The authors of the target article briefly discuss the issue of “sample ownership” when scientists collaborate with citizen science partners (Wiggins and Wilbanks 2019). This is an important issue,...

Dispositional forgiveness is positively associated with many facets of wellbeing and has protective implications against depression and anxiety in adolescents. However, little work has been done to examine neurobiological aspects of forgiveness as they relate to clinical symptoms. In order to better understand the neural mechanisms supporting the protective role of forgiveness in adolescents, the current study examined the middle frontal gyrus, which comprises the majority of the dorsolateral prefrontal cortex and is associated with cognitive regulation, and its relationship to (...) forgiveness and clinical symptoms in a sample of healthy adolescents. In this cross-sectional study, larger MFG volume was significantly associated with higher self-reported dispositional forgiveness scores and lower levels of depressive and anxiety symptoms. Forgiveness mediated the relationship between MFG volume and both depressive and anxiety symptom levels. The mediating role of forgiveness in the relationship between MFG volume and clinical symptoms suggests that one way that cognitive regulation strategies supported by this brain region may improve adolescent mental health is via increasing a capacity for forgiveness. The present study highlights the relevance of forgiveness to neurobiology and their relevance to emotional health in adolescents. Future longitudinal studies should focus on the predictive quality of the relationship between forgiveness, brain volume and clinical symptoms and the effects of forgiveness interventions on these relationships. (shrink)

Discussions concerning whether there is a natural right to health care may occur in various forms, resulting in policy recommendations for how to implement any such right in a given society. But health care policies may be judged by international standards including the UN Universal Declaration of Human Rights. The rights enumerated in the UDHR are grounded in traditions of moral theory, a philosophical analysis of which is necessary in order to adjudicate the value of specific policies designed to enshrine (...) rights such as a right to health care. We begin with an overview of the drafting of the UDHR and highlight the primary influence of natural law theory in validating the rights contained therein. We then provide an explication of natural law theory by reference to the writings of Thomas Aquinas, as well as elucidate the complementary “capabilities approach” of Martha Nussbaum. We conclude that a right to health care ought to be guaranteed by the state. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can (...) be felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can (...) be felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can (...) be felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

Does telling a story imply a fictional world in which that story takes place? In contemporary philosophy, “fictional worlds” are one solution to the problem of how there can be true and false judgments about fictional characters. Fictional-world accounts generally disregard whether facts are explicitly stated in the story or not; it is enough for them to be logically implied. And yet, as Ruth Lorand has observed, whether a fact is stated or merely implied changes the meaning of a story. (...) “Imagine that the original text contains the following sentence: ‘Daisy Miller is human and as such she was born to human parents.’ Wouldn’t.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Klossowski, Deleuze, and OrthodoxyEleanor Kaufman (bio)Among the many strange and wonderful things to be found there, Pierre Klossowski's oeuvre is a preeminent illustration of what divides univocity and equivocity and therefore serves as one of the twentieth century's most instructive models for thinking the complexity of the dialectic. Univocity and equivocity are significant both in their roots in Scholastic philosophy, as the idea that Being is expressed in either (...) one or several senses, and as belonging to a longstanding framework that helps demarcate the differences, nuanced yet significant, among members of the extraordinary generation of French intellectuals of which Klossowski was a part. Thus, these terms, apart from their theological and philosophical import, will serve as a heuristic for renarrating points of filiation and divergence among a series of prominent French thinkers, primarily Bataille, Klossowski, and Deleuze, but also extending backward to Sartre and forward to Badiou to frame the series. I will approach this in segmented fashion, first opposing Bataille's dialectic of transgression to Klossowski's more univocal method of disjunctive synthesis. When juxtaposed with Deleuze's Spinozist affirmation of univocity, however, Klossowski would seem to be more on the side of the equivocal. Whereas Deleuze criticizes the realm between the univocal and the equivocal as the lukewarm space of the analogical, my contention is that this middle realm allows for a space of movement and reversal that escapes the pitfalls Deleuze locates in the dialectic, and does so without a strict adherence to Spinozist univocity. Whereas Bataille and Deleuze remain closer to Klossowski in the tenor of their thought, I will nonetheless suggest in conclusion that Sartre and Badiou are actually closer to Klossowski on a formal level, in that each poses a similarly analogical challenge to the thought of the dialectic.For many reasons Bataille and Klossowski can be paired together. They were contemporaries, both born around the turn of the century, both writing in a variety of literary and philosophical genres, including pornographic or semi-pornographic fiction, and working outside the academy. Both wrote studies of Nietzsche, of Sade, and radical economic treatises. They were friends and fellow members in the late 1930s of the College of Sociology, which was modeled after a secret society, the members taking great interest in such topics as sacrifice and headlessness. Bataille and Klossowski wrote about each other. Both were at different points obsessed with Roman Catholicism, both at different points prepared to enter monastic orders, both in different fashions fell away. As might easily be imagined, their fiction is an outrageous mixture of the sacred and the profane, including sexual encounters and other desecrations staged at church alters and the like. Both work in that realm where pornography and theology come together. Yet while the more familiar Bataille uses pornography toward transgressive aims, the lesser-known Klossowski uses a more nuanced and interesting mechanism of boredom to elaborate an intrinsically disjunctive structure.Even boredom, for Bataille, partakes of the transgressive. In his novella The Story of the Eye, the narrator describes offhandedly how he and his companion Simone have just found their friend Marcelle's body. She has hung herself. The narrator and Simone [End Page 47] take the body down and have sex for the first time next to it. Then the narrator describes the boredom that ensues even in the face of death: "We were perfectly calm, all three of us, and that was the most hopeless part of it. Any boredom in the world is linked, for me, to that moment and, above all, to an obstacle as ridiculous as death. But that won't prevent me from thinking back to that time with no revulsion and even with a sense of complicity. Basically, the lack of excitement made everything far more absurd, and thus Marcelle was closer to me dead than in her lifetime, inasmuch as absurd existence, so I imagine, has all the prerogatives" [59–60]. This is actually an unusually meditative moment in Bataille's story of murder, priests, bullfights, and constant sex.1 Here his narrator links boredom to death, and to a reflection on the absurd boundary between life and death. But by commenting on boredom... (shrink)

What if you're not who you think you are? What if you don't really know the people closest to you? And what if your most deeply-held beliefs turn out to be. wrong? In Stop Being Reasonable, philosopher Eleanor Gordon-Smith tells gripping true stories that show the limits of human reason. Susie realises her husband harbours a terrible secret, Dylan leaves the cult he's been raised in since birth, Alex discovers he can no longer return to his former identity after (...) impersonating someone else on reality TV. All of them radically alter their beliefs about the things that matter most. What makes them change course? What does this say about our own beliefs? And, in an increasingly divided world, what does it teach us about how we might change the minds of others? Stop Being Reasonable is a mind-changing exploration of the murky place where philosophy and real life meet. (shrink)

This paper examines moral misconduct and recidivism at the corporate level. We analyze the factors that facilitate moral transgressions and why some companies appear to be serial offenders. We propose that negative learning is a core process that encourages repeat misconduct. We offer a framework of negative learning, grounded in a case example. The framework also suggests circumstances that reverse the vicious selfreinforcing cycle of negative learning, so companies learn to adopt a more ethical stance when faced with moral choices.

Aristotle's theory of moral character focuses on developing virtues, the deep internal dispositional traits from which external actions naturally flow. Aristotle describes moral virtue as a human excellence that can be developed through practice. The morally worst person is the vicious person who does the wrong thing, desires the wrong thing, and doesn't even know the right thing to do—perhaps even mistaking the wrong thing to do for the right thing. This was the sort of person Eleanor was when (...) she entered The Good Place. One objection to the possibility of moral development is called situationism: the claim that people don't really live according to moral character but are overwhelmingly shaped by the situations around them. As Eleanor learns in The Good Place, the road to being a better person starts with caring about those close to us. (shrink)

Buddhism comes up several times in The Good Place. According to Buddhism, what we think of as a “self” or “soul” is merely a convenient designator, a useful fiction, that doesn't correspond to any actual thing in the world. In The Good Place, Eleanor's entire journey to becoming a better person is predicated on the belief that she can indeed change herself for the better. If change is possible, it is because that part of the self is capable of (...) change. Buddhist equanimity does not involve ignoring the suffering of others. In fact, compassion is one of the chief virtues of Buddhism. Over the course of The Good Place, the characters transform from self‐obsessed people who don't understand the amount of harm they are causing to themselves and others into people who have come to grips with the consequences of their past deeds. (shrink)

_Martin Buber: His Intellectual and Scholarly Legacy_ is a unique volume on one of the most pivotal figures of modern Jewish thought. These essays by leading scholars explore Buber’s influential dialogues with Christianity, politics, philosophy, and Jewish sources.

