The big-fish-little-pond effect (BFLPE) is the tendency for students to evaluate themselves more favourably when they have high rank in a low rank school than low rank in a high rank school. Research has documented the BFLPE on experienced emotions. We conducted three studies that examined forecasts of how the BFLPE influences other people’s emotions (i.e. empathic forecasts). In Study 1, participants received performance feedback about themselves or another person and reported their own affect or anticipated (...) the other person’s affect. Results extended the BFLPE to empathic forecasting. Moreover, forecasters anticipated that the BFLPE had a stronger influence on negative emotion than it actually did. Study 2 tested whether neglect of group rank underlies the BFLPE in empathic forecasting. Empathic forecasts were strongly influenced by another person’s rank in their group, but only weakly influenced by group rank. Study 3 tested whether extremity of group ranks exacerbates the BFLPE in empathic forecasting. Empathic forecasts were especially favourable (unfavourable) when a target had very high (low) rank in a very low (high) rank group. These data support the BFLPE in empathic forecasting, but also illustrate ways in which it is both similar to and different from actual experience of the effect. (shrink)

The question we pose in this paper is: How can wisdom and its inherent drive for integration help information systems in the development of practices for responsibly and ethically managing and using big data, ubiquitous information and algorithmic knowledge and so make the world a better place? We use the recent financial crises to illustrate the perils of an overreliance on and misuse of data, information and predictive knowledge when global Information Systems are not wisely integrated. Our analysis shows that (...) the global financial crisis was in part caused by a serious lack of integration of information with the larger context of social, cultural, economic and political dynamics. Integration of all the variables in a global and information hungry industry is exceptionally difficult, and so “exceptionality” of some kind is needed to make sufficient integration happen. Wisdom, we suggest, is the exceptionality needed to lead successful integration. We expect that a wisdom-based shift can lead to more organizationally effective and socially responsible Information Systems. (shrink)

The question we pose in this paper is: How can wisdom and its inherent drive for integration help information systems in the development of practices for responsibly and ethically managing and using big data, ubiquitous information and algorithmic knowledge and so make the world a better place? We use the recent financial crises to illustrate the perils of an overreliance on and misuse of data, information and predictive knowledge when global Information Systems are not wisely integrated. Our analysis shows that (...) the global financial crisis was in part caused by a serious lack of integration of information with the larger context of social, cultural, economic and political dynamics. Integration of all the variables in a global and information hungry industry is exceptionally difficult, and so “exceptionality” of some kind is needed to make sufficient integration happen. Wisdom, we suggest, is the exceptionality needed to lead successful integration. We expect that a wisdom-based shift can lead to more organizationally effective and socially responsible Information Systems. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:116 Feminist Studies 41, no. 1. © 2015 by Olumide Popoola Olumide Popoola Fishing for Naija To choose. To find a way in which one can tell everything. Not just the he and she. But much more of it, all. Gestures. Opening and closing. To do both is saying quite loudly: no not now, not here, not you. John opened the door and stepped out of the car. Uncle (...) T was shifting from one of his loafers to the other, white handkerchief in hand, wiping his shiny forehead. He pulled on the other door so Karl could come out too. Karl didn’t. The bungalow door opened. Ó could hear the excitement in John’s voice. It was all relief and shit. Greetings were exchanged. Words passed back and forth. Uncle T laughed. Happy, it seemed. John laughed too. A joke. Apparently. Karl remained in the taxi. “I think you will need some privacy. We will be back in one hour.” John hugged è. Karl finally stood in the cemented driveway. “I believe we have some catching up to do.” Stepping away from the entrance the father entered the room, leaving the door wide open, turned his head, scrutinized è, two deep lines furrowing the forehead, eyes a good stare in them. They were the opposite to Karl’s, no deflection whatsoever, no putting things at bay, first, Note In this excerpt from a novel, the gender neutral Yoruba pronouns “o” and “e” have been used to replaced the English ones. Please note that the correct Yoruba character for the pronoun “e” has a grave accent and a dot underneath. Because that character is not available, it has been represented by the character è instead. Olumide Popoola 117 then processing in small bits, nothing at all, no fucking warmth as far as Karl was concerned, but all getting into you, straight away. “Carla.” The odds we bet on, the strands we hold, the time we spare, and all falls, or betrays that itch, that place we want to find where belonging meets the now, the here, the us. It was musty inside. No one had bothered to open the windows when the electricity cut off in the morning. “Sit down. What do you want? Water, soft drink?” “I’m fine,” Karl replied. The thank you was stuck in è throat. The eyes. Like whoa, all over the top. Demanding. “This is not what I’ve been expecting.” It was funny like that. This is not when I was expecting you, Karl thought. “What do you think of our country so far?” “I love it. Really.” Ó could see è father’s legs, ashy feet in leather sandals with a large flap covering the top of the foot, a small ring for the big toe. They were obviously different. Very different. Uncle T and him. No moisturisation on this front. At all. The father didn’t seem to believe in Uncle T’s shea butter products. At least not for the feet. The seat cushion shifted. The father leaned back, arms crossed over his head, touching the wall, eyes looking straight ahead. Very delaying tactic. For emphasis. For drama. As if rehearsed. But then again he’d had two weeks since Karl’s arrival in Nigeria. Two weeks of leaving everyone in limbo, just so he could now come with effing heavy artillery. “I was expecting a daughter.” And the manner of closing is always more defined, more punctuated than the question opened. It hangs on the hinges, only for effect. body ['badi] n pl bodies the entire physical structure of a human being adjective versatile 118 Olumide Popoola A mosquito was buzzing around, making the silence between their words like a spotlight. You couldn’t not look. Karl followed it with è eyes. “I always knew. As long as I can think. Mum always lets me be myself. As long as I do nothing wrong. Nothing real bad, I mean. Be polite. I want her to be proud of me. When puberty started I just said I wouldn’t pretend to be a girl no more. She understood. She knew. I had never been one.” It was hot, no fan or air-conditioning to separate the time from the... (shrink)

