This essay develops on the aesthetic dimensions of decolonial thought in the work of Rodolfo Kusch and Enrique Dussel, who both point us to non-objectifying modes of thinking and being. Beyond a strictly epistemological approach, decolonial critique ought to offer an account of bodies, spaces, and movements that are the very condition of thought—that is to say, the condition of a mode of thinking otherwise, beyond the dominant colonial paradigm. This account of aesthetics involves the spacing and temporalizing of bodies (...) as they live and move through the world, or what Alejandro Vallega calls living-thinking. The spacing-temporalizing of life points us also to the rhythm of life—life as movement, flow, and spacing. Turning to resistant epistemologies alongside the work of Omar Rivera, I consider how these epistemologies go beyond disembodied and abstracted ways of knowing as they sidestep the subject/object divide and engage sensuous and embodied dimensions of thinking, aesthetic experiences, diverse geographies, and histories. In closing, I argue that decolonial aesthetics also points us to a critique of the coloniality of space. Moving beyond a cartographic grid that attempts to capture subjects and spaces in advance on its coordinate plane, decolonial aesthetics opens onto the richness of embodied and cosmic spaces. (shrink)

The environmentalist’s condition can be one of loss, the perception of a depleted and polluted environment as a product of modern consumption. Compounding this grief, some environmental losses loom as unrecognizable or beyond our immediate perception. Capitalism responds to this obscure loss by offering consumption and development, perhaps of a green variety, as a panacea for pain. This paper concerns the capacities of making music, as an activity and process, to help recognize and respond to present environmentally destructive patterns of (...) grief and resource-product consumption. I see this paper as an opportunity to begin a conversation about how ecomusicology might approach discussions of environmental... (shrink)

There is a standard tradition in the ancient sources, which makes its first appearance at Thucydides 1.138.5, that, when Themistocles had fled into exile and been given the equivalent of political asylum by the Persian King Artaxerxes, he was ‘given’ the three Asiatic Greek cities of Magnesia, Myus and Lampsacus. There has been a fair amount of scholarly controversy over how the King could ‘give’ Themistocles Lampsacus, a city of great strategic importance on the Hellespont, which, by the mid-460s, was (...) almost certainly within the ambit of the Delian League, i.e. no longer his to give. My concern in this paper is not with that political problem, but rather with a different, though related, issue – whether valid conclusions can be drawn from the Thucydides passage and the subsequent tradition for the social and economic history of these three cities in the classical period. I suggest that they cannot. (shrink)

Do unto others -- Don't pester the pigeons -- Try it, you'll like it -- Be science fair -- Chicken out -- Save the whales -- Be good to bugs -- Fur is un-fur-giveable -- Don't pass the product tests -- Horsing around -- It's raining cats and dogs -- "Companimals" are priceless -- Pen pals for animals -- Watch out for animals -- Dump wasteful habits -- Free the fishes -- Art impact -- Help turtles out of trouble -- (...) Stick it to 'em! -- Call for compassion -- Check out the entertainment -- Dress to a 't' -- Sing for the animals -- Be an elefriend--get the elefacts -- Write on! -- Born free, bored stiff -- Saying goodbye to uninvited guests -- Talk to the animals -- Get your class into the act -- Hooray for holidays! -- Dressing cool to be kind -- Pig out! -- Take care of hot dogs -- Oh, deer! -- Give a well-come gift -- Critter chatter -- Pack a lunch with punch -- Be a bookworm -- Reflecting on dissecting -- Step up on your soapbox -- Lost and found -- It's your turn to set the table -- School's out -- Develop a good roadside manner -- Add a little spice to their lives -- Make sure fair is fair -- Get poetic -- Join the club -- Hang in there -- One last thing you can do to help the animals. (shrink)