_ Source: _Volume 25, Issue 1, pp 131 - 161 Martin Buber denied consistently that he was a theologian because he repudiated abstract discourse about God. However, he did affirm that intersubjective events in the world express theological truth, even if that truth cannot be possessed or professed thereafter as noetic content. In this paper I introduce a concept of “embodied theology” to elucidate this nuance in Buber’s religious thought, and I show how his Ḥasidic writings shed unique light on (...) these matters. Through hermeneutical investigations of his Ḥasidic tales vis-à-vis the original sources, I illuminate Buber’s conviction that genuine sages convey theological meaning through the very spiritual-corporeal dynamics of their lives—or what Buber calls their “sacramental existence.”. (shrink)

I argue that the need to understand spacetime structure as emergent in quantum gravity is less radical and surprising it might appear. A clear understanding of the link between general relativity's geometrical structures and empirical geometry reveals that this empirical geometry is exactly the kind of thing that could be an effective and emergent matter. Furthermore, any theory with torsion will involve an effective geometry, even though these theories look, at first glance, like theories with straightforward spacetime geometry. As it's (...) highly likely that there will be a role for torsion in quantum gravity, it's also highly likely that any theory of quantum gravity will require us to get to grips with emergent spacetime structure. (shrink)

For centuries in the UK and elsewhere, charities have been widely regarded as admirable and virtuous organisations. Business corporations, by contrast, have been characterised in the popular imagination as entities that lack a capacity for moral judgement. Drawing on the philosophical literature on the moral agency of organisations, we examine how the law shapes the ability of charities and business corporations headquartered in England to exercise moral agency. Paradoxically, we find that charities are legally constrained in exercising moral agency in (...) ways in which business corporations are not. Implications for charities and business corporations are then explored. (shrink)

Large, black, flightless birds with unpredictable tempers and colourful heads and necks, cassowaries have enthralled European audiences for centuries, but perhaps no one more so than private collector and zoologist Lionel Walter Rothschild (1868-1937). Throughout the late 19th and early 20th centuries, Rothschild acquired hundreds of living cassowaries which were kept in his private zoological collection. This paper explores the nature of Rothschild's private zoo and how the collection of living cassowaries was used to support his zoological activities. Spread across (...) three sites-the family estate at Tring Park, the zoological gardens in Regent's Park, and the business premises of Cambridge-based taxidermist Frederick Doggett-it will examine how Rothschild used the living birds kept in his private zoo to devise and inform a process for the preparation and display of cassowary specimens in museum galleries. It will show how he recruited specialist artists and taxidermists to perfect the art, and the significant financial investment this entailed. This is followed by exploration of how Rothschild's access to and observations of living birds informed his taxonomic work and, in particular, the identification of species and subspecies. The argument is made that Rothschild's private zoo and access to living cassowaries enabled his dedication to the study of the genus and ultimately underpinned his reputation as a world authority on cassowaries in the early 20th century. (shrink)

Several modern accounts of explanation acknowledge the importance of abstraction and idealization for our explanatory practice. However, once we allow a role for abstraction, questions remain. I ask whether the relation between explanations at different theoretical levels should be thought of wholly in terms of abstraction, and argue that changes of the quantities in terms of which we describe a system can lead to novel explanations that are not merely abstractions of some more detailed picture. I use the example of (...) phase transitions as described by statistical mechanics and thermodynamics to illustrate this, and to demonstrate some details of the relationship between abstraction, idealization, and novel explanation. (shrink)

Recent discussions of emergence in physics have focussed on the use of limiting relations, and often particularly on singular or asymptotic limits. We discuss a putative example of emergence that does not fit into this narrative: the case of phonons. These quasi-particles have some claim to be emergent, not least because the way in which they relate to the underlying crystal is almost precisely analogous to the way in which quantum particles relate to the underlying quantum field theory. But there (...) is no need to take a limit when moving from a crystal lattice based description to the phonon description. Not only does this demonstrate that we can have emergence without limits, but also provides a way of understanding cases that do involve limits. (shrink)

Miranda Fricker’s influential concept of epistemic injustice has recently seen application to many areas of interest, with an increasing body of healthcare research using the concept of epistemic injustice in order to develop both general frameworks and accounts of specific medical conditions and patient groups. This paper illuminates tensions that arise between taking steps to protect against committing epistemic injustice in healthcare, and taking steps to understand the complexity of one’s predicament and treat it accordingly. Work on epistemic injustice is (...) therefore at risk of obfuscating legitimate and potentially fruitful inquiry. This paper uses Chronic Fatigue Syndrome/Myalgic Encephalomyelitis as a case study, but I suggest that the key problems identified could apply to other cases within healthcare, such as those classed as Medically Unexplained Illnesses, Functional Neurological Disorders and Psychiatric Disorders. Future work on epistemic injustice in healthcare must recognise and attend to this tension to protect against unsatisfactory attempts to correct epistemic injustice. (shrink)

This paper looks at the relationship between spacetime functionalism and Harvey Brown’s dynamical relativity. One popular way of reading and extending Brown’s programme in the literature rests on viewing his position as a version of relationism. But a kind of spacetime functionalism extends the project in a different way, by focussing on the account Brown gives of the role of spacetime in relativistic theories. It is then possible to see this as giving a functional account of the concept of spacetime (...) which may be applied to theories that go beyond relativity. This paper explores the way in which both the relationist project and the functionalist project relate to Brown’s work, despite being incompatible. Ultimately, these should not be seen as two conflicting readings of Brown, but two different directions in which to take his project. (shrink)

Loneliness is often described as a deadly epidemic sweeping across the population, a silent killer. Loneliness, we are told, is a social disease that must be cured. But what does it mean to think of loneliness as a feminist issue, and what might a specifically feminist theorisation bring to conceptualisations of loneliness? In this paper, I argue that feminism helps us see that loneliness is not just personal but political. I trace how stories of loneliness surface, circulate, shift and compound (...) within the specificity of the present, centring on recent strategies proposed by the UK government in their ‘national mission to end loneliness’. I outline how this policy discourse upholds certain normative attachments as having the promise to alleviate loneliness: coupled love, the family, community. Such framings serve to depoliticise contemporary conditions of loneliness, positioning loneliness as a personal failure, with the cure for loneliness as the responsibility of individuals and communities. Absent in government depictions of the problem of loneliness are the wider mechanisms that condemn people to lonely lives, when infrastructures fail, when people find themselves violently cut off from the world. Finally, I speculate on what might happen if we were to challenge this framing of loneliness as always and only a problem in need of a cure. I seek to uncover some of the political potentials of loneliness, asking what can be learnt through reflecting upon shared experiences of loneliness? For, as feminist politics has shown us, feelings of disaffection and alienation can help us imagine other worlds. (shrink)

Prelinguistic infants must find a way to isolate meaningful chunks from the continuous streams of speech that they hear. BootLex, a new model which uses distributional cues to build a lexicon, demonstrates how much can be accomplished using this single source of information. This conceptually simple probabilistic algorithm achieves significant segmentation results on various kinds of language corpora - English, Japanese, and Spanish; child- and adult-directed speech, and written texts; and several variations in coding structure - and reveals which statistical (...) characteristics of the input have an influence on segmentation performance. BootLex is then compared, quantitatively and qualitatively, with three other groups of computational models of the same infant segmentation process, paying particular attention to functional characteristics of the models and their similarity to human cognition. Commonalities and contrasts among the models are discussed, as well as their implications both for theories of the cognitive problem of segmentation itself, and for the general enterprise of computational cognitive modeling. (shrink)

A lively and engaging study of Roman culture and Latin literature as reflected in the system of address, based on a corpus of 15,441 addresses from literary and non-literary sources. A valuable resource for Latin teachers and active users of the language; the text will be enjoyed even by those with no prior knowledge of Latin.

I argue that the best spacetime setting for Newtonian gravitation (NG) is the curved spacetime setting associated with geometrized Newtonian gravitation (GNG). Appreciation of the ‘Newtonian equivalence principle’ leads us to conclude that the gravitational field in NG itself is a gauge quantity, and that the freely falling frames are naturally identified with inertial frames. In this context, the spacetime structure of NG is represented not by the flat neo-Newtonian connection usually made explicit in formulations, but by the sum of (...) the flat connection and the gravitational field. 1 Introduction2 Newtonian Gravity: The Orthodox Approach3 Newtonian Gravity: Additional Symmetries4 Cosmological Considerations5 A Newtonian Equivalence Principle: Inertial Frames in Newtonian Gravitation6 Theory Equivalence?7 Conclusion. (shrink)

Background People who are at elevated risk of suicide stand to benefit from internet-based interventions; however, research in this area is likely impacted by a range of ethical and practical challenges. The aim of this study was to examine the ethical issues and practical barriers associated with clinical studies of internet-based interventions for suicide prevention. Method This was a mixed-methods study involving two phases. First, a systematic search was conducted to identify studies evaluating internet-based interventions for people at risk of (...) suicide, and information pertaining to safety protocols and exclusion criteria was extracted. Second, investigators on the included studies were invited to complete an online survey comprising open-ended and forced-choice responses. Quantitative and qualitative methods were used to analyse the data. Results The literature search identified 18 eligible studies, of which three excluded participants based on severity of suicide risk. Half of the 15 suicide researchers who participated in the survey had experienced problems obtaining ethics approval, and none had encountered adverse events attributed to their intervention. Survey respondents noted the difficulty of managing risk in online environments and the limitations associated with implementing safety protocols, although some also reported increased confidence resulting from the ethical review process. Respondents recommended researchers pursue a collaborative relationship with their research ethics committees. Conclusion There is a balance to be achieved between the need to minimise the risk of adverse events whilst also ensuring interventions are being validated on populations who may be most likely to use and benefit from them. Further research is required to obtain the views of research ethics committees and research participants on these issues. Dialogue between researchers and ethics committees is necessary to address the need to ensure safety while also advancing the timely development of effective interventions in this critical area. (shrink)

Ancient greek sholarship constitutes a precious resource for classicists, but one that is underutilized because graduate students and even mature scholars lack familiarity with its conventions. The peculiarities of scholarly Greek and the lack of translations or scholarly aids often discourages readers from exploiting the large body of commentaries, scholia, lexica, and grammatical treatises that have been preserved on papyrus and via the manuscript tradition. Now, for the first time, there is an introduction to such scholarship that will enable students (...) and scholars unfamiliar with this material to use it in their work. Ancient Greek Scholarship includes detailed discussion of the individual ancient authors on whose works scholia, commentaries, or single-author lexica exist, together with explanations of the probable sources of that scholarship and the ways it is now used, as well as descriptions of extant grammatical works and general lexica. These discussions, and the annotated bibliography of more than 1200 works, also include evaluations of the different texts of each work and of a variety of electronic resources.This book not only introduces readers to ancient scholarship, but also teaches them how to read it. Here readers will find a detailed, step-by-step introduction to the language, a glossary of over 1500 grammatical terms, and a set of more than 200 passages for translation, each accompanied by commentary. The commentaries offer enough help to enable undergraduates with as little as two years of Greek to translate most passages with confidence; in addition, readers are given aids to handling the ancient numerical systems, understanding the references found in works of ancient scholarship, and using an apparatus criticus. Half the passages are accompanied by a key, so that the book is equally suitable for those studying on their own and for classes with graded homework. (shrink)

Ancient greek sholarship constitutes a precious resource for classicists, but one that is underutilized because graduate students and even mature scholars lack familiarity with its conventions. The peculiarities of scholarly Greek and the lack of translations or scholarly aids often discourages readers from exploiting the large body of commentaries, scholia, lexica, and grammatical treatises that have been preserved on papyrus and via the manuscript tradition. Now, for the first time, there is an introduction to such scholarship that will enable students (...) and scholars unfamiliar with this material to use it in their work. Ancient Greek Scholarship includes detailed discussion of the individual ancient authors on whose works scholia, commentaries, or single-author lexica exist, together with explanations of the probable sources of that scholarship and the ways it is now used, as well as descriptions of extant grammatical works and general lexica. These discussions, and the annotated bibliography of more than 1200 works, also include evaluations of the different texts of each work and of a variety of electronic resources.This book not only introduces readers to ancient scholarship, but also teaches them how to read it. Here readers will find a detailed, step-by-step introduction to the language, a glossary of over 1500 grammatical terms, and a set of more than 200 passages for translation, each accompanied by commentary. The commentaries offer enough help to enable undergraduates with as little as two years of Greek to translate most passages with confidence; in addition, readers are given aids to handling the ancient numerical systems, understanding the references found in works of ancient scholarship, and using an apparatus criticus. Half the passages are accompanied by a key, so that the book is equally suitable for those studying on their own and for classes with graded homework. (shrink)

This paper analyzes creative practice including virtual music composition by a human and sets of computer programs, improvisation of music and dance in human-robot ensembles, and drawings produced by a human and a robotic arm. In all of these examples, the paper argues that creativity arises from a process of human-robot collaboration. Human influences on the machines involved exist at many levels, from initial creation and programming, via processes of reprogramming and setup of underlying data and parameters, to engagement throughout (...) the process of creative production. The decision to value a machine as a creative other is supported most strongly when collaborating with the machine directly, while witnessing the creative team at work, as opposed simply to seeing the result, is more likely to bring an audience to a similar understanding. The creativity of the human-machine collaborations analyzed in this paper relies on close interaction, within which there is a continual recognition of the otherness of the machine and its nonhuman abilities. Such relations can be theorized by extending Emmanuel Levinas’ conception of the face-to-face encounter within which self and other are brought into proximity, but the alterity of the other is nonetheless retained. The paper’s analysis of creative interactions between humans and robots supports the idea that machines need not be regarded as challenging human artistic practice, but rather enable new ways for creativity to arise through human-machine collaborations within which human and nonhuman creative abilities are combined. (shrink)