There is little doubt that the development and commercialisation of nanotechnologies is challenging traditional state-based regulatory regimes. Yet governments currently appear to be taking a non-interventionist approach to directly regulating this emerging technology. This paper argues that a large regulatory toolbox is available for governing this small technology and that as nanotechnologies evolve, many regulatory advances are likely to occur outside of government. It notes the scientific uncertainties facing us as we contemplate nanotechnology regulatory matters and then examines the (...) notion of regulation itself, suggesting new ways to frame our understanding of both regulation and the regulatory tools relevant to nanotechnologies. By drawing upon three different conceptual lenses of regulation, the paper articulates a wide range of potential regulatory tools at hand. It also focuses particularly on the ways various tools are currently being used or perhaps may be employed in the future. The strengths and weaknesses characterising these tools is examined as well as the different actors involved. The paper concludes that we will increasingly face debate over what is likely to work most effectively in regulating nano technologies, the legitimacy of these different potential approaches, and the speed at which these different regimes may be employed. (shrink)

Animals, in the age of biotechnology, are the subjects of a myriad of scientific procedures, interventions, and modifications. They are created, altered, and experimented upon—often with highly beneficial outcomes for humans in terms of knowledge gained and applied, yet not without concern also for the effects upon the experimental subjects themselves: consideration of the use of animals in research remains an intensely debated topic. Concerns for animal welfare in scientific research have, however, been primarily directed at harm to and suffering (...) of animal subjects and their prevention. Little attention has been paid to the benefits research might potentially produce for animals themselves and the interests that some animals may therefore have in the furtherance of particular avenues of science. (shrink)

By the time George Wilton Field concluded his work at the marine laboratory his initial scientific concerns had forced him directly into local politics. He pleaded with little success with the community of South Kingstown, and with no success with the town of Narragansett, to create and maintain a permanent breach:Is it not possible for the acute business sense and the broad philanthropy of the community to sweep aside petty, local, and personal jealousies which are now blocking practical progress (...) for the establishment of a permanent breach at Point Judith Pond? It is truly criminal neglect which permits fifteen hundred acres of valuable water-farming area to lie practically idle and rapidly deteriorate with each passing year.... In the opinion of the writer the Point Judith Pond and those of similar type could be made the seat of oyster, clam, crab, herring, white perch, and striped bass fisheries.30In the summer of 1899 Field was invited to teach a summer course on echinoderms at the MBL in Woods Hole, and to conduct summer research in a laboratory of the U.S. Fish Commission, also located at Woods Hole. When the summer was over, he remained there. Whether he had intentions of returning to resume his position in Rhode Island is unclear. At this point all correspondence with the Agricultural Experiment Station ceases, and Field's last report is a brief statement in the annual report of the experiment station for 1900 wherein he laments the variety of experiments he has not been able to carry to conclusion, such as a study of the artificial fertilization of water analogous to the method of chemically fertilizing the land for crops.The correspondence reveals that the enthusiasm Field brought to Point Judith Pond in 1896 was gradually sapped by his own fragile health, by three years' exposure to the local politics surrounding the southern Rhode Island fishing industry, and by a college administration determined to remove the stench of his invertebrates. He sought a refuge in the sheltered world of pure research at the U.S. Fish Commission Laboratory, where he set out to investigate the “Origin of Sex” using, as his animal models, squid and toadfish.On November 14, 1899, the Board of Managers of the college ordered the director of the experiment station to dispose of the marine laboratory at Point Judith Pond.31 How long the laboratory at Buttonwood Point survived in the institutional memory of the University of Rhode Island is open to question. The current Graduate School of Oceanography, in the event, traces its history back to 1937, not 1896.Nevertheless, Field and his one-room marine station established a precedent of land-grant marine research that other state colleges would follow, including Rhode Island itself, which reestablished its marine station, this time permanently, at South Ferry in 1937. In his brief research career in Rhode Island, George Wilton Field had discovered the same coastal attributes that would lead later to the creation of one of the world's major marine research centers at the University of Rhode Island's Graduate School of Oceanography.And, in a measure of triumph for his work, little more than a year after Field left for Woods Hole and his laboratory was dismantled, the town of South Kingstown voted the funds necessary to begin the construction of a permanent breachway.32 Whether Field's scientific reasoning and the conclusions of his marine research played any part in finally deciding the thirty-year-old debate in the affirmative will probably never be known. What is evident is that Field had no patience for those who could not see the results of his research as clearly as he could himself. (shrink)

Background: Detecting and classifying fish diseases is crucial for maintaining the health and sustainability of aquaculture systems. This study employs deep learning techniques, particularly Convolutional Neural Networks (CNNs), to automate the detection of various fish diseases using image data. Methods: The study utilizes a carefully curated dataset sourced from the Kaggle database, comprising images representing seven distinct types of fish diseases, along with images of healthy fish. Data preprocessing techniques, including resizing, rescaling, denoising, sharpening, and smoothing, (...) are applied to enhance image quality and facilitate accurate disease detection. Data augmentation is employed to increase the model's ability to generalize to unseen data. The CNN architecture is designed with cascading convolutional layers, ReLU activation functions, and pooling operations to extract high-level features associated with fish infections. The model architecture, implemented using the Keras Sequential API, includes convolutional layers, max pooling layers, and densely connected layers for classification. Results: Experimental results demonstrated promising performance across various disease categories, with high accuracy and balanced precision and recall values for most classes. The study also discussed the impact of climate change on fish disease incidence and underscores the importance of effective monitoring and management practices facilitated by technological innovations such as Big Data, IoT, sensors, and robotics in ensuring sustainable fisheries management. (shrink)

Very large databases are a major opportunity for science and data analytics is a remarkable new field of investigation in computer science. The effectiveness of these tools is used to support a “philosophy” against the scientific method as developed throughout history. According to this view, computer-discovered correlations should replace understanding and guide prediction and action. Consequently, there will be no need to give scientific meaning to phenomena, by proposing, say, causal relations, since regularities in very large databases are enough: “with (...) enough data, the numbers speak for themselves”. The “end of science” is proclaimed. Using classical results from ergodic theory, Ramsey theory and algorithmic information theory, we show that this “philosophy” is wrong. For example, we prove that very large databases have to contain arbitrary correlations. These correlations appear only due to the size, not the nature, of data. They can be found in “randomly” generated, large enough databases, which—as we will prove—implies that most correlations are spurious. Too much information tends to behave like very little information. The scientific method can be enriched by computer mining in immense databases, but not replaced by it. (shrink)

