This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different understanding of identification (...) as a non image-based, ‘blind’, bodily affective tie that is established between spectators and what Vivian Sobchack describes as ‘the sense and sensibility of materiality itself’ (Sobchack 2004, 65). By first exploring how this more bodily (for psychoanalysis, primary ) identification is theorized by psychoanalysts (Freud, Paul Schilder, Henri Wallon) and by film theorists (Kaja Silverman), the article proposes that film criticism make greater use of it in order to engage more meaningfully with the visible cultural specificities – size, skin colour, age, sex – of the images of bodies viewed on cinema screens. It is not just ‘the’ body that needs bringing back into thinking about film spectatorship, but culturally differentiated bodies , both on the screen and in the auditorium. A psychoanalytic and phenomenological film criticism of embodied cultural identity, one that attends to the materiality of the film and of the body-images and objects on the screen, may be the most culturally and politically useful successor to ‘screen’ theory of the 1970s and 1980s. (shrink)

This article adds philosopher Judith Butler to the list of thinkers whose work underpins the interest in ethics and/in film that began in earnest in the 2000s. Beginning with Precarious Life: Powers of Mourning and Violence, Butler has published several volumes that blend ethical thinking with moral theory and political philosophy, focusing on the concepts of precariousness and vulnerability. This article suggests that two films directed by Abderrahmane Sissako, Bamako and Timbuktu, as dramas of precariousness and vulnerability respectively, can (...) inform thinking about cinematic ethics: the staging of a trial of global institutions in Bamako dramatizes the possible universalization of an ethic of precarity, while in Timbuktu the condemnation to death of a Tuareg shepherd by Ansar Dine, the militant Islamist group that occupied parts of Mali in 2012, allows Sissako to give full rein to his talent for filming the vulnerability of both victims and oppressors. (shrink)

Doctoral programs at U.S. universities play a critical role in the development of human resources both in the United States and abroad. This volume reports the results of an extensive study of U.S. research-doctorate programs in five broad fields: physical sciences and mathematics, engineering, social and behavioral sciences, biological sciences, and the humanities. Research-Doctorate Programs in the United States documents changes that have taken place in the size, structure, and quality of doctoral education since the widely used 1982 editions. (...) This update provides selected information on nearly 4,000 doctoral programs in 41 subdisciplines at 274 doctorate-granting institutions. This volume also reports the results of the National Survey of Graduate Faculty, which polled a sample of faculty for their views on the scholarly quality of program faculty and the effectiveness of doctoral programs in preparing research scholars/scientists. This much-anticipated update of such an essential reference will be useful to education administrators, university faculty, and students seeking authoritative information on doctoral programs. (shrink)

Evolutionary investigations of human crania typically take a limited view of cranial diversity as they discount the possibility that human cranial variation could simply be due to the effects of random genetic drift, gene flow and mutation in favor of natural selection and developmental changes. Natural selection alone cannot explain similarities between patterns of cranial and molecular diversity observed in humans. It appears that the amount of phenotypic variance in the human cranium decreases at the population level as a function (...) of distance from Sub‐Saharan Africa much in the same way as observed for human molecular data.1 BioEssays 29:1185–1188, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

The Cove, Mine, and Food, INC. each use the documentary genre to advocate for change, whether in regards to mass wild animal kills, companion animals in natural disasters, or the modern food industry. The films, however, present views of human-nonhuman animal relations that vary greatly. Where The Cove regards dolphins as beings who deserve freedom, Mine explores the view of companion animals as property. Food, INC., finally, treats farm animals solely as a food source.