Can fictions lie? According to a classic conception, works of fiction can never contain lies, since their content is not presented as true, nor is it meant to deceive us. But this classic view can be challenged. Sometimes fictions appear to make claims about the actual world, and these claims can be designed to convey falsehoods, historical misconceptions, and even pernicious stereotypes. Should we conclude that some fictional statements are lies? This article introduces two views that support a positive answer, (...) and two that support a negative one. After examining various ways in which fictions can deceive, it concludes in favour of the view that fictional statements can mislead, but never lie. (shrink)

In social cognition, knowledge-based validation of information is usually regarded as relying on strategic and resource-demanding processes. Research on language comprehension, in contrast, suggests that validation processes are involved in the construction of a referential representation of the communicated information. This view implies that individuals can use their knowledge to validate incoming information in a routine and efficient manner. Consistent with this idea, Experiments 1 and 2 demonstrated that individuals are able to reject false assertions efficiently when they have validity-relevant (...) beliefs. Validation processes were carried out routinely even when individuals were put under additional cognitive load during comprehension. Experiment 3 demonstrated that the rejection of false information occurs automatically and interferes with affirmative responses in a nonsemantic task. Experiment 4 also revealed complementary interference effects of true information with negative responses in a nonsemantic task. These results suggest the existence of fast and efficient validation processes that protect mental representations from being contaminated by false and inaccurate information. (shrink)

The Buddhist Jātaka tells the tale of a hare lounging under a palm tree who becomes convinced the Earth is coming to an end when a ripe bael fruit falls on its head. Soon all the hares are running; other animals join them, forming a stampede of deer, boar, elk, buffalo, wild oxen, rhinoceros, tigers and elephants, loudly proclaiming the earth is ending.1 In the American retelling, the hare is ‘chicken little,’ and the exaggerated fear is that the sky is (...) falling. The story offers a cautionary tale for considering the trend towards calamity thinking in artificial intelligence (AI). A growing chorus of tech leaders has warned that AI poses existential risk (X-Risk) that could result in the extinction of the human species, the collapse of civilisation, or a colossal decline in human potential and culture. In 2014, Hawking told the Washington Post that AI, ‘could spell the end of the human race’.2 Musk has repeatedly warned about AI’s perils, calling AI, ‘more dangerous than nukes’, recommending colonising Mars to ensure ‘a bolt-hole if AI goes rogue and turns on humanity’,3 and donating 10 million dollars to the Future of Life Institute to jumpstart research on AI’s X-Risk. Gates has stated, ‘I am in the camp…concerned about super intelligence…I agree with … Musk and some others on this and don’t understand why some people are not concerned’.4 Altman, CEO of OpenAI, has fretted that technologies OpenAI was building could endanger humanity—‘even destroying the world as we know it’.5 This paper offers a critical appraisal of the rise of calamity thinking in the scholarly AI ethics literature. It cautions against viewing X-Risk in isolation and highlights ethical considerations sidelined when X-Risk takes centre stage. Section I introduces a working definition of X-Risk, considers its likelihood and …. (shrink)

As AI Systems become increasingly autonomous, they are expected to engage in decision-making processes that have moral implications. In this research we integrate theoretical and empirical lines of thought to address the matters of moral reasoning and moral uncertainty in AI Systems. We reconceptualize the metanormative framework for decision-making under moral uncertainty and we operationalize it through a latent class choice model. The core idea being that moral heterogeneity in society can be codified in terms of a small number of (...) classes with distinct moral preferences and that this codification can be used to express moral uncertainty of an AI. Choice analysis allows for the identification of classes and their moral preferences based on observed choice data. Our reformulation of the metanormative framework is theory-rooted and practical in the sense that it avoids runtime issues in real time applications. To illustrate our approach we conceptualize a society in which AI Systems are in charge of making policy choices. While one of the systems uses a baseline morally certain model, the other uses a morally uncertain model. We highlight cases in which the AI Systems disagree about the policy to be chosen, thus illustrating the need to capture moral uncertainty in AI systems. (shrink)

Background: Informed consent is regarded as a contract between autonomous and equal parties and requires the elements of information disclosure, understanding, voluntariness and consent. The validity of informed consent for critically ill patients has been questioned. Little is known about how these patients experience the process of consent.Objective: The aim of this study was to explore critically ill patients’ experience with the principle of informed consent in a clinical trial and their ability to give valid informed consent.Design: 11 stroke patients (...) who had been informed about thrombolytic treatment and had been through the process of deciding whether or not to participate in a thrombolysis trial went through repeated qualitative semistructured interviews.Results: None of the patients had any clear understanding of the purpose of the trial. Neither did they understand the principles of randomisation and voluntariness. Reasons for giving or not giving consent were trust, conceptions of benefits and risks and altruism. Several patients found it immoral to involve patients in the consent procedure and argued that this was the doctors’ responsibility. Others argued that it is a duty to question patients and perceived it as a sign of being treated with respect and dignity. A majority of the patients found the consent process vague and ambiguous.Conclusions: The results indicate that the principle of informed consent from critically ill patients cannot be seen as a contract between equal and autonomous parties. Further studies are needed to explore critically ill patients’ experiences with the process of informed consent. (shrink)

Phenomenological psychology has emphasized that experience as it is immediately "given" to the experiencing individual is an appropriate subject matter for psychological investigation. Consideration of the methodological implications of this stance suggests that certain text analytic and cluster analytic methods could be used to discern the identifying properties of different types of experience. We present results of a study in which textual analysis was used to identify recurrent properties of participants' verbal accounts of their experience, cluster analysis was used to (...) classify participants' accounts according to the similarity of their profiles of properties, and the resulting clusters were examined for their more or less characteristic prpoerties. Using these methods, three distinct types of experience of a Renaissance painting were identified and described. This demonstration of numerically aided phenomenological methods indicates the compatibility of rigorous and sensitive descriptions of experiential accounts. (shrink)

Sensation should be understood globally: some infant behaviors do not make sense on the model of separate senses; neonates of all species lack time to learn about the world by triangulating among different senses. Considerations of natural selection favor a global understanding; and the global interpretation is not as opposed to traditional work on sensation as might seem.

6 - Human Cockfighting in the Squared Circle -- 7 - Perfect Praxis in Aikido -- Section III - Reflexivity, Self, and Other -- 8 - Tension, Reflection, and Agency in the Life of a Hausa Grain Trader -- 9 - Reflexivity in Intersubjective and Intercultural Borderlinking -- Section IV - Reflexivity, Democracy, and Government -- 10 - The Latent Effects of the Distribution of Political Reflexivity in Contemporary Democracies -- Postscript - Reflexivity and Social Science -- Index.

In lieu of an abstract, here is a brief excerpt of the content:Ease of CareTravis CearleyRoughly nine years ago, I was deer hunting on a friend's property just outside of Canaan, Missouri, where he had graciously provided me access to one of his premier tree stands. It was early in bow season and even though the calendar had suggested it was Autumn, the weather mirrored a classic Missouri August morning, muggy and thick. Dressed in my lightest hunting gear, I had (...) just gotten settled—bow in lap, arrow knocked, binoculars ready—when I felt a stinging sensation in my calf. Slowly hiking up my pant leg so as not to make too many sudden movements, I saw a familiar yet harrowing sight: Seed ticks had invaded my socks, and I was covered from the mid-calf down with black pulsating parasites. I knew instantly (as many outdoorsmen know) that my hunt had come to an end. Somewhere on the hike down the hillside or the climb into the tree, I had stepped on a nest of ticks, and the rest of my morning was shot (no pun intended). I quickly clambered out of the stand, made my way back to my friend's house and proceeded to strip down in his front yard. Left with only one option, I placed all "infected" articles of clothing in a burn pile, took my naked self to the nearest hose, rinsed feverishly in his yard, and checked every inch of my body for burrowed residents. You see, removal—complete and thorough—is the only way to keep the tick from becoming an unwelcome guest, causing itching and burning, or even spreading disease.The seed tick is an especially menacing foe. He can be invisible to the naked eye. He is faster than you would expect. He travels in herds. However, all ticks, regardless of size, are capable of causing weeks of discomfort. This discomfort and concern multiplies based on where the tick chooses to lodge itself. You see, there is a spot on the base of a man's penis where the penis itself meets the scrotum—a private, quiet, warm and damp location—that is particularly enticing to the tick. As an avid outdoorsman and lover of nature, I have had my fair share of uninvited guests attempt to call this place home. Multiple times in my life, I have taken caution in the painstaking removal of ticks in all sorts of locations, and I will tell you, few tasks are more galling or difficult than removing one burrowed next to the crease of the scrotum just under the penis itself. It seems they are keenly aware of the small bit of extra skin that exists on this part of the male anatomy, and part of me believes that they are also aware of the difficulty it presents. [End Page 79]At the time of the Canaan seed tick attack, my wife was pregnant with our first son who was due to be born that coming December. I am now the father of three sons. As a family, being outside is our favorite pastime. We run, we play, we chore; and whenever we can, we spend time in the woods. Whether we are exploring the various state parks of Missouri or rambling through the treelines of the family farm, some of the happiest times we spend as a family include nature. Nature means bugs; and even as a veteran tick assassin, I wasn't really prepared for the painstaking process of removing one from my son's nether regions. A few shivers, a few gasps and more than a few tears—juggling the "Get it off me, dad" with the "Don't worry, Daddy does this all the time"—nothing builds trust like tweezing a parasite from another person's scrotum. It is these moments that also remind me of how thankful I am for the absence of foreskin.I am a circumcised father of three circumcised boys. My wife and I chose to have our sons "clipped" after their births and by a medical professional. When my wife and I discussed whether or not to have them circumcised, I consistently came back to the same thought: "What benefit could foreskin... (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

Background: Informed consent is regarded as a contract between autonomous and equal parties and requires the elements of information disclosure, understanding, voluntariness and consent. The validity of informed consent for critically ill patients has been questioned. Little is known about how these patients experience the process of consent.Objective: The aim of this study was to explore critically ill patients’ experience with the principle of informed consent in a clinical trial and their ability to give valid informed consent.Design: 11 stroke patients (...) who had been informed about thrombolytic treatment and had been through the process of deciding whether or not to participate in a thrombolysis trial went through repeated qualitative semistructured interviews.Results: None of the patients had any clear understanding of the purpose of the trial. Neither did they understand the principles of randomisation and voluntariness. Reasons for giving or not giving consent were trust, conceptions of benefits and risks and altruism. Several patients found it immoral to involve patients in the consent procedure and argued that this was the doctors’ responsibility. Others argued that it is a duty to question patients and perceived it as a sign of being treated with respect and dignity. A majority of the patients found the consent process vague and ambiguous.Conclusions: The results indicate that the principle of informed consent from critically ill patients cannot be seen as a contract between equal and autonomous parties. Further studies are needed to explore critically ill patients’ experiences with the process of informed consent. (shrink)

Examination is made of a range of cyborg solutions to bodily problems due to damage, but here with particular reference to aging. Both technological and animal implants, transplants and prosthetic devices are phenomenologically analyzed. The resultant trade-off phenomena are compared to popular culture technofantasies and desires and finally to human attitudes toward mortality and contingency. The parallelism of resistance to contingent existence and to becoming a cyborg is noted.

In lieu of an abstract, here is a brief excerpt of the content:Breathing with Denise LevertovNoëlle Batt (bio)The BreathingAn absolutepatience.Trees standup to their knees infog. The fogslowly flowsuphill.Whitecobwebs, the grassleaning where deerhave looked for apples.The woodsfrom brook to wherethe top of the hill looksover the fog, send upnot one bird.So absolute, it isno other thanhappiness itself, a breathingtoo quiet to hear.–Denise LevertovI propose to share this poem, "The Breathing," by Denise Levertov, with the readers of SubStance as a moment of (...) calm, an antidote to violence and pain, and a gesture of hope in the future relations between humans and the many creatures of the vegetal and animal world.What is remarkable in this imaginary landscape sketched by Levertov is the peacefulness of the scene which is mostly due to the absence of movement, the absence of action performed in praesentia between the first and the last word of the poem. And since we know that poets are marvelous craftsmen and craftswomen of language, we shall look for the cause to this effect in the poetic language and shall find it in the subtly modulated use (or non-use) of verbs in the poem, a different kind of use in each sentence, yet, converging to the same effect. And since verbs are also the main markers of time in language, the poem appears in the literal sense, as a verbal, a literary "still life." [End Page 160]The first sentence strikes a strong blow since the verb is quite simply omitted in it. The sentence is a nominal clause: "An absolute/ patience."In the second sentence, "Trees stand/ up to their knees in/ fog," we find a static verb "to stand" and the personification of the trees clearly establishes that they might have moved, but they have not; they stand wrapped in the fog up to "their knees," i.e., between a quarter and a fifth of their trunks.In the third sentence, something moves: "The fog/ slowly flows/ uphill." But there is something contradictory in the fact of flowing up. Usually, rivers or brooks flow down. Flowing up, then, implies a difficulty to flow and consequently a slowing down of the rhythm of the flow which is here expressed by the adverb "slowly"; the adverb seems here all the more congenial to the flowing in that the two words are linked by a strong paronomastic effect: slowly flows, set in the two /s/, one at the beginning of slowly, the other at the end of flows: slowly flows.The fourth sentence is characterized by still another pattern: "White/ cobwebs. The grass/leaning where deer/have looked for apples." We now face the result of two past actions, actions that were performed before the scene that the poem invites us to contemplate was composed. In effect, the "white cobwebs" have been woven by the spiders at a previous moment, and they even had time to be colored in white by the drops of the humid fog. And "the grass leaning where deer have looked for apples" tells us that deer were here earlier, looking for food, but they no longer are, and what signals their former presence is a tenuous detail: the inclination of the grass, bent by their walking on it and searching through it, remaining bent for a little while after their passage. And to achieve her verbal strategy, Levertov even suppresses the auxiliary which might have been here. We read "the grass leaning" with a lonely present participle, and not "the grass is leaning."Another interesting grammatical event happens in the fifth sentence: "The woods/ from brook to where/ the top of the hill looks/ over the fog, send up/ not one bird." The first verb is a verb of perception ("to look") and not a verb of action. But the second verb is a verb of action ("to send up"), which is used in a quite unusual variety of the verbal negative form since instead of having the negative adverb attached to the verb (don't send up), we have an affirmative use of the verb ("send... (shrink)

In 2002, Evolution and Human Behavior published a study purporting to show that the differences in toy preferences commonly attributed to girls and boys can also be found in male and female vervet monkeys, tracing the origin of these differing preferences back to a common ancestor. Despite some flaws in its design and the prima facie implausibility of some of its central claims, this research received considerable attention in both scientific circles and the popular media. In what follows, I survey (...) some of the problems with this study that seem to be characteristic of research into sex differences in a particular research program in evolutionary psychology. I suggest that an epistemology of ignorance is at work that suppresses the methods and insights of an earlier research program, which emphasized the complexity and contingency that ultimately grounds the variety of human behaviors, in favor of one that has been widely criticized as empirically flawed and politically pernicious. I conclude with some speculative remarks on the persistence of this problematic research program in evolutionary psychology. (shrink)

Research has shown that observers automatically align their attention with another’s gaze direction. The present study investigates whether inferring another’s attended location affects the observer’s attention in the same way as observing their gaze direction. In two experiments, we used a laterally oriented virtual human head to prime one of two laterally presented targets. Experiment 1 showed that, in contrast to the agent with closed eyes, observing the agent with open eyes facilitated the observer’s alignment of attention with the primed (...) target location. Experiment 2, where either sunglasses or occluders concealed the agent’s eye direction, showed that only the agent with the sunglasses facilitated the observer’s alignment of attention with the target location. Taken together, the data demonstrate that head orientation alone is not sufficient to trigger a shift in the observer’s attention, that gaze direction is crucial to this process, and that inferring the region to which another person is attending does facilitate the alignment of attention. (shrink)

The prosaic content of these sayings is that events change from future to present and from present to past. Your next birthday is in the future, but with the passage of time it draws nearer and nearer until it is present. 24 hours later it will be in the past, and then lapse forever deeper into history. And things get older: even if they don’t wear out or lose their hair or change in any other way, their chronological age is (...) always increasing. These changes are universal and inescapable: no event could ever fail to be first future, then present, then past, and no persisting thing can avoid growing older. We call this process time’s passage. (shrink)

Mitchell: Could we begin by discussing the problem of public art? When we spoke a few weeks ago, you expressed some uneasiness with the notion of public art, and I wonder if you could expand on that a bit.Kruger: Well, you yourself lodged it as the “problem” of public art and I don’t really find it problematic inasmuch as I really don’t give it very much thought. I think on a broader level I could say that my “problem” is with (...) categorization and naming: how does one constitute art and how does one constitute a public? Sometimes I think that if architecture is a slab of meat, then so-called public art is a piece of garnish laying next to it. It has a kind of decorative function. Now I’m not saying that it always has to be that way—at all—and I think perhaps that many of my colleagues are working to change that now. But all too often, it seems the case.Mitchell: Do you think of your own art, insofar as it’s engaged with the commercial public sphere—that is, with advertising, publicity, mass media, and other technologies for influencing a consumer public—that it is automatically a form of public art? Or does it stand in opposition to public art?Kruger: I have a question for you: what is a public sphere which is an uncommercial public sphere? Barbara Kruger is an artist who works with words and pictures. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Professor of English and art at the University of Chicago. (shrink)

Leading prescriptions for addressing the spread of fake news, misinformation, and other forms of epistemically toxic content online target either the platform or platform users as a single site for intervention. Neither approach attends to the intense feedback between people, posts, and platforms. Leading prescriptions boil down to the suggestion that we make social media more like traditional media, whether by making platforms take active roles as gatekeepers, or by exhorting individuals to behave more like media professionals. Both approaches are (...) impracticable and wrong. (shrink)

One of the central considerations to be taken into account in evaluating the ethics of compensation for donated plasma is respect for donor autonomy. And one of the main arguments against compensated donation systems is that many donors do or would come from circumstances of poverty that restrict their alternatives in a way that compromises those donors’ autonomy. In this paper, I develop and defend a novel version of this “compromised autonomy argument” which improves upon extant versions by employing a (...) more nuanced account of the relationship between alternatives and autonomy. According to the version of that argument I offer, donors lack autonomy with respect to the sale of their plasma if their economic circumstances leave them with no choice but to sell their plasma on the basis of a desire they have had no choice but to hold. After explicating the key terms of this argument, I examine its policy implications. I argue that, given several reasonable empirical assumptions, my argument implies that a majority of individuals whose income falls below a specified threshold would indeed lack autonomy with respect to the sale of their plasma. Most individuals whose income falls above that threshold, on the other hand, would be able to autonomously sell their plasma. I argue that respect for donor autonomy therefore speaks in favor of an income-restricted system of compensated donation which permits collection centers to purchase plasma from those whose income falls above the relevant threshold, but not those below it. (shrink)

Uses real-life examples and five basic moral principles to encourage teens to make the right choices in various situations related to friends, family, school, and relationships.