Chinese characters are central to understanding how learners learn to read a logographic script. However, researchers know little about the role of character writing in reading Chinese as a second language (CSL). Unlike an alphabetic script, a Chinese character symbol transmits semantic information and is a cultural icon bridging embodied experience and text meaning. As a unique embodied practice, writing by hand contributes to cognitive processing in Chinese reading. Therefore, it is essential to clarify how Chinese character writing (bodily (...) activity), language distance (past language usage), and cultural background (bodily coupling with the environment) influence CSL reading proficiency. Based on extant research on L2 reading acquisition and strength of key theoretical perspectives of embodied cognition theory (ECT), this study tested a regression model for CSL reading involving individual-level factors (Chinese character writing proficiency [CCWP]) and group-level predictors (language distance and cultural background). This study collected big data in a sample of 74,362 CSL learners with 67 diverse L1s. Results of hierarchical linear modeling showed a significant effect of CCWP and significant language distance × CCWP interaction effect on reading proficiency; however, cultural background × CCWP interaction effect was not significant. These results conform to the ECT and indicate that bodily activity, past language usage, and cultural background aided reading. CCWP may benefit from withstanding the negative transfer from L1s. Furthermore, CCWP and cultural background are not synergistic predictors of reading. This study may open novel avenues for explorations of CSL reading development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 689 Elizabeth Jean Hornbeck Who’s Afraid of the Big Bad Wolf?: Domestic Violence in The Shining At first glance, Stanley Kubrick’s 1980 film The Shining seems to be a straightforward Gothic horror film. It starts with the Torrance family— Jack, Wendy, and Danny—moving from their Boulder, Colorado, apartment into the Overlook Hotel, where Jack (Jack Nicholson) has accepted (...) a job as the winter caretaker. By the film’s climax, an axe-wielding Jack says to his terrified wife and son (Shelley Duvall and Danny Lloyd), through the door to the bathroom where they are hiding, “Little pigs, little pigs, let me come in. Not by the hair on your chinny chin chin? Then I’ll huff and I’ll puff and I’ll blow your house in!”1 Jack assumes the role of the Big Bad Wolf, the nightmarish, predatory beast of fairy tales. These lines, along with Nicholson’s exaggerated performance as a crazed killer, parody the Gothic horror genre and slasher films and even children ’s fairy tales in what is, at its core, a story about domestic violence. In both Kubrick’s film and Stephen King’s 1977 novel, from which the film was adapted, the Gothic genre becomes a vehicle for a serious tale about violence within the family. The “discovery” of child abuse in the 1960s, “the creation of the wife-beating problem” in the 1970s, and 1. The Shining, directed by Stanley Kubrick (1980; Warner Home Video, 2007), DVD. The line is from the fairytale of The Three Little Pigs. Geoffrey Cocks discusses the sources and ramifications of the fairytale in The Wolf at the Door: Stanley Kubrick, History and the Holocaust (New York: Peter Lang Publishing, Inc., 2004), 33–38. 690 Elizabeth Jean Hornbeck the feminist movement allowed viewers to perceive domestic violence with a new level of understanding.2 It is my contention that The Shining comments on domestic violence in a way that has been mostly overlooked by critics. While most analyses of both the novel and the film have come from literary and cinema studies perspectives, I offer a sociological approach focused on the profound effect of changing social mores on cultural production. I draw also on feminist and queer theorizing of audience identification, gender, and erotic pleasure in horror films to explain the significant contributions made by King, Kubrick, Duvall, and screenwriter Diane Johnson to the film’s intervention in US public discourse about domestic violence.3 The first scholar who argued that Kubrick’s film is essentially a domestic abuse narrative was James Hala, who based his analysis on a close reading of critical reviews of the film and a discussion of the performances, with no reference to its social, political, or historical context.4 But it is important to note that both the novel and the film came at the end of a decade when the recognition of domestic violence as a social problem was still relatively new. Sociologists and the medical and legal professions did not take “wife beating” seriously until the mid-1970s, when the women’s movement brought public attention to spousal abuse.5 2. Kathleen J. Tierney, “The Battered Women Movement and the Creation of the Wife Beating Problem,” Social Problems 29, no. 3 (1982): 207–20; Stephen J. Pfohl, “The ‘Discovery’ of Child Abuse,” Social Problems 24, no. 3 (1977): 310–23. 3. The theoretical works that I have drawn on most heavily are Carol J. Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton, NJ: Princeton University Press, 1992); and David Greven, Representations of Femininity in American Genre Cinema: The Woman’s Film, Film Noir, and Modern Horror (New York: Palgrave Macmillan, 2011). 4. James Hala, “Kubrick’s The Shining: The Specters and the Critics,” in The Shining Reader, ed. Anthony Magistrale (Mercer Island, WA: Starmont House, 1990), 203–16. 5. In 1976, a national survey reported that “at least 1.8 million American women are severely beaten in their own homes every year.” Murray A. Straus, et al., Behind Closed Doors: Violence in the American Family, as cited in “‘The Burning Bed’: TV... (shrink)

Creating a single national health insurance pool is not likely to destabilize the economy by supplanting the private health insurance industry. This industry insures a relatively small percentage of the population and holds very little of the risk such insurance implies. In effect, insurance companies function as middlemen, bundling risk packages to distribute to other, larger companies and so serve a limited purpose. Were insurers to handle claims for a national pool as they do for the Medicare program, (...) any destabilization to the economy more broadly would be further minimized. (shrink)

While much of the empirical accounting literature suggests that, if differences do exist, Big Four employees are more ethical than non-Big Four employees, this trend has not been evident in the recent media coverage of Big Four tax practitioners acting for multinationals accused of aggressive tax avoidance behaviour. However, there has been little exploration in the literature to date specifically of the relationship between firm size and ethics in tax practice. We aim here to address this gap, initially exploring (...) tax practitioners’ perceptions of the impact of firm size on ethics in tax practice using interview data in order to identify the salient issues involved. We then proceed to assess quantitatively whether employer firm size has an impact on the ethical reasoning of tax practitioners, using a tax context-specific adaptation of a well-known and validated psychometric instrument, the Defining Issues Test. (shrink)

Praise and Reviews `Thom Braun`s mission, in this eclectic and readable book, is to get us thinking and, whether he`s relating Plato to Persil or Descartes to Diet Coke, that`s just what he does. No marketer will think about their job in the same way after reading this. Enjoyable and thought-provoking` James Thompson, Senior Vice President, Marketing, Diageo, North America `Thom Braun, The Thinking Man`s Brand Manager, has created a whole new sizzling discourse on branding which provides a terrific antidote (...) to the anodyne filler of standard business texts. Armed with brains and a little Braun, brand managers can become brand leaders.` Paul Walton, Chairman, The Value Engineers `An original and witty reminder that the most successful brands are driven by talented thinkers.` Simon Clift, President, Marketing, Unilever Home & Personal Care `At last, a brand book with a big idea. Braun`s entertaining distillation of some of the greatest thinkers of the last 3,000 years offers provocative yet practical conclusions on how we should rethink managing our own brand. A wonderfully fresh and stimulating read.` Adam Morgan, author of Eating the Big Fish `A thoroughly stimulating and enjoyable read. By looking at brands and branding through the lens of Western philosophy, Braun helps us review afresh some of the fundamentals of marketing.` Jim Carroll, Deputy Chairman, BBH London In this original and imaginative slant on contemporary brand management, Thom Braun takes us into the minds of the worlds greatest Western thinkers... Heraclitus Socrates Plato Aristotle Descartes Spinoza Leibniz Locke Hume Rousseau Kant Hegel Nietzsche Wittgenstein Popper...to reveal what they might say about branding if they were alive today. Filled with contemporary examples, pragmatic insights and summaries of each philosopher's "top tips", this elegant and witty book will resonate with all marketing and branding professionals who want their intellectual and professional faculties stimulated by some new thinking. (shrink)

It may seem that I am simply confirming Davis’ assertion that in my view of the critical process “different interpretive strategies create completely different texts with no point of comparison” ; but the differences are not all that complete. While many readers now see a God who is more dramatically effective than Pope’s “school divine,” they still see a God who exists in a defining relationship with the figure of Satan, a Satan who is himself significantly changed from the energy-bearing (...) Byronic antihero who was for so long a “given” in the interpretive landscape. The point is, again, that changes do not occur in isolation, because the facts that have undergone change did not exist in isolation either. In the history of Milton criticism, any judgment against God is always and simultaneously a judgment for Satan ; and it follows that a reversal in one pole of the judgment cannot occur without a corresponding—that is, related—reversal in the other. Any increase in the literary “cash value” of Milton’s God will be registered at the expense of his Satan.In short, since literary judgments or observations are not made piecemeal, the process of challenging and changing them is not piecemeal either. That is why it is not “contradictory,” as Davis asserts, “to talk about recalcitrant features of a text” in the context of a thesis that makes the text’s features a function of interpretation . The source of recalcitrance or resistance is not the text as it exists independently of interpretation, but the text as an authoritative and elaborated interpretation has given it to us. I stress “elaborated” because the interpretation is not a single assertion but a complex of assertions; and when a challenge is made to the interpreted text at one point, its other points constitute a reservoir from which objections and “counterchallenges” can emerge. Thus, when someone offers a revisionist account of Milton’s God, a skeptical or unpersuaded reader will respond by observing that this account is incompatible with what we know to be true about other parts of the poem: the characterization of Satan, or of the War in Heaven, or of books 11 and 12. It is then the obligation of the revisionist critic either to demonstrate there is no incompatibility or to extend his new reading in such a way as to recharacterize those parts of the poem that seem to stand as refutations of the revisionist’s reading. He will then be working against resistance, but it will not be the resistance of something that stands outside interpretation; rather it will be the resistance offered by one interpretively produced shape to the production of another. Stanley Fish is the William Kenan, Jr., Professor of English and the Humanities at the Johns Hopkins University. His contributions to Critical Inquiry include “Working on the Chain Gang: Interpretation in the Law and in Literary Criticism” and “Profession Despise Thyself: Fear and Self-Loathing in Literary Studies”. (shrink)

Social movements have driven large shifts in public attitudes and values, from anti-slavery to marriage equality. A central component of these movements is moral persuasion. We conduct a randomized-controlled trial of pro-vegan animal-welfare pamphlets at a college campus. We observe the effect on meat consumption using an individual-level panel data set of approximately 200,000 meals. Our baseline regression results, spanning two academic years, indicate that the pamphlet had no statistically significant long-term aggregate effects. However, as we disaggregate by gender (...) and time, we find small statistically significant effects within the semester of the intervention: a 2.4 percentage-point reduction in poultry and fish for men and a 1.6 percentage-point reduction in beef for women. The effects disappear after 2 months. We merge food purchase data with survey responses to examine mechanisms. Those participants who self-identified as vegetarian, reported thinking more about the treatment of animals or expressed a willingness to make big lifestyle changes reduced meat consumption during the semester of the intervention. Though we find significant effects on some subsamples in the short term, we can reject all but small treatment effects in the aggregate. (shrink)

This book introduces students to ethics in historiography through an exploration of how historians in different times and places have explained how history ought to be written and how those views relate to different understandings of ethics. No two histories are the same. The book argues that this is a good thing because the differences between histories are largely a matter of ethics. Looking to histories made across the world and from ancient times until today, readers are introduced to a (...) wide variety of approaches to the ethics of history, including well-known ethical approaches, such as the virtue ethics of universal historians, and utilitarian approaches to collective biography writing while also discovering new and emerging ideas in the ethics of history. Through these approaches, readers are encouraged to challenge their ideas about whether humans are separate from other living and non-living things and whether machines and animals can write histories. The book looks to the fundamental questions posed about the nature of history making by Indigenous history makers and asks whether the ethics at play in the global variety of histories might be better appreciated in professional codes of conduct and approaches to research ethics management. Opening up the topic of ethics to show how historians might have viewed ethics differently in the past, the book requires no background in ethics or history theory and is open to all of those with an interest in how we think about good histories. (shrink)

1. How big is the smallest fish in the pond? You take your wide-meshed fishing net and catch one hundred fishes, every one of which is greater than six inches long. Does this evidence support the hypothesis that no fish in the pond is much less than six inches long? Not if your wide-meshed net can’t actually catch smaller fish...

Ralph Rader's model of literary activity is built up from a theory of intention. A literary work, he believes, embodies a "cognitive act,"1 an act variously characterized as a "positive constructive intention" , "an overall creative intention" . To read a literary work is to perform an answering "act of cognition" , which is in effect the comprehension of this comprehensive intention, the assigning to the work of a "single coherent meaning" . Both acts—the embodying and the assigning —are (...) one-time, single-shot performances. They are "ends" in two senses; the overall intention is the end to which everything in the work must be contributory, and its comprehension is something the reader does at the end . Rader offers this model as if it were descriptive, as if it made explicit rules of behavior we unerringly follow, rules which underlie our "tacit or intuitive capacity" of intention producing and intention retrieving; but the model is, in fact, prescriptive since it quite arbitrarily limits this same capacity: authors are limited to no more than one positive constructive intention per unit, while readers or interpreters are limited to its discovery; whatever cannot be related to that discovery or interferes with it will either be declared not to exist or, if its existence cannot be denied, it will be labeled a defect, an "unintended and unavoidable negative consequence of the artist's positive constructive intention" . · 1. My argument will engage two of Rader's articles. They are "Fact, Theory, and Literary Explanation," Critical Inquiry 1, no.2 : 245-72, and "The Concept of Genre and Eighteenth-Century Studies," in New Approaches to Eighteenth-Century Literature: Selected Papers from the English Institute , pp. 79-115. In what follows they will be referred to as Fact and Concept along with the appropriate page number. Stanley E. Fish, professor of English at John Hopkins University, responds in this essay to Ralph W. Rader's "Fact, Theory, and Literary Explanation" . Professor Fish is the author of John Skelton's Poetry, Surprised by Sin: The Reader in Paradise Lost, and Self-Consuming Artifacts: The Experience of Seventeenth-Century Literature. His other contributions to Critical Inquiry include "Interpreting the Variorum" , "CRITICAL RESPONSE: Interpreting 'Interpreting the Variorum'" , "Normal Circumstances, Literal Language, Direct Speech Acts, the Ordinary, the Everyday, the Obvious, What Goes without Saying, and Other Special Cases" , "CRITICAL RESPONSE: A Reply to John Reichert; or, How to Stop Worrying and Learn to Love Interpretation" , and "One More Time". (shrink)

When the chorus at the end of Samson Agonistes declares that “all is best,” what it means is that the best of all possible things, the thing everyone in the play most desires, has finally happened: Samson is dead. This is, of course, not quite fair. What the chorus most wants is that things once more be as they were, and its moment of highest joy in the play involves the speculation that a revived Hebrew hero may “now be dealing (...) dole among his foes / And over heaps of slaughtered walk his way” .1 “That were a joy presumptuous to be through” , responds Manoa, indicating that he too wishes for nothing more than the return of the days when his son “walked about … / On hostile ground” “like a petty god” . This is also what Harapha wants for different reasons when he says of Samson’s change of fortune, I “wish it had not been, / Though for no friendly intent” ; and it is what Dalila wants for more reasons than Samson can shake a stick at when she laments an event more “perverse … than I foresaw” and attempts to mitigate if she cannot cancel the effects of her “rash but more unfortunate misdeed” . Everyone, in short, wants to turn back the clock, and this, of course, includes Samson, who is obsessed with the disparity between his present and his past states: “Why was my breeding ordered and prescribed / … / … if I must die / Betrayed, captive[?]” ; “Promise was that I / Should Israel from Philistian yoke deliver; / Ask for this great deliverer now, and find him / Eyeless in Gaza” ; “The base degree to which I now am fall’n” ; “I was his nursling once and choice delight” . 1. John Milton, Samson Agonistes, The Poems of John Milton, ed. John Carey and Alastair Fowler ; hereafter cited by line number. Stanley Fish is Arts and Sciences Professor of English and Professor of Law and chairman of the English department at Duke University. His most recent book is Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Legal and Literary Studies. (shrink)

A common view has it that since we are far likelier to be killed in some road or household accident than in a terror attack, our fear of the latter is exaggerated. I argue that terrorism's relatively limited death toll need not mean that fearing it is unreasonable, nor does it immediately imply that counter-terrorism policies are unjustified – whatever other, legitimate concerns these policies give rise to. First, I argue that in the special case of terrorism, it is misleading (...) to focus on risk per capita, as critics typically do. Second, while terrorism has a probabilistic component which should be relevant to decision-making, risk is not entirely or even primarily what terrorism is all about. Third, I argue that fearing terrorism may be reasonable even while recognizing the small probability of personal harm. Due to terrorism's random character, the belief that one will escape harm rests on little more than statistical evidence. As I explain, this leaves some room for reasonable doubt, and a justified level of fear. (shrink)

While across the animal kingdom offspring are born smaller than their parents, notable exceptions exist. Several dipteran species belonging to the Hippoboscoidea superfamily can produce offspring larger than themselves. In this essay, the blood‐feeding tsetse is focused on. It is suggested that the extreme reproductive strategy of this fly is enabled by feeding solely on highly nutritious blood, and producing larval offspring that are soft and malleable. This immense reproductive expenditure may have evolved to avoid competition with other biting flies. (...) Tsetse also transmit blood‐borne parasites that cause the fatal diseases called African trypanosomiases. It is discussed how tsetse life history and reproductive strategy profoundly influence the type of vector control interventions used to reduce fly populations. In closing, it is argued that the unusual life history of tsetse warrants their preservation in the areas where human and animal health is not threatened. (shrink)

Ethical clinical practice requires cultural competency. In the United States, Hispanics report stronger attitudinal barriers to drug abuse treatment than any other racial/ethnic group. Hispanics report feeling that drug abuse treatment providers do not understand their unique cultural needs and are unfamiliar with their experiences of discrimination and immigration. Using this case study to explore broader ethical and policy issues, this study investigates the extent to which US universities train counselors to address the culturally specific needs of Hispanic patients and (...) how this is reflected in practice in Los Angeles County. Based on a content analysis of the required courses, syllabi, and course descriptions at 30 universities related to culture/race/racism/ethnicity/diversity at the undergraduate and graduate levels on the addiction therapist track, and thematic analysis of eight in-depth interviews with counselors working in outpatient rehabilitation centers in Los Angeles, I argue that cultural competency education for drug abuse counselors is too surface level and infrequent to adequately prepare students for a career in addiction counseling for Hispanic clients. Significant changes must be made to how cultural diversity is valued and prioritized in the field of psychology to provide better care for Hispanic people with a substance use disorder and fulfill the moral obligation to eliminate this health disparity. Although this study focuses on counselors in Los Angeles, these findings are relevant for professionals and healthcare systems across the United States and beyond who seek to provide equitable and effective care for Hispanic patients. (shrink)

This essay critically examines Alfred R. Mele’s attempt to solve a problem for libertarianism that he calls the problem of present luck. Many have thought that the traditional libertarian belief in basically free acts (where the latter are any free A-ings that occur at times at which the past up to that time and the laws of nature are consistent with the agent’s not A-ing at that time) entail that the acts are due to luck at the time of the (...) act (present luck) rather than to the kind of agent control required for genuinely free, morally responsible action. While libertarians frequently have tried to rebut the claim that basically free acts are due to present luck, Mele argues for the daring thesis that they should embrace present luck rather than try to explain it away. His strategy is to argue that the assumption of present luck in the decisions of very young children (or “little agents”) does not preclude us from attributing to them a small amount of moral responsibility and that this makes it possible to conceive of moral development as a gradual process in which as the frequency of the indeterministically caused free actions increases, the agents take on greater and greater moral responsibility. In this paper I give several possible reconstructions of Mele’s argument and analyze in detail why none of them succeeds. (shrink)

In language evolution research, the use of computational and experimental methods to investigate the emergence of structure in language is exploding. In this review, we look exclusively at work exploring the emergence of structure in speech, on both a categorical level, and a combinatorial level. We show that computational and experimental methods for investigating population-level processes can be effectively used to explore and measure the effects of learning, communication and transmission on the emergence of structure in speech. We also look (...) at work on child language acquisition as a tool for generating and validating hypotheses for the emergence of speech categories. Further, we review the effects of noise, iconicity and production effects. (shrink)

The Kennedy Institute of Ethics is grateful for the vision, guidance, and dedication on behalf of the Kennedy Institute of Ethics Journal by Robert M. Veatch, PhD, its senior editor and senior research scholar at the KIE. For over twenty years, Bob has steered the journal along its path of success, and its partnership with the Johns Hopkins University Press, to arrive at the place it holds today—truly a "scholarly forum for diverse views on major issues in bioethics." Bob has (...) retired from the editorship effective January 2011 (though thankfully not from the KIE!).We also wish to express our appreciation to Carol M. Spicer, PhD, the journal's editor and hands-on manager of KIEJ. Carol received her doctorate in .. (shrink)

Bumped from a flight? Relax with this defense of the big business practice of deliberately promising more services than one will provide. On a small scale, over‐promising yields a toxic moral dilemma and a lie. At a large scale, the dilemma becomes dilute, and the lie completely disappears. Overbooking is honest because there is a sufficiently high probability of fulfilling each promise. Overbooking is socially beneficial because the promised resources are used more efficiently. There are fewer wasted seats on jumbo (...) jets and hence cheaper tickets with less pollution. Widespread disapproval of overbooking is a fallacious scaling error. Instead of there being too much overbooking, there is too little. (shrink)

Discourse communities are groups of people who share common ideologies, and common ways of speaking about things. They can be sharply or loosely defined. We are each members of multiple discourse communities. Discourse can colonize the members of discourse communities, taking over domains of thought by means of ideology. The development of new discourse communities can serve positive ends, but discourse communities create risks as well. In our own work on the narratives of people with interests in health care, for (...) example, we find that patients speak of their illness experiences as victims of circumstance; policy makers construct adverse experiences and challenges as opportunities to be taken; health care workers speak from a mixed perspective, seeing themselves as both victims and opportunists depending on context. To be trapped within the discourse of a particular community is to put at risk the ability to communicate across discourses. Membership of a discourse community can impair the habit of critique, and deny opportunities for heteroglossic discourse. Privileging critique as a mode of discourse perhaps might define the ethical community, suggesting that ethical community may be an antidote to the constraining effects of conventional discourse community. (shrink)

When one communicates that they are in pain, it is often assumed that the speaker is providing an assertion or report. Call this the cognitivist stance of pain utterances. Nevertheless, many sentential pain utterances seem to have both assertive and imperatival communicative content in virtue of expressing both the speaker's pain belief and the pain experience, respectively. I call this view hybrid expressivism about pain. In this paper, I take the imperativist idea of pain seriously and show that, via an (...) expression relation, pain utterances inherit the imperative and motivational force of the pain. A hybrid expressivist stance better explains why pain utterances often have the perlocutionary effect of eliciting care from others, and it can provide a new understanding of what it means to silence one's pain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Ovidian Tails PAUL BAROLSKY Kneeling at the edge of a pond in push-up position, a beautiful nude boy crowned with flowers gazes down at the water in which he beholds his reflection. In love, he is enthralled. Thus, the image of Narcissus rendered by the Florentine painter Alessandro Allori in a work that has been largely overlooked until recently. Datable to the second half of the sixteenth (...) century, it now hangs in the Turkish Embassy in Washington, DC. In the distant background of the picture we behold Echo, who extends an arm upward seemingly in a gesture of despair, since she is rejected by Narcissus. She stands before a mass of rock, her left leg beginning to turn to stone, the very stone into which she vanishes as only her voice remains when she echoes her beloved. The painting abounds in Alessandro Allori, Narcissus. Photograph © Patricia Rubin. arion 26.3 winter 2019 closely observed passages such as the little fish in the pond, one of which has captured a worm. There are other notable details such as the crab on a rock in the foreground, or the clusters of pendulous, ripe grapes, fruit of Bacchus, to whom androgynous Narcissus is likened in Ovid’s Metamorphoses. Allori also employs poetic simile in his picture, since the fingers of the youth’s left hand rhyme with the finger-like roots that emerge from the water. These roots are magnified in turn by their reflected image on the water’s surface. 136 three ovidian tails Abraham Janssens, Nymph and Pan Among the Reeds. AKG / Museen Böttcherstra ße. The apex of the picture, we might say, is baby Cupid who, hovering above, aims his dart at Narcissus and thus arouses the boy’s desire. The shape of Cupid’s bow echoes that of Narcissus ’s prominent buttocks which are framed by the attractive, bright golden drapery fluttering prominently around the youth’s posterior. One might well say that Allori features the buttocks of Narcissus’s body most provocatively in a kind of butt which recalls that of Cupid in the famous Venus, Cupid, Folly, and Time painted by the artist’s teacher, Bronzino. What Allori pictures is not exactly what Ovid writes. It is, however, how Allori imagines the Narcissus of Ovid’s tale. Allori is not alone among Ovidian artists in focusing on the backside of the human body. The posterior is especially prominent in another mythological picture, this one from the early seventeenth century, executed by a disciple of Rubens, Abraham Janssens. This work has found its way to Bremen, where it is now housed in the Ludwig Roselius Museum. It illustrates Pan’s pursuit of Syrinx, who is metamorphosed into reeds in a story told by Mercury in order to put Argus asleep. Ovid is Janssens’s point of departure. The artist depicts the moment when a muscular Pan with a ruddy, almost leathery face embraces Syrinx in her new form as a bunch of reeds. Janssens departs from Ovid with a most novel invention. He depicts a woman, seen from behind, who dominates the composition. With sharp contrasts of lights and darks, vestiges of Caravaggio, the painter emphasizes the female’s imposingly broad backside, which is framed by a billowing, bright, attention-grabbing red drapery that she seems to hold across the front of her body. Could it be that Janssens here alludes to the backside of Syrinx as Pan would have seen it when he chased her? It would seem that we are given not only a view of Pan embracing reeds, we are simultaneously given a Pan’s-eye view of Syrinx’s prominent and provocative backside before her metamorphosis. I wish to consider one final example of the derrière in Ovidian art, this one prominent in a picture painted well Paul Barolsky 137 over a hundred years after Janssens worked: Louis-JeanFran çois Lagrenée’s Abduction of Deianira by the Centaur Nessus, a work which is now in the Louvre. In Ovid’s story, Hercules arrives with his bride Deianira at the shore of the river Evenus where she is abducted by Nessus, who flees only to have Hercules shoot him with... (shrink)