The overall aim of the article is to unpack some of the layers of motivation that inform and shape the relationship between technology and education. This aim is motivated by the need for a more nuanced perspective on the complex relationship between technology and education. The discussion of technology and education would be utilised as springboard to provide a platform for elaborating on the complex nature of technology as medium, its broader impact on society and the kind of life it (...) creates. The article names a few of the external and internal imperatives for the integration of technology into education. The first part of the title refers to the name of a film about an unmanned, runaway train with serious consequences for the environment and humanity at large. The idea is to relate the pervasive, self-enforcing nature and role of technology with the theme of the film, a force that seems to be unstoppable. It is argued that the integration of technology into education cannot be reflected in isolation from an understanding of the complex nature of technology and the broader functioning of technology in other spheres of life. The socio-economic embeddedness of technology is unpacked by discussing the mediatisation theory, technological development as a revolution and the Fourth Industrial Revolution. The final section describes the need for and possible processes to sharpen the focus on ethics in digital age. (shrink)

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. Drawing both (...) directly on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. (shrink)

This article introduces some contemporary philosophical approaches to vulnerability including that of Judith Butler, while focusing on feminist legal theorist Martha Albertson Fineman's concept of the vulnerable subject, developed out of Fineman's earlier critiques of the autonomous, self-sufficient subject of liberal political philosophy. It then looks closely at the different forms of vulnerability exhibited by the leading protagonists of Mia Hansen-Løve's All Is Forgiven, Father of My Children, Goodbye First Love, Eden and Maya, all of whom except one are men, (...) drawing on Lawrence Schehr's writing about French postmodern masculinities and work by Geneviève Sellier on the changing dynamics of heterosexual gender relations in French cinema in order to forge an account of vulnerable male bodies and masculinities appropriate to the contemporary context of the films discussed. To conclude, it returns to Fineman to suggest that her at least implicitly feminist concept of the vulnerable subject can offer a more persuasive account of the gendered character of vulnerability in Hansen-Løve's films than can Butler's recent ethical writings. (shrink)

This essay attempts to elaborate a political theory of capital’s violence. Recent analyses have adopted Karl Marx’s notion of the “primitive accumulation of capital” for investigating the forcible methods by which the conditions of capital accumulation are reproduced in the present. I argue that the current scholarship is limited by a certain functionalism in its theorization of ongoing primitive accumulation. The analytic function accorded to primitive accumulation, I contend, can be better performed by the concepts of “capital-positing violence” and “capital-preserving (...) violence.” In coining these new concepts, I first refine the conceptual core of primitive accumulation as the coercive capitalization of social relations of reproduction, which falls into sharpest relief in the violent history of colonial capitalism. I then elucidate this conceptual core with reference to Carl Schmitt’s account of European colonial expansion and Walter Benjamin’s reflections on law-making and law-preserving violence. The resultant concepts of capital-positing and capital-preserving violence, I conclude, can illuminate both the historical and the quotidian operations of the politico-juridical force that has been constitutive of capitalism down to our present moment. (shrink)

Many common human traits are believed to be a composite reflection of multiple genetic and non‐genetic factors and the genetic contribution is consequently often difficult to characterise. Recent advances suggest that subtle variation in the regulation of gene expression may contribute to complex human traits. In two reports,1,2 Cheung and colleagues scale up human genetics analysis to an impressive level in a genome‐wide search for the regulators of gene expression. They perform linkage analysis on expression profiles for over 3,500 genes (...) and then employ the HapMap resource3 to take positive findings through to association studies at the genome‐wide level. This work gives new insights into the complexities of gene regulation and the plausibility of genome‐wide study design. BioEssays 28: 968–972, 2006. © 2006 Wiley Periodicals, Inc. (shrink)

From its beginnings, some of German film's most prominent genres and directors have focused on the natural world and its transformations by humans. Heimat films, "city symphonies," mountain films, and rubble films all blend the boundary between landscape documentary and fiction film. Yet German film studies has been slow to adopt an environmental focus, concentrating (understandably) on its subject matter's political implications. This book reveals critical connections between German film, sociopolitical context, and environment, showing it to have (...) been a creative catalyst for the social and ecological transformation of the Anthropocene. The book first considers the interplay between German film and environmental history in films and discourses of Heimat. Weimar-era films such as E. A. Dupont's Die Geierwally (1921), Carl Ludwig Achaz-Duisberg's Sprengbagger 1010 (1929), and Phil Jützi's Hunger in Waldenburg (1929) document and create a forum for discussing environmental change. The book then looks at film as a visual archive of and catalyst for infrastructure development, focusing on Metropolis (Fritz Lang, 1927), the mountain films of Arnold Fanck, and the Berlin films Stadt der Millionen (Adolf Trotz, 1925), Berlin: