claim that it is possible to lie without intending (...) to deceive others, and that the objections which we raise for standard definitions apply equally to our own. The present paper argues that one can lie without intending to deceive others. I concede Jones' second criticism and propose a new alternative definition. (shrink)

Recent experiments have shown that people iconically modulate their prosody corresponding with the meaning of their utterance. This article reports findings from a story reading task that expands the investigation of iconic prosody to abstract meanings in addition to concrete ones. Participants read stories that contrasted along concrete and abstract semantic dimensions of speed and size. Participants read fast stories at a faster rate than slow stories, and big stories with a lower pitch than small stories. The effect of speed (...) was distributed across the stories, including portions that were identical across stories, whereas the size effect was localized to size-related words. Overall, these findings enrich the documentation of iconicity in spoken language and bear on our understanding of the relationship between gesture and speech. (shrink)

Este artigo explora alguns aspectos da noção de "mundo da vida" apresentada por Edmund Husserl, de modo a contribuir com o desenvolvimento do modelo da interação entre ciência e valores proposto por Hugh Lacey. Em particular, almeja-se mostrar a fundação das estratégias descontextualizadoras de pesquisa científica nas experiências concretas, compostas de diversos níveis de operações intencionais.

This paper examines several issues regarding deception in advertising. Some generally accepted definitions are considered and found to be inadequate. An alternative definition is proposed for legal/regulatory purposes and is related to a suggested definition of the term deception as it is used in everyday language. Based upon these definitions, suggestions are offered for detecting and regulating deception in advertising. This paper additionally considers the grounds for the generally held but largely unquestioned assumption that deceptive advertising is unethical. It is (...) argued that deceptive advertising can be shown to be morally objectionable, on the weak assumption that it is prima facie wrong to harm others. Finally, the implications of this analysis with respect to current regulation of deceptive advertising by the FTC are considered. (shrink)

One of the key learning objectives in any health professional course is to develop ethical and judicious practice. Therefore, it is important to address how medical and pharmacy students respond to, and deal with, ethical dilemmas in their clinical environments. In this paper, we examined how students communicated their resolution of ethical dilemmas and the alignment between these communications and the four principles developed by Beauchamp and Childress. Three hundred and fifty-seven pharmacy and medical students (overall response rate=63%) completed a (...) questionnaire containing four clinical case scenarios with an ethical dilemma. Data were analysed using multiple methods. The findings revealed that 73% of the qualitative responses could be exclusively coded to one of the ‘four principles’ determined by the Beauchamp and Childress' framework. Additionally, 14% of responses overlapped between the four principles (multiple codes) and 13% of responses could not be coded using the framework. The subsequent subgroup analysis revealed different response patterns depending on the case being reviewed. The findings showed that when students are faced with challenging ethical dilemmas their responses can be aligned with the Beauchamp and Childress framework, although more contentious dilemmas involving issues of law are less easily categorised. The differences between year and discipline groups show students are developing ethical frames of reference that may be linked with their teaching environments and their levels of understanding. Analysis of these response patterns provides insight into the way students will likely respond in ‘real’ settings and this information may help educators prepare students for these clinical ethical dilemmas. (shrink)

Using Chicago as our case, this article puts forth a notion of black placemaking that privileges the creative, celebratory, playful, pleasurable, and poetic experiences of being black and being around other black people in the city. Black placemaking refers to the ways that urban black Americans create sites of endurance, belonging, and resistance through social interaction. Our framework offers a corrective to existing accounts that depict urban blacks as bounded, plagued by violence, victims and perpetrators, unproductive, and isolated from one (...) another and the city writ large. While ignoring neither the external assaults on black spaces nor the internal dangers that can make everyday life difficult, we highlight how black people make places in spite of those realities. Our four cases – the black digital commons, black public housing reunions, black lesbian and gay nightlife, and black Little League baseball – elucidate the matter of black lives across genders, sexualities, ages, classes, and politics. (shrink)

Philosophers, Henri Bergson once observed, "seem to philosophize as if they were sealed in the privacy of their study and did not live on a planet surrounded by the vast organic world of animals, plants, insects, and protozoa." Providing a solid overview of ecological philosophy and original insights into this developing field, Minding Nature focuses on some of the most influential thinkers who, in fact, have emphasized our natural relations to the earth, our social creations, and each other. Combining philosophy, (...) ecology, and political theory, chapters thoroughly examine, critique, and build upon the ideas of such luminaries as Thomas Hobbes, Martin Heidegger, Ernst Bloch, Hannah Arendt, Herbert Marcuse, Barry Commoner, Rachel Carson, and Jurgen Habermas, among others. Each thinker considered has contributed significantly to both contemporary discussion and historical understanding of political, epistemological, or social aspects related to nature and, with several exceptions, stimulated constructive dialogue within progressive, democratic, and radical left circles. By challenging the notion that conservation is inherently politically conservative or that our oikos (home) must be rendered uniformly economic where ecology is concerned, they enable us to rethink the possibility of creating a more democratic and ecological society. (shrink)

Many consumers are motivated to attend Farmers’ Markets because of the opportunity to purchase fresh and local products. The subsequent interactions at FMs provide an important pathway for the direct exchange of information. While previous research suggests that people value local food and the FM shopping experience and that purchasing directly from producers can lead to transformative learning, little is known about exactly how the shopping experience at FMs can influence consumer purchasing behavior. This study examines the extent of and (...) mechanism for such “influencing.” Using data from surveys, observations, and interviews gathered at six FMs, we analyze the interactions between consumers and vendors, including the motivations and values of both parties. We explore the question, “How do farmers’ markets facilitate change in consumer purchasing behavior?” We propose that the dynamic of change in consumer purchasing behavior at FMs takes root in the exchange of information between consumers and vendors during interactions. Our results suggest that there are three specific characteristics shared by FM consumers and vendors that lead to these meaningful interactions at FMs: symmetry of motivations to attend FMs, shared values, and mutual dependence on interactions. Then, when a consumer learns new information from a FM vendor during an interaction, the consumer is more likely to make a change in their immediate purchase. Information about the products for sale and the modes of production of those items can especially impact consumers’ immediate purchases at FMs. We found that FM interactions can also impact long-term purchasing behavior, such as purchasing more organic or locally produced foods. Our results suggest that FM interactions may have significant implications for consumer health, local economies, and the environment. (shrink)

This paper argues that it cannot be fitting to blame God. I show that divine immutability, even on a weak conception, implies that God's ethical character cannot change. I then argue that blame aims at a change in the ethical character of the one blamed. This claim is directly intuitive, explains a wide set of intuitions about when blame is unfitting, and is implied by most of the theories blame offered in the philosophical literature. Since blame targeted at God aims (...) to change God's ethical character, an impossibility, such blame is not fitting. I then draw on this conclusion to sketch a new theodicy. I argue that a necessary condition on being blameworthy is that one can be blamed under some possible condition. So, God cannot be blameworthy. Further, I argue that if someone cannot be blameworthy, then they cannot do wrong. Wrong actions tend to make us blameworthy, but since God cannot be blameworthy nothing can tend to make him blameworthy – God cannot do wrong. (shrink)

There are few institutions that talk about virtues as much as military organizations. These military virtues are not, however, possessed by individuals in isolation; they are inculcated and influenced by the countless ways in which values are shared, both among military members and between individuals and the military itself. Unfortunately, a normative framework that is extremely well-suited to capture this significant link between individual virtue and shared valuing, namely Confucian virtue theory, is too often underappreciated in militaries in general and (...) in military moral education in particular. Focusing on the normative significance of ritual and decorum, I analyze this shortcoming and consider how more explicitly incorporating Confucian virtue theory into military education could provide a sturdier foundation for the essential link between individual virtue and collective valuing. -/- Analyzing the Confucian the virtue of princispled ritual etiquette (li 禮), I demonstrate that while such attention to ritual might seem questionable when considering the classic rituals often used as examples, once the pervasive presence of military rituals becomes apparent, such attention to principled ritual etiquette begins to seem far less anachronistic. Analyzing principled ritual etiquette in relationship to righteousness (yi 義) and benevolence (ren 仁), I argue that Confucian virtue theory provides a significant and distinct way to analyze modern military virtues, concluding with an analysis of how that framework can highlight the significance of ritualistic behavior on virtue development without promoting excessive and corrosive subservience. -/- . (shrink)

The thesis of this paper is that Platonic Forms are angels. I make this identification by claiming that Platonic Forms have the characteristics of angels, in particular, that Platonic Forms are alive. I offer four arguments for this claim. First, it seems that engaging in self-directed action is a sufficient condition for being alive. The Forms are, as teleological activities, self-directed actions. Second, bodies receive their being from their Forms, and some bodies are essentially alive. Third, in the Good, all (...) the types of goodness, including life, are identical. The Forms are appearances of the Good. Fourth, since the Good imparts as much goodness as it can, the Forms are alive unless there is some bar to their being alive. There are good reasons to think that there is no such bar. I then show that ethical vices do not give body to human form, but give body to other forms—those that are evil angels. Lastly, I provide a survey of the relationships that various religious traditions posit between ethical vice and the demonic. (shrink)

Establishing a reliable and valid measure of academic integrity that can be used in higher education institutions across the world is a challenging and ambitious task. However, solving this issue will likely have major ramifications for understanding dishonest action. It also enables the development of a standardised measure that can be used to assess the efficacy of interventions aimed at enhancing academic integrity that can be administered across regional boundaries and diverse cultural groups. This study has used a combination of (...) confirmatory factor analysis and item distribution inspection procedures to further validate the cross-cultural academic integrity questionnaire version 2. Primary participants in this study were from Saudi Arabia, and secondary reference participants were from New Zealand. The findings indicate that a revised 10-item questionnaire, the cross-cultural academic integrity questionnaire version 3, has better credibility in terms of construct validity than its predecessor. Three CCAIQ-3 domains are proposed: copying, cheating, and complying. This research will inevitably create further academic and international debate; however this measure is likely to be useful in terms of creating a research protocol for evaluating and measuring cross-cultural issues and interventions aimed at promoting academic integrity. (shrink)

The paper investigates whether imaginative states about propositions can be assessed in terms of fittingness (also known as correctness, appropriateness, aptness). After characterizing propositional imaginings and explaining the idea of fittingness, I present some considerations in favour of the no conditions view: imagining seems to be the sort of action that cannot be done unfittingly, and imaginings have no external cognitive nor conative goals in light of which they could be unfitting. I then examine the local conditions view, that there (...) can be fittingness conditions on imaginings, but that these are inherited from the mental projects in which imaginings can play a role. Given that there are virtues of the imagination such as creativity and spontaneity, and given that imaginings are subject to purposive mechanisms, and given that there are cases in which it is unfitting to fail to imagine, I endorse the general conditions view, on which imaginings have a goal, and therefore fittingness conditions, even outside the context of mental projects. I then examine 4 versions of the general conditions view and argue that imaginings aim to make contents available to mental projects. (shrink)

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

In arecent paper, Kenneth Goodpaster formulates three versions of the stakeholder theory of corporate social responsibility. He rejects the first two versions and endorses the third. I argue that the theory that Goodpaster defends under the name “stakeholder theory” is aversion (albeit a somewhat different version) of Milton Friedman’s theory of corporate social responsibility. I also argue that the first two formulations of the stakeholder theory which Goodpaster discusses are at most only slight modifications of other theories. I conclude by (...) formulating a fourth version of the stakeholder theory which I believe does constitute a substantial departure from earlier theories of social responsibility. (shrink)

This paper critically appraises the applied action-guide approach to bioethics and finds it wanting in two ways: it is tethered to a social contract view of the doctor-patient relationship that is largely incompatible with experiences of illness and care; and, as a formalist doctrine, it lacks critical edge and tends toward accommodationism. An alternative approach is recommended that involves interpreting moral experience by means once associated with the rhetorical arts — practical reasoning, hermeneutics, casuistry, and thick description.

According to most accounts of just war theory, jus ad bellum is concerned with the morality of initiating war. This gives jus ad bellum a temporal dimension, making it a set of principles that are applied to judge belligerents’ actions at the outset of a war, but that cannot be revisited after a war begins. I challenge this synchronic conception of jus ad bellum by arguing that the considerations the principles of jus ad bellum are meant to judge can, and (...) often do, change substantially over the course of wars. It is inappropriate to determine the ad bellum justice of a war solely based on how the principles of jus ad bellum are satisfied at a war’s outset. Because of the mercurial nature of war, jus ad bellum principles should be applied diachronically, as moral norms that can be used to guide or to judge belligerents even after a war has been initiated. (shrink)

Why should music be of interest to cognitive scientists, and what role does it play in human cognition? We review three factors that make music an important topic for cognitive scientific research. First, music is a universal human trait fulfilling crucial roles in everyday life. Second, music has an important part to play in ontogenetic development and human evolution. Third, appreciating and producing music simultaneously engage many complex perceptual, cognitive, and emotional processes, rendering music an ideal object for studying the (...) mind. We propose an integrated status for music cognition in the Cognitive Sciences and conclude by reviewing challenges and big questions in the field and the way in which these reflect recent developments. (shrink)

Originally published in 1984, this book broke new ground in assessing Freud as both an exemplary late-Victorian and as a pivotal figure in the creation of modern thought and culture. In his close reading of various of Freud’s theoretical and clinical texts, including two of the most famous case histories, Steven Marcus uncovers the steps in the development of Freud’s thought, the dynamics and contradictions and ‘the intellectual and emotional urgings, forces and conflicts that were at work… as the (...) first original insights and discoveries that constituted the inception of psychoanalysis as a theory, discipline of inquiry, and new kind of therapy, came suddenly, often unexpectedly and without being bidden, upon Freud’. Central to Professor Marcus’ inquiry is the relationship of Freud’s work to cultural change and to the very process of disclosure, formation and construction in the transition to modernity. Freud’s writings, and the psychoanalytic discipline of which they are the foundations, are placed in the context of their contribution to modern modes of thought, and of their influence on our notions of the centres of significance of each existence as a whole. Freud and the Culture of Psychoanalysis is a major contribution to our understanding of how ideas and theories become internalized into the intellectual framework of our lives and affect the way we think about the world. By moving backward and forward from pre-Freudian to post-Freudian thinkers, Professor Marcus takes us on a journey through cultural transition that is also an exploration of how the individual interacts with his own moment in history to forge new modes of consciousness. (shrink)

This article argues that the possibility that we live in a computer simulation has important implications for the philosophy of time and time travel. Section 2 distinguishes real time from simulated time. Section 3 argues that whatever is true of real time, simulated time realises a functional analogue within real time to versions of presentism in which features of the present play the role of an uninstantiated past and future. Section 4 then argues that whereas real time travel paradoxes depend (...) upon the ultimate nature of ‘base-reality’ and consistency with observed physics, the possibility of simulated time travel depends instead on a simulation's code, which may allow seemingly ‘miraculous’ exceptions to ‘physical laws’. Finally, Section 5 concludes that if miraculous forms of time travel are discovered, this may provide evidence by inference to the best explanation that we live in a simulation. (shrink)

m primeiro lugar, este artigo esclarece que o sentido de fundação das ciências proposto por Husserl não deve ser confundido com algum tipo de fundacionismo epistêmico (seção 1). Em seguida, expõe o primeiro modelo de fundação do conhecimento defendido por Husserl, em Filosofia da aritmética, e as principais críticas recebidas (seções 2-3). Por fim, acompanha a elaboração de um segundo modelo, apresentado em Prolegômenos à lógica pura (seções 4-7).

Over the past decade, New Atheists have campaigned against the influence of religion in public life and favored a more enlightened understanding of the world ? one based on the methods and theories of the natural sciences. Although the leaders of this movement refuse to give religion, even moderate religion, any place in determining moral conduct, they offer few alternatives. Most define moral responsibility by referring to facts about human biology or natural moral intuitions, yet without adequately defending this or (...) exploring the possibilities of non-naturalistic secular moralities. This essay argues that New Atheists' moral theories tend to be weak because of their naturalist assumptions. Its leading proponents seem to be unwilling to acknowledge that moral philosophy can play a role in developing secular moral precepts because philosophy fails to meet their strong criteria of scientific validity. This position is misguided not only because it has led New Atheists to defend weak moral theories but also because the methods of inquiry used in moral philosophy make it distinct from faith for many of the same reasons that the New Atheists think that science is distinct from faith. (shrink)

Im Ersten Weltkrieg wurde eine Debatte um Bedeutung und Stellenwert des Demokratiegedankens ausgetragen, die die wilhelminische Ära des politischen Denkens abschloß und die Demokratiediskussion in der Weimarer Republik einleitete. Autoren wie Hugo Preuß, Max Weber Hans Delbrück und Hugo Sinzheimer im bürgerlichen Lager und Eduard Bernstein, Karl Kautsky und Wolfgang Heine im sozialistischen Lager beförderten durch ihre leidenschaftliche Parteinahme für den Volksstaat und gegen den Obrigkeitsstaat, für die politische Selbstregierung und gegen den Untertanengeist den Durchbruch der Demokratie in Deutschland. Aber (...) sie hatten dabei gegen zahlreiche Widerstände anzukämpfen. Der heute selbstverständliche Vorrang der Demokratie als politischer Idee war bei Kriegsausbruch noch keineswegs vorhanden. Die Demokratien des Westens wurden nicht als Vorbild angesehen, zumal deren eigene politische Theorie vor dem Krieg von der Demokratie abgerückt war. Das Erlebnis des Krieges verhalf zunächst einer ganz neuartigen Idee von Demokratie zur Vorherrschaft, die zwischen dem Kriegssozialismus in der Heimat und der Gleichheit vor dem Tod an der Front die Demokratie als Volksgemeinschaft propagierte und normative und institutionelle Aspekte der Politik ausblendete. Die politische Argumentation gegen diese "deutsche Idee der Demokratie" mußte sich gegen eine demagogisch aufgehetzte öffentlichen Meinung stemmen. Die demokratische Argumentation im Krieg fand als geistiger Kampf um die Demokratie statt. (shrink)

This article aims to summarize the current ethical issues in the field of clinical and counseling psychology and the process of developing professional ethical standards in China. First, through a review of the history of counseling and psychotherapy in China, general background information is provided. Important ethical issues are then discussed based on the results from several empirical studies. Finally, the process of developing the new edition of the Chinese Psychological Society Code of Ethics for Clinical and Counseling Psychology, the (...) main contents as well as the considerations taken into account in the development of this code are presented. (shrink)

Gesture-first theories of language origins often raise two unsubstantiated arguments against vocal origins. First, they argue that great ape vocal behavior is highly constrained, limited to a fixed, species-typical repertoire of reflexive calls. Second, they argue that vocalizations lack any significant potential to ground meaning through iconicity, or resemblance between form and meaning. This paper reviews the considerable evidence that debunks these two “myths”. Accumulating evidence shows that the great apes exercise voluntary control over their vocal behavior, including their breathing (...) apparatus, larynx, and supralaryngeal articulators. They are also able to learn new vocal behaviors, and even show some rudimentary ability for vocal imitation. In addition, an abundance of research demonstrates that the vocal modality affords rich potential for iconicity. People can understand iconicity in sound symbolism, and they can produce iconic vocalizations to communicate a diverse range of meanings. Thus, two of the primary arguments against vocal origins theories are not tenable. As an alternative, the paper concludes that the origins of language – going as far back as our last common ancestor with great apes – are rooted in iconicity in both gesture and vocalization. (shrink)

Georges Bataille was a philosopher, writer, and literary critic whose work has had a significant impact across disciplines as diverse as philosophy, sociology, economics, art history and literary criticism, as well as influencing key figures in post-modernist and post-structuralist philosophy such as Jacques Derrida and Michel Foucault. In recent years, the number of works published on Georges Bataille, as well as the variety of contexts in which his work is invoked, has markedly increased. In _Georges Bataille: Key Concepts_ an international (...) team of contributors provide an accessible introduction to and survey of Bataille's thought. The editors’ introduction provides an overview of Bataille’s work, while the chapters in the first section cover the social, political, artistic and philosophical contexts that shaped his thought. In the second part, each chapter engages with a key theme in Bataille’s philosophy, including: art, eroticism, evil, inner experience, heterology, religion, sacrifice, and sovereignty. The final chapter addresses Bataille’s literary writings. Georges Bataille: Key Concepts is an invaluable guide for students from across the Humanities and Social Sciences, coming to Bataille’s work for the first time. Contributors: Giulia Agostini, Elisabeth Arnould-Bloomfield, Tiina Arppe, Marcus Coelen, Simonetta Falasca-Zamponi, Patrick ffrench, Marina Galletti, Nadine Hartmann, Mark Hewson, Andrew Hussey, Stuart Kendall, Claire Nioche, Gerhard Poppenberg, and Michèle Richman. (shrink)