Self-resemblance has been found to have a context-dependent effect when expressing preferences for faces. Whereas dissimilarity preference during mate choice in animals is often explained as an evolutionary adaptation to increase heterozygosity of offspring, self-resemblance can be also favored in humans, reflecting, e.g., preference for kinship cues. We performed two studies, using transformations of facial photographs to manipulate levels of resemblance with the rater, to examine the influence of self-resemblance in single vs. coupled individuals. Raters assessed facial attractiveness of (...) other-sex and same-sex photographs according to both short-term and long-term relationship contexts. We found a preference for dissimilarity of other-sex and same-sex faces in single individuals, but no effect of self-resemblance in coupled raters. No effect of sex of participant or short-term vs. long-term attractiveness rating was observed. The results support the evolutionary interpretation that dissimilarity of other-sex faces is preferred by uncoupled individuals as an adaptive mechanism to avoid inbreeding. In contrast, lower dissimilarity preference of other-sex faces in coupled individuals may reflect suppressed attention to attractiveness cues in potential alternative partners as a relationship maintenance mechanism, and its substitution by attention to cues of kinship and psychological similarity connected with greater likelihood of prosocial behavior acquisition from such persons. (shrink)

A layoff is a threatening yet common event which employees might face at some point in their working lives. In two scenario-based experiments, we investigated which actions of a layoff agent during a dismissal notification meeting may contribute to laid-off employees’ fairness judgments and negative attitudes toward the employer. In general, the extent to which layoff victims were treated with respect was consistently found to increase perceptions of interpersonal and procedural fairness and to mitigate negative attitudes toward the employer. Further (...) results showed that layoff victims preferred to be given an adequate explanation of the reasons for the layoff and to receive notice from the direct supervisor. Relationships between the layoff agent’s actions and layoff victims’ negative attitudes toward the employer were mediated by perceptions of procedural fairness. In addition, delegating the layoff agent’s task to an external consultant increased perceived psychological contract breach. Our findings have important implications for organizational justice research and for the managerial practice of implementing fair layoffs. In particular, small actions, such as treating employees with respect, might be of benefit both to humans and organizations. (shrink)

Academic integrity is a growing concern in colleges and universities worldwide, with business programs no exception. Business educators have wrestled with the best ways to promote a culture of ethical behavior by implementing effective policies and practices to prevent and respond to academic misconduct (McCabe et al. 2006). Traditional punitive systems often fail to deter misconduct effectively. This paper explores both historical approaches to academic integrity and proposes adopting restorative alternatives that are centered on a foundation of moral repair. Considering (...) the unique challenges of the business school context, the paper advances the idea that promoting moral repair through restoration could reshape academic integrity enforcement, fostering a culture of trust and responsibility in business education and beyond. It specifically suggests applying Goodstein and Butterfield’s restorative justice model, which was developed with the workplace in mind, to the academic context, emphasizing proactive community standards, faculty involvement, and trust and accountability. The paper includes a case study, which describes an initial effort in applying these models through the curriculum. The discussion concludes with lessons learned, opportunities and challenges in implementing such approaches, and opportunities for future research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theories of Emotion: Expressing, Feeling, Acting by Pia CAMPEGGIANISabrina B. LittleCAMPEGGIANI, Pia. Theories of Emotion: Expressing, Feeling, Acting. New York: Bloomsbury Publishing, 2023. xiv + 199 pp. Cloth, $80.89; paper, $21.60In Theories of Emotion, Pia Campeggiani provides a philosophical introduction to the emotions. The book is multidisciplinary and empirically informed. It is organized around three “groundbreaking intuitions” of emotion theory—(1) expression, (2) subjectivity, and (3) action. Each section (...) corresponds to a different thinker—Charles Darwin, William James, and John Dewey, respectively—and each section concludes with a discussion of relevant debates. This book is outstanding. It is clearly written, well organized, and impressive in its scope. In what follows, I outline key ideas and raise questions generated by each section, then conclude with general reflections on the text.Campeggiani begins with the “scandal” of emotion research: There is no agreement about what an emotion is. In part, this lack of consensus is due to the imprecise ways we employ concepts like feelings, emotions, affect, and passions in ordinary discourse. In part, it is due to empirical difficulties. For example, Campeggiani describes how implicit assumptions and a forced-choice format compromised an experiment about expression universality.Additionally, Campeggiani points out that the category “emotions” has an internal structure that lacks clear-cut boundaries. There are paradigmatic examples of emotions, such as fear and anger, but there are also ambiguous phenomena, such as respect and modesty, which we may or may not recognize as such. Throughout the text, Campeggiani introduces and evaluates numerous accounts of emotions, drawing our attention to the strengths, limitations, and empirical adequacy of each.Part 1 begins with Charles Darwin’s contributions to emotion theory—an emphasis on the biological origins of emotions and a focus on expression. This section examines emotions in connection to adaptive fitness, exploring phenomena such as blushing when we are ashamed and the biological bases of emotions. A highlight of this section is an exploration of the social or communicative character of the emotions, which Darwin described as “only a secondary effect” of expression. Campeggiani examines emotional contagion and imitation, as well as the [End Page 141] phenomenon of feeling more pain when we express pain on our faces. There is also a rich discussion about constructionism as an alternative to basic emotions theory.Part 2 opens with William James on subjective experience. Campeggiani describes the limitations of James’s position—of understanding emotions to be reducible to feelings. For starters, this position is not empirically well supported. Campeggiani cites Walter Cannon’s observation that “many of the autonomic changes that are symptomatic of a given emotion can also occur in its absence.” Additionally, James fails to “properly flesh out the link between emotions and evaluations.” Campeggiani then describes the cognitive turn in emotion theory that emerged in response to the lack of attention paid to evaluation. Cognitive accounts of emotion deemphasize the bodily dimensions of emotional experiences in favor of the intentional properties, or “aboutness,” of emotions. Emotions see things as things.From my vantage, this was the best part of the book. Campeggiani highlights Damasio’s point that decision-making depends on having a “correct affective perception of the values at stake in a given situation.” For instance, feeling outsized or misdirected fear may undermine our decision-making. Campeggiani also introduces debates about whether emotions are appraisals, and whether emotions entail judgments or make judgments more likely. In the introduction, she mentions that “decision-making processes are always and inevitably underpinned by emotions, for good and for ill.” We see what she means in this section. Emotions participate in reason, impede reason, and have cognitive content themselves.That emotions involve or participate in our judgments raises two kinds of concerns—epistemic and normative. The epistemic worry is that inaccurate appraisals may undermine our understanding of the world. This is especially worrisome for the class of emotions Campeggiani calls “recalcitrant,” or closed off to other mental states, and for the emotions she says are “heavily influenced by our needs and goals.” Emotions are imperfectly truth-tracking, as was made clear earlier, in part 1, regarding their adaptive nature. The normative worry is that certain emotional... (shrink)

One of the more prominent early childhood interventions focused on the development of executive function skills is Tools of the Mind. Intervention studies comparing Tools classrooms with control classrooms, however, reveal inconsistent findings for children’s EF outcomes. The current study utilizes Head Start CARES teachers assigned to the Tools of the Mind enhancement intervention and the children in their classrooms. Relations between teachers’ characteristics, training attendance and implementation, and the interaction among these factors were examined as predictors of classroom-level gains (...) in EF. Results revealed several significant moderation effects indicating that Tools implementation is related to classroom EF gains for some but not all teachers. (shrink)

In The Selfish Gene, Richard Dawkins crystallized the gene's eye view of evolution developed by W.D. Hamilton and others. The book provoked widespread and heated debate. Written in part as a response, The Extended Phenotype gave a deeper clarification of the central concept of the gene as the unit of selection; but it did much more besides. In it, Dawkins extended the gene's eye view to argue that the genes that sit within an organism have an influence that reaches out (...) beyond the visible traits in that body - the phenotype - to the wider environment, which can include other individuals. So, for instance, the genes of the beaver drive it to gather twigs to produce the substantial physical structure of a dam; and the genes of the cuckoo chick produce effects that manipulate the behaviour of the host bird, making it nurture the intruder as one of its own. This notion of the extended phenotype has proved to be highly influential in the way we understand evolution and the natural world. It represents a key scientific contribution to evolutionary biology, and it continues to play an important role in research in the life sciences. The Extended Phenotype is a conceptually deep book that forms important reading for biologists and students. But Dawkins' clear exposition is accessible to all who are prepared to put in a little effort. Oxford Landmark Science books are 'must-read' classics of modern science writing which have crystallized big ideas, and shaped the way we think. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ice Cream for BreakfastMichelle MethvenIn June of 2011, on a warm sunny day in Toronto, Canada, my partner and I brought our daughter Stella into the local hospital emergency room for what we believed would be a routine check–up. She had been exhibiting worsening clumsiness and limping for the previous two weeks and we thought it would be easier just to get her seen and have whatever it was (...) dealt with rather than wait two months to see a specialist. My partner and I believed it was likely a severe ear infection, or maybe Lyme disease from a recent camping trip. We each called our workplaces and said we would be an hour or so late. Nothing could have prepared us for the news 22 hours after arriving at the hospital, that Stella had a cancerous mass in her brain. After a biopsy three days later to confirm the diagnosis, Stella was diagnosed with Diffuse Intrinsic Pontine Glioma (DIPG), and given less than a year to live.Parents most often describe DIPG as “a monster.” The tumour saturates the pons and shuts down nerve pathways one at a time. In no particular order, and in no particular time, sufferers (most often young children) lose the ability to walk, sit up, hold up their head, speak and see. The pons is also responsible for breathing, swallowing and regulating the heartbeat, so death can come in many forms at any given time. Though it destroys the brain’s ability to command, the person continues to think and understand as the main part of the brain is untouched. Different from most cancers, chemotherapy and radiation have almost no effect on DIPG; even trials with the most toxic chemotherapies do not slow its progress.My partner and I were shaken to the core at this diagnosis. Looking at our energetic, redheaded [End Page 31] mop–topped little imp, it was impossible to fathom that she had just been given a fatal diagnosis. Yet we knew the doctors at the hospital were among the best and most sought–after in the world, so denial was never a part of our mantra.A week after Stella was diagnosed, we met with a neuro–oncologist to discuss our plans. The only treatment that is slightly effective for DIPG is focal radiation, which can stall the tumor’s growth, granting what is known as a “honeymoon period” of no new symptoms. The honeymoon lasts approximately six months, but there are no guarantees. Twenty percent of children get no honeymoon whatsoever after radiation, and others get only weeks. The doctor we met with confirmed radiation would not be curative, but would “buy time”. He explained that radiation involved six weeks of treatment, seven days a week. Following the six weeks of treatment, there would be a period of anywhere from one to six months in which Stella would likely be asymptomatic. However, at some point, the symptoms generally return and when they do, children deteriorate relatively quickly. Sometimes it takes a month or two, but on occasion there is as little as two weeks between progression and death.As Stella’s parents, we were not convinced that the prescribed radiation was something we wanted to subject Stella to. Because she was only two, and a very spirited and energetic child, it would have been virtually impossible to have her lie quietly on the table in hospital each day for six weeks while radiation was put behind her ear. The neuro–oncologists’ solution was that Stella be sedated for each daily radiation treatment, which would make her groggy for a big part of the day and necessitate needles and IV. As parents, we were presented with an impossible gamble. Do we risk taking away six weeks of her still somewhat symptom–free life for a possible extra three to six months later? And the timing was difficult as well. It was late June. If we chose to radiate it would mean spending the entire summer shuttling her between hospital and home with no weeks at the cottage, and much less time to attend neighbourhood BBQ’s, parties, trips to the park, the library, science centre and zoo... (shrink)