OBJECTIVE: How outside factors affect physician decision making remains an open question of vital importance. We sought to investigate the importance of various influences on physician decision making when clinical guidelines differ from patient preference. -/- METHODS: An online survey asking 469 primary care providers (PCPs) across four practice sites whether they would order magnetic resonance imaging for a patient with uncomplicated back pain. Participants were randomized to one of four scenarios: a patient's preference for imaging (control), a patient's preference (...) plus a colleague's opinion against imaging (colleague), a patient's preference plus a professional society's recommendation against imaging (profession), or a patient's preference plus an accountable care organization's quality metric that measures physician use of imaging (ACO). Demographic information and the reasoning behind participants' decisions also were obtained. -/- RESULTS: A total of 168 PCPs completed the survey, yielding a 36% completion rate. A majority chose not to pursue imaging: control 68%, colleague 85%, profession 87%, and ACO 78%. Multivariate logistic regression revealed that participants were more likely not to order advanced imaging only when reminded of a professional society recommendation (P = 0.017). Regression also suggested that practice site exerted an effect on the primary outcome. Evidence-based medicine and clinical judgment were the most cited reasons for the decision. -/- CONCLUSIONS: Our results reinforce the potential to leverage professional societies to advance evidence-based medicine and reduce unnecessary testing. At the same time, practice site appeared to exert influence, suggesting that these recommendations must be part of local institutional culture to be effective. (shrink)

Soluble components of Notch signalling can be applied to manipulate a central pathway essential for the development of metazoans and often deregulated in illnesses such as stroke, cancer or cardiovascular diseases. Commonly, the Notch cascade is inhibited by small compound inhibitors, which either block the proteolysis of Notch receptors by γ‐secretases or interfere with the transcriptional activity of the Notch intracellular domain. Specific antibodies can also be used to inhibit ligand‐induced activation of Notch receptors. Alternatively, naturally occurring endogenous inhibitors of (...) Notch signalling might offer a specific way to block receptor activation. Examples are the soluble variants of the canonical Notch ligand Jagged1 and the non‐canonical Notch ligand Dlk1, both deprived of their transmembrane regions upon ectodomain shedding, or the bona fide secreted molecule EGFL7. We present frequently used methods to decrease Notch signalling, and we discuss how soluble Notch inhibitors may be used to treat diseases. (shrink)

Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos--a notoriously evasive and multifaceted beast--offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk's historicity, its pervasiveness, (...) its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices. (shrink)

A book chapter in the volume Punk Rock and Philosophy: Research and Destroy on how punk rock can be interpreted through the lens of Friedrich Nietzsche's philosophy.

An analysis of punk in light of the theme of existential maturity through discussions of Simone de Beauvoir, Devon Johnson, and the relationship between nihilism, seriousness, and revolt.

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism (...) for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze’s philosophy with Riot Grrrl bands and women’s punk music. The paper explores two central aspects of the Pussy Riot’s performances: the visual and the musical. The visual includes an analysis of “the face” as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of iconic (...) images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan “If I can’t dance, I don’t want to be part of your revolution” the paper argues for an affirmative and creative approach to feminist theory and practice and to contemporary cultural politics. (shrink)

Elaborated in this discourse is the idea that identifying with a punk persona is a necessary step in the ethical development of an individual. Offered are various ethical corollaries of standing on the punk philosophic grounds, including: abomination of the art of following, appreciation of creative aspirations more than the technique, the necessity for the constant shift of the epistemic grounds on which one stands, revival of the aesthetics of Speer’s theory of ruin values, revitalization of language via its destruction, (...) and embracement of anarchic revulsion of the concept of authority as a pathway to excellent educational efforts. It is also mentioned that science is inherently a systematic rebellion against stale, prejudiced thinking, and that, as such, it is intrinsically the endeavor of intellectual punks. The final summersault in the course of the philosophical gymnastics class of the hour pertains to realization that the anarchistic ideals underlying the punk culture foster ultimate freedoms that make even the abolition of these very same freedoms and obedience to any rules or principles legitimate. The failure of all the ideologies of the 20th century has been in favor of the anti-ideology of authentic anarchism, and yet this ideology not only insists on ruining the relevance of any ideologies out there, but also calls for the deconstruction of itself, wherefrom the freedom to follow any ideologies under its umbrella naturally emanates. (shrink)

ABSTRACT This article is an attempt to firstly locate and situate the creative practice of Björk in the cultural and musical milieu of late 1970s, early 1980s punk and post-punk world. It traces the impacts, relevancies and typifications that were a part of this milieu and describes their affect on the development of Björk’s work. Secondly it sugg ests that this particular cultural practice worked through notions of the utopian that were and are imbued within processes of cultural hybridity and (...) evolved through a globalized travelogue that was always a transitory moment of unification in different locations and situations. This analysis attempts to give a sense of how the utopian can be actualized momentarily in ‘pirate spaces’ but also how a body of knowledge and practical work can be developed and turned into ‘lifeworld’ practice by these continued engagements. The article utilizes and develops ideas from Schutz, Deleuze and Guattari, Bloch, Levitas and Durrschmidt. (shrink)

The chapter contrasts views of Punk as a playlist and an attitude with one based on a kind of action: praxis! -/- Can be downloaded from my Website.

Alison Jaggar, in her treatment of feminist discourse ethics, expresses worries about using “idealized and imaginary communities” as elucidatory tools for discursive ethics. In response, this paper presents the history of 924 Gilman (an all-ages punk rock collective in the San Francisco Bay area) as a case study of a non-imagined and real discursive community. While the example of 924 Gilman, with its overtly feminist agenda and democratic ethos, bolsters Jaggar’s claims about the need for “closed communities” within discourse ethics, (...) it also challenges some of her basic assumptions and raises important pragmatic and theoretical criticisms against discourse ethics. (shrink)

Punk Rock Yoga Manifesto: Look, Work, Accept, Transcend. The Punk Rock Yoga style was born in 2003 and has flowed across North America and into Europe. This book articulates the style's philosophy, where you will explore the teachings of yoga through a modern lens and discover how to employ its wisdom in your daily life. You will learn about Yoga with a capital "Y"-moving beyond the poses, into the realm of personal transformation. The Punk Rock Yoga Manifesto takes a direct (...) and pragmatic approach to yoga philosophy, discussing behavioral guidelines, personal temperaments, meditation practices, energy centers, and the role of poses and breath work. This book inspires self-reflection and challenges you to look at, work on, accept, and ultimately transcend everything that restrains you from personal evolution. (shrink)

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism (...) for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

The aim to develop authentic forms of artistic lifestyle and self-expression played a formative role in the foundational period of post-punk in the late 1970s and early 1980s. The struggle for authenticity during that period was complicated by the artists’ growing awareness of the capitalist economy’s ability to coopt and assimilate the ideal of an authentic counter-culture, that is, to utilize this ideal for exclusively profit-oriented signing, marketing, and production strategies. In this essay, I consider what models of authenticity one (...) can glean from the early post-punk scene and whether some such model might yield a viable ideal of authenticity that is resilient against the threat of inauthentic mainstream cooption: an ideal that can, perhaps, inspire the ongoing contemporary struggle for authenticity. (shrink)

“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.” -/- Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight. Punk rock was a celebration of nastiness, chaos, and defiance of convention, (...) which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars. Is punk still alive today? What has it left us with? Does punk make any artistic sense? Is punk inherently anarchist, sexist, neo-Nazi, Christian, or—perish the thought—Marxist? When all’s said and done, does punk simply suck? These obvious questions only scratch the surface of punk’s philosophical ramifications, explored in depth in this unprecedented and thoroughly nauseating volume. Thirty-two professional thinkers-for-a-living and students of rock turn their x-ray eyes on this exciting and frequently disgusting topic, and penetrate to punk’s essence, or perhaps they end up demonstrating that it has no essence. You decide. -/- Among the nail-biting questions addressed in this book: Can punks both reject conformity to ideals and complain that poseurs fail to confirm to the ideals of punk? How and why can social protest take the form of arousing revulsion by displaying bodily functions and bodily abuse? Can punk ethics be reconciled with those philosophical traditions which claim that we should strive to become the best version of ourselves? How close is the message of Jesus of Nazareth to the message of punk? Is punk essentially the cry of cis, white, misogynist youth culture, or is there a more wholesome appeal to irrepressibly healthy tendencies like necrophilia, coprophilia, and sadomasochism? In its rejection of the traditional aesthetic of order and complexity, did punk point the way to “aesthetic anarchy,” based on simplicity and chaos? By becoming commercially successful, did punk fail by its very success? Is punk what Freddie Nietzsche was getting at in The Birth of Tragedy, when he called for Dionysian art, which venerates the raw, instinctual, and libidinous aspects of life? (shrink)

Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that (...) art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self. (shrink)

Several scholars have noted parallels between the online communicative tactics of the American alt-right and those of industrial musicians in the 1970s and 1980s. This article explores these connections further by analysing the informational media that industrial musicians developed. Between the mid-1980s and 1990s, these zines, handbooks, and websites made a strenuous break with the values of democracy, egalitarianism, and grassroots authenticity that were the default ideological ‘mode’ of DIY. Where the Californian ideology would centre the summer of love and (...) the politics of the New Left, the zines ambiguously celebrated the nihilistic, authoritarian, and occult vectors of psychedelia – tendencies that have been associated with the late 1960s fate of the counterculture rather than its earlier heyday. The article tracks these themes from Vague magazine and Rapid Eye, to the Cybernetic Culture Research Unit in the 1990s, to neoreaction and the Dark Enlightenment, asking whether communicational utopianism should be considered a blip rather than the internet’s default state. (shrink)