An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe.

Although The Structure of Scientific Revolutions is one of the most influential books of this century, its author, Thomas Kuhn, is notorious for disavowing most of the consequences wrought by his text. Insofar as these consequences have appeared "radical" or "antipositivist," this article argues that they are very misleading, and that Kuhn's complaints are therefore well placed. Indeed, Kuhn unwittingly succeeded where Daniel Bell's The End of Ideology tried and failed, namely, to alleviate the anxieties of alienated academics and defensive (...) policy-makers by teaching them that they could all profit from solving their own paradigmatic puzzles. The influence of tructure is traced from the philosophy of science into the social sciences and science policy. Special attention is paid to the import of the General Education in Science curriculum at Harvard, in which Kuhn taught for most of the period prior to writing tructure. Harvard President James Conant had designed this curriculum in order to keep "pure science" in the good favor of the American public, in whose eyes it suffered after the use of the atomic bomb. While Conant was keen to stress the distinctiveness of science from other social practices, Kuhn's model seemed to provide a blueprint for reconstituting any practice as a science. This enabled potentially antiscientific academics to become scientists themselves, thereby neutralizing any radical challenges to the ends of scientific inquiry. The article concludes by reconstructing some of the inchoate possibilities for radical critique that Kuhn's success preempted, and by making some suggestions for how they may be recovered in the present academic environment. (shrink)

The development and publication of Diagnostic and Statistical Manual of Mental Disorders, fifth edition produced a peak in mainstream media interest in psychiatry, and a large and generally critical set of scientific commentaries. The coverage has focused mainly on the expansion of some categories, and loosening of some criteria, which together may lead to more people receiving diagnoses, and accompanying accusations of the medicalisation of normal living. Instructions given to members of DSM-5 work groups appear to have encouraged this.1 This (...) has not been the only source of disquiet. The influence of the pharmaceutical industry on the members of the appointees to DSM diagnostic work groups, which constructed the new rubrics, has caused concern,2 as remuneration and insurance coverage in the USA depends partly on DSM diagnosis, and the pharmaceutical industry has been accused of encouraging the development of new diagnoses as a way to increase profitability.3 Societal impact has been an explicit part of the development of DSM-5, as outlined in the article in this issue.4 Reasons for decisions by DSM-5 workgroups have included enabling sufferers to receive treatment which would not be available without a DSM diagnosis , or …. (shrink)

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...) 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)

This interactive teaching workshop explored what it means to “teach from the heart.” It adopted the format of the wisdom circle to ask participants to share peak teaching experiences so that they could reflect on what their stories reveal about their inner selves as teachers. The hope was that, by learning how to speak with their “authentic” voices, participants could gain the insight and courage needed to better connect with their students as co-learners.

Throughout the text, the reader is reminded of the contribution of the Christian faith to matters of development and ethics.

This paper continues a conversation about Wittgenstein’s picture of language and meaning and its potential applications for educational theorising. It takes the form of a response to Wolff-Michael Roth’s earlier paper “Heeding Wittgenstein on “understanding” and “meaning”: A pragmatist and concrete human psychological approach in/for education,” in which Roth problematizes the use of the terms “understanding” and “meaning” in education discourse and proposes their abandonment. Whilst we agree with Roth about a series of central points, at the same time we (...) maintain that he has taken his argument in directions antithetical to our reading of Wittgenstein’s work. We offer four points of departure, exploring themes of: appropriate questioning; eliminativism; language-games and grammar; and productivity, explanation, and a science of learning. We conclude by discussing ways consistent with Wittgenstein’s thought to go on in thinking about education. (shrink)

On the ten year anniversary of 2Girls1Cup, this article examines the complex balance of shock, pleasure and disgust elicited by this viral video.

Oliver Cromwells historical reputation underwent significant change during the nineteenth century. Writers such as Thomas Carlyle were prominent in this reassessment, creating a Cromwell that found particular support among Nonconformists in the north of England. Projects to memorialize Cromwell included the raising of public statues. This article traces the history of the Manchester statue, the first major outdoor statue of Cromwell to be unveiled in the country. The project originated among Manchester radical Liberal Nonconformists in the early 1860s but was (...) not realized until 1875. It was the gift of Elizabeth Heywood; the sculptor was Matthew Noble. The project, including its intended site in Manchesters new Town Hall, was contentious, exposing political and religious divisions within the community, reinforcing the view that the reassessment of Cromwells place in the making of modern Britain was far from settled. (shrink)

Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...) films’ (and frequently the audience’s) "muddled" morality. My narrative analysis reveals that Jigsaw’s values are not as confused as they may first appear to be. Despite explicitly proclaiming that his quest is to save others, his actions reveal another story (and not only because his schema is homicidal). Following the loss of his unborn son and his failed suicide attempt, Jigsaw seeks to symbolically eradicate himself: the victims he selects reflect and reify his own obsessive personality traits. In keeping with the franchises’ narrative twists – which are designed to reverse initially "obvious" meanings – I argue that Jigsaw’s proclamations have misdirected critics. His nihilism may be manifested as coerced suffering and articulated as distaste with the world, yet the series’ symbolic target is Jigsaw himself. (shrink)

Despite being a prevalent theme in popular cinema, revenge has received little dedicated attention within film studies. The majority of research concerning the concept of revenge is located within moral philosophy, but that body of literature has been overlooked by film studies scholars. Philosophers routinely draw on filmic examples to illustrate their discussions of revenge, but those interpretations are commonly hindered by their authors’ inexperience with film studies’ analytical methods. This article seeks to bridge those gaps. The 2010 remake of (...) I Spit on Your Grave is used as a case study to illustrate the benefits of an interdisciplinary engagement with revenge. Philosophical literature on the topic has routinely posited that revenge is either appealing or appalling, and that impasse has stifled conceptual understanding. The interdisciplinary approach employed here elucidates that revenge is simultaneously appealing and appalling; this dualistic nature is evident in I Spit on Your Grave since it is built into the narrative design. I conclude that an interdisciplinary approach to revenge has the potential to advance understanding of revenge-qua-concept both within films studies and philosophy. (shrink)

Despite its prevalence, the term ‘extreme’ has received little critical attention. ‘Extremity’ is routinely employed in ways that imply its meanings are self-evident. However, the adjective itself offers no such clarity. This article focuses on one particular use of the term – ‘extreme porn’ – in order to illustrate a broader set of concerns about the pitfalls of labelling. The label ‘extreme’ is typically employed as a substitute for engaging with the term’s supposed referents (here, pornographic content). In its contemporary (...) usage, ‘extreme’ primarily refers to a set of context-dependent judgements rather than absolute standards or any specific properties the ‘extreme’ item is alleged to have. Concurrently then, the label ‘extreme’ carries a host of implicit values, and the presumption that the term’s meanings are ‘obvious’ obfuscates those values. In the case of ‘extreme porn’, this obfuscation is significant because it has facilitated the cultural and legal suppression of pornography. (shrink)

After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.

Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...) the faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular,. (shrink)

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing (...) usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...) and intersubjectivity (via an ongoing narrative structure that emphasises connections between the characters, and between each film). The philosophical debates illuminate premises on which the series’ story and horror depends. Moreover, Paranormal Activity also sheds light on the theoretical debate: the series brings those two paradigms together into a coherent whole, thereby suggesting that the two models are potentially compatible. By developing a combined model, scholars working in the philosophy of mind might better account for the different aspects of self-experience these paradigms focus on. (shrink)

In this investigation of the Japanese film Kairo, I contemplate how the horrors present in the film relate to the issue of self, by examining a number of interlocking motifs. These include thematic foci on disease and technology which are more intimately and inwardly focused that the film's conclusion first appears to suggest. The true horror here, I argue, is ontological: centred on the self and its divorcing from the exterior world, especially founded in an increased use of and reliance (...) on communicative technologies. I contend that these concerns are manifested in Kairo by presenting the spread of technology as disease-like, infecting the city and the individuals who are isolated and imprisoned by their urban environment. Finally, I investigate the meanings of the apocalypse, expounding how it may be read as hopeful for the future rather than indicative of failure or doom. (shrink)

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

Negative attack ads used in political compaigns have been attacked as being unethical because they contribute to voter cynicism and apathy and as being manipulative. From a rhetorical perspective these advertisements serve a positive societal function by creating alternative rhetorical visions that can contribute to the marketplace of ideas.

Both the slasher movie and its more recent counterpart the "torture porn" film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the "pure moment of murder": that is, the moment in which two characters’ bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from Psycho (...) (1960) to Saw VI (2009), the article aims to expound how these images of slaughter demonstrate (albeit in an augmented, hyperbolic manner) a number of long-standing problems surrounding selfhood that continue to fuel philosophical discussion. The article argues that the visual adjoining of victim and killer onscreen echoes the conundrum that in order to attain identity, the individual requires and yet simultaneously repudiates the Other that constitutes unique subjectivity. (shrink)

Horror film sequels have not received as much serious critical attention as they deserve – this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner ‘Torture Porn’. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations – in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. Far (...) from being a gimmick or a means of ensuring loyalty to the franchise (one has to be familiar with the events of previous episodes to ascertain what is happening), it is my contention that the Saw cycle directly requests that we examine the nature of space and time, in terms of both cinematic technique and our lived, off-screen temporal/spatial orientations. -/- . (shrink)

Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...) the faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular,. (shrink)

Assuming AD + (V = L(R)), it is shown that for κ an admissible Suslin cardinal, o(κ) (= the order type of the stationary subsets of κ) is "essentially" regular and closed under ultrapowers in a manner to be made precise. In particular, o(κ) ≫ κ +, κ ++ , etc. It is conjectured that this characterizes admissibility for L(R).

It is important to understandfactors that influence management decisionsthat determine the level of diversificationwithin cropping systems. Because of the widevariety of cropping systems within a region,our study focused on a single county in northwestern Minnesota. This county wasselected because it is in an area where farmerswere reevaluating their cropping practicesduring the 1990s in response to severe plantdisease outbreaks and economic stresses. Asurvey and follow-up interviews of representative farmers in Marshall Countyshowed that they were approaching theircropping systems management decisions underthese conditions (...) through a dominant conceptualframework and two secondaryconceptual frameworks, which we termed “mental causalmodels.” The study illustrates the ways farmersdefine and make decisions affecting theircropping systems diversity under conditions ofagronomic and economic adversity. It alsochallenges agricultural professionals to expandtheir thinking about educational strategiesthat are sensitive to the varied perspectivesof farmers beyond just the scientific mentalcausal model. (shrink)

We formulate and prove a combinatorial property assuming AD + V = L(R). As a consequence, we show that every regular κ which is either a Suslin cardinal or the successor of a Suslin cardinal is δ 2 1 -supercompact. In particular, all the projective ordinals δ 1 n are δ 2 1 -supercompact.

Long-running horror series are reputed to yield diminishing returns (both in terms of profit and quality). At first glance, the A Nightmare on Elm Street series appears to fit that established pattern. For instance, lead antagonist Freddy supposedly ‘deteriorates’ from sinister, backlit child molester to comic-book ‘Las Vegas lounge’ stand-up act by the end of the 1980s (Schoell and Spencer 1992, 116). However, interviews from the period indicate that comedy was a central component from the outset of the series; it (...) is not, as has been often suggested, that the series’ horror was diluted by the introduction of humour in later sequels. Such misremembrances are entrenched by the writers’, directors’ and actors’ retrospective reflections on Elm Street, which colour how the series is understood more broadly. This chapter will focus on one of the most common misremembrances embedded into Elm Street’s lore; that the series began with hard rules about the relationship between dream and reality, which became looser (to the point of incoherence) as the series progressed. As close textual analysis and examination of archival interviews will demonstrate, the series’ “rules” were never as clearly established as creator Wes Craven intended. Moreover, rather than complaining that the continuing story did not hold together—indeed, Craven dismissed parts 2-6 of the series on these grounds—I argue that the series ought to be taken on its own terms. The individual films may vary in aesthetic and quality for various industrial reasons, but they are nevertheless chapters in a continuing narrative, and ought to be understood as such. Given that the diegesis is based on shared experiences—secrets held by Springwood’s parents, nightmares and abilities shared by the teens—it is reductive to understand the Elm Street films as anything other than an imbricated whole. As such, this chapter will demonstrate that the series’ narrative is best understood as a recurring nightmare. Its logic is dreamlike, being constituted by events, characters and motifs that are echoed across the series. Thus, this chapter contends that to dismiss the Elm Street sequels as a product of diminishing returns is to overlook the series’ narrative richness. More broadly, this chapter makes a case for understanding sequels as valuable parts of a whole, rather than dismissing them as inferior copies of the original. (shrink)

Let X and Y be uncountable Polish spaces. We show in ZF that there is a coanalytic subset P of X × Y with countable sections which cannot be expressed as the union of countably many partial coanalytic, or even PCA = Σ 1 2 , graphs. If X = Y = ω ω , P may be taken to be Π 1 1 . Assuming stronger set theoretic axioms, we identify the least pointclass such that any such coanalytic P (...) can be expressed as the union of countably many graphs in this pointclass. This last result is extended (under suitable hypotheses) to all levels of the projective hierarchy. (shrink)

Secreted Frizzled‐related proteins (SFRPs) are modulators of the intermeshing pathways in which signals are transduced by Wnt ligands through Frizzled (Fz) membrane receptors. The Wnt networks influence biological processes ranging from developmental cell fate, cell polarity and adhesion to tumorigenesis and apoptosis. In the five or six years since their discovery, the SFRPs have emerged as dynamically expressed proteins able to bind both Wnts and Fz, with distinctive structural properties in which cysteine‐rich domains from Fz‐ and from netrin‐like proteins are (...) juxtaposed. The abundant expression of SFRP genes in the early embryo, altered expression patterns in disease states, and potential significance in the evolution of the vertebrate body plan, make these intriguing molecules relevant to investigations in diverse fields of biology and biomedical sciences. BioEssays 24:811–820, 2002. © 2002 Wiley Periodicals, Inc. (shrink)

It is commonly proposed that since the mid-2000s, the slasher subgenre has been dominated by unoriginal remakes of "classics". Consequently, most original slasher films have been ignored by academics (and critics), leaving the field with a limited understanding of this highly popular subgenre. This book corrects that mischaracterisation by analysing contemporary slasher films that sincerely attempt to innovate within the subgenre. I argue that these films reflect broader cultural turns towards sincerity, optimism in the face of crisis, and an emphasis (...) on felt experience that are indicative of a metamodern sensibility. This is the first book to use metamodernism to analyse film in a sustained way, and the first academic work to use metamodernism to examine horror. The Metamodern Slasher offers readers new ways to understand the slasher film, the horror genre, and also the cultural moment we find ourselves in. (shrink)

The notion of a natural model of type theory is defined in terms of that of a representable natural transfomation of presheaves. It is shown that such models agree exactly with the concept of a category with families in the sense of Dybjer, which can be regarded as an algebraic formulation of type theory. We determine conditions for such models to satisfy the inference rules for dependent sums Σ, dependent products Π, and intensional identity types Id, as used in (...) homotopy type theory. It is then shown that a category admits such a model if it has a class of maps that behave like the abstract fibrations in axiomatic homotopy theory: they should be stable under pullback, closed under composition and relative products, and there should be weakly orthogonal factorizations into the class. It follows that many familiar settings for homotopy theory also admit natural models of the basic system of homotopy type theory. (shrink)