Conflicts have arisen between communities and operators of confined animal feeding as farms have become bigger in order to maintain their competitiveness. These conflicts have been difficult to resolve because measuring and allocating the benefits and costs of livestock production is difficult. This papers demonstrates a policy tool for promoting compromise whereby the community gets reduced negative impacts from livestock while at the same time continues to benefit from livestock jobs, taxes, and related economic activity. Public economic benefits and public (...) economic costs of confined animal feeding operations are estimated for every farm and affected house in Craven County, North Carolina. The results show public economic benefits of $5.7 million and public economic costs of $2.2 million, but that the ratio of benefits to costs for individual farm-house pairs varies in important ways across the 26 hog farms in Craven County. (shrink)

The case and importance for managers and stakeholders to understand organizational legitimacy is very clear. A gap though exists, in both theory and application, as to how managers and community stakeholders proceed when they seek to understand and affect the legitimacy state of a firm or an industry. This article addresses this problem. Using public hearing transcripts we analyze over 7,000 lines of text to build a database of 589 statements regarding the legitimacy/illegitimacy of large confined animal operations. These data (...) reflect the perspectives of 77 stakeholders, and cover 21 legitimacy themes, four legitimacy bases, and 13 authoritative references. The article presents, and then applies, a four-part method for legitimacy state assessment that integrates theory on legitimacy themes and bases, stakeholders, and authoritative references. (shrink)

This is a case study of goldsmith craft apprenticeship learning and recognition. The study includes 13 participants in a goldsmith's workshop. The theoretical approach to recognition and learning is inspired by sociocultural theory. In this article recognition is defined with reference to Hegel’s understanding of the concept as a transformed struggle of granting acknowledgement to another person plus receiving acknowledgement as a person. It is argued that the notion of recognition can enhance sociocultural notions of learning. In analysing (...) the case study of apprenticeship learning, the article suggests that recognition is expressed in the act of participants staking their lives to prove their autonomy, in work activity in terms of the role of artefacts and in the form of abstract and concrete recognition. Finally recognition is discussed in relation to learning and development. The study concludes that recognition is an important category not only to explain apprenticeship learning but also to give a sociocultural explanation of learning in general. (shrink)

In this account of his mature thinking, Peter Marshall develops a dynamic and organic philosophy for the coming millennium which he calls liberation ecology. Liberation ecology is holistic in viewing the world as a harmonious whole and all beings and things as interwoven threads in nature's web. It is intuitive in recognizing intuition as the main source of knowledge and the imagination as the great organ of morality. It is ecological in seeing human beings as fellow voyagers with other (...) species in the magnificent odyssey of evolution. Above all, it is libertarian in seeking to release humanity, society and nature from their existing burdens so that they can unfurl and realize together their full potential. Exploring our strengths and possibilities, this book presents the ideas and values needed to ride the winds of change at this crucial stage in our development and in the history of the world. It provides a new philosophy for a new era, an uplifting and inspired vision which combines ancient wisdom and modern insights, reason and feeling, science and poetry, myth and the marvellous. It offers a guide for the future on how to rive in the most fulfilling way and how to create a genuinely free and sustainable society in harmony with nature. (shrink)

I argue in this paper that moral philosophers need to incorporate into their teaching and writing a number of empirical findings on ethical practices. Principal among these is clearer guidelines on speaking out against wrongdoing, as well as the development of codes of ethics that have been proven to work. The adoption of the critical thinking and the analytical methodology of other disciplines is also suggested. Several benefits will result. The most noticeable will be a strengthening of ethical practices and (...) behavior in the institutions and organizations with which we live and work. A second benefit will be the education and employment of a body of people—graduates in moral philosophy—with the skills and knowledge to bring about, and further strengthen, this enhanced ethical environment. A third benefit will be the matching of the claims of philosophical thought with actual reality. (shrink)

Examining a variety of texts ranging from the Ancient Near East to the nineteenth century, this book deals with the inevitable presence of both fact and fiction ...

The Political Economy of European Social Democracy Content Type Journal Article Category Review Pages 529-531 DOI 10.1558/jcr.v11i4.529 Authors Peter Nielsen, Roskilde University, Universitetsvej 1, P.O. Box 260, 4000 Roskilde, Denmark Journal Journal of Critical Realism Online ISSN 1572-5138 Print ISSN 1476-7430 Journal Volume Volume 11 Journal Issue Volume 11, Number 4 / 2012.

Peter Spirtes, Richard Scheines and Clark Glymour. Simulated Studies of the Reliability of Computer-Aided Model Specification Using the TETRAD, EQS and LISREL Programs.

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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In three exemplary essays, author Peter Bornedal promotes Deconstruction as a cogent analytical method whose distinctive critical object is foundational knowledge. In this, he wants to restore Deconstruction as a rational discourse, while continuing to emphasize it as a critique of metaphysics.

The global financial crisis of 2008 brought the risk involved in the international banking business to everybody’s attention. It made clear that risk, despite the claims of banks, cannot be hedged away. The risk inherent in the banking business has been realised. It was realised to a larger extent and in different dimensions than assumed by risk management, quantitatively and qualitatively, and it had more severe effects than imagined before. This paper takes this event as an opportunity to reconsider the (...) term ‘risk’ itself from an unusual perspective. Aspects from the philosophy of Jacques Derrida, his considerations of the event, the im-possible or the horizon are used to interrogate the term ‘risk’ and to propose a ‘risk to come’. (shrink)

I recently read through the most recent 24 issues of Environmental Health Perspectives—the National Institutes of Health journal of, among other issues, scientific research into how environmental contaminants impact animal and human health. It is a catalog of horrors from a public health perspective. Fish and frogs with their sex scrambled; deformed frogs with altered hormone levels in their blood; a nearly threefold increase in birth defects among Minnesota farm children exposed to pesticides; 2,4-D exposure reducing hormone levels in men; (...) insignificant levels of four environmental chemicals adding up to a significant dose; a third study reconfirming a 50% sperm decline in U.S. men, 1934–1996; phthalates elevated in the blood of Puerto Rican girls developing breasts before they are 8; some 6,000 chemicals declared candidates for study as hormone disrupters ; children living near incinerators having delayed sexual development; hypospadias linked to organochlorine levels in the blood of mink, otter, and polar bears; and “No living organism may be considered DDT-free.” Nothing definitive, but it all suggests that things are tending in a direction that is perfectly awful. (shrink)

Both of the companion target articles place considerable performance on music performance ability, with specific attention paid to singing in harmony for the music and social bonding hypothesis proposed by Savage and colleagues. In this commentary, I evaluate results from recent research on singing accuracy in light of their implications for the MSB hypothesis.

Presents Nietzsche's critical reflections directed at traditional metaphysical categories such as the external world, substance, causation, and self. Targeted theories include the doctrine of substance qua substratum for properties; the Lockean ontology of powers inherent in external objects; the construal of the self as either mental substance or transcendental subjects; atomism; and the belief in the explanatory powers of Newtonian force. It is argued that there is a pervasive general line of scepticism in Nietzsche's later thought concerning the possibility of (...) knowledge as rationally justified true belief. The chapter concludes with a defence of Nietzsche's general scepticism against a variety of countervailing arguments. (shrink)

This book attempts to link ecology, philosophy, and theology through an exploration of a new model of intercultural dialogue. Case studies provide practical and theoretical applications, which lead to a deeper understanding of not only environmental guardianships but also the fundamental relationship between human beings and nature's being.