Political scientists have conventionally assumed that achieving democracy is a one-way ratchet. Only very recently has the question of ‘democratic backsliding’ attracted any research attention. We argue that democratic instability is best understood with tools from complexity science. The explanatory power of complexity science arises from several features of complex systems. Their relevance in the context of democracy is discussed. Several policy recommen- dations are offered to help stabilize current systems of representative democracy.

A number of clarifications of the target article and some corrections are made. I clarify which concepts the thesis was intended to be about, what “descriptionism” means, the difference between “concepts” and “conceptions,” and why extensions are not determined by conceptions. I clarify the meaning of “substances,” how one knows what inductions to project over them, the connection with “basic level categories,” how it is determined what substance a given substance concept is of, how equivocation in concepts occurs, and the (...) role of language in the conception of substances. Finally, I clarify exactly why I said that concepts of individuals, real kinds, and stuffs have “a common structure,”. (shrink)

This paper presents scientists’ understanding of their roles in society and corresponding responsibilities. It discusses the researchers’ perspective against the background of the contemporary literature on scientific responsibility in the social sciences and philosophy and proposes a heuristic that improves the understanding of the complexity of scientific responsibility. The study is based on qualitative interviews with senior scientists. The presented results show what researchers themselves see as their responsibilities, how they assume them, and what challenges they perceive with respect to (...) their responsibilities. Regarding the latter, the interviewed researchers highlight those aspects of responsibility that go beyond the expertise of their professional role, and thus cannot be carried by scientists alone. For example, scientists alone cannot determine the general direction science takes, or the useful application of their research. The interviewed researchers describe those challenges as responsibilities that must be shared across different societal groups. In the theoretical literature, responsibility has been described as a relation between an actor (who), the action for which someone is responsible (what), and the normative framework against which someone is responsible (why). We will draw on this concept of “relational responsibility” to identify the various actors, normative frameworks, and actions relevant to scientific responsibility. This will serve as a heuristic tool to help identify the entanglement of responsibilities spread across several societal groups. (shrink)

In earlier work I wrestled with the question of the “ontological status” of organisms. It proved difficult to come to a clear decision, because there are many candidates for what such a status is or would be and of course many definitions of what organisms are. But what happens when we turn to theoretical projects “about” organisms that fall under the heading “organicist”? I first suggest that organicist projects have a problem: a combination of invoking Kant, or at least a (...) Kantian “regulative ideal,” usually presented as the epistemological component (or alternately, the complete overall vision) of a vision of organism – as instantiating natural purposes, as a type of “wholeWhole, wholes” distinct from a merely mechanistically specifiable set of parts, etc. – and a more ontological statement about the inherent or essential features of organisms, typically presented according to a combination of a “list of heroes” or “laundry list” of properties of organisms. This amounts to a category mistake. Other problems concern the too-strict oppositions between mechanism and organi(ci)sm, and symmetrical tendencies to “ontologize” (thus objectifying) properties of organisms and to “subjectify” them (turning them into philosophies of subjectivity). I don’t mean to suggest that no one should be an organicist or that Kant is a name that should be banished from civilized society. Rather, to borrow awkwardly from Sade, “organicists, one more effort!” if one wants a naturalistic, non-foundationalist concept of organicism, which is indeed quite active in recent theoretical biology, and which arguably was already alive in the organismic and even vitalist theories of thinkers like Goldstein and Canguilhem. (shrink)

Theoretical arguments and empirical investigations indicate that a high proportion of published findings do not replicate and are likely false. The current position paper provides a broad perspective on scientific error, which may lead to replication failures. This broad perspective focuses on reform history and on opportunities for future reform. We organize our perspective along four main themes: institutional reform, methodological reform, statistical reform and publishing reform. For each theme, we illustrate potential errors by narrating the story of a fictional (...) researcher during the research cycle. We discuss future opportunities for reform. The resulting agenda provides a resource to usher in an era that is marked by a research culture that is less error-prone and a scientific publication landscape with fewer spurious findings. (shrink)

A Review of ASSC-9 at Cal-Tech, June 24-27, 2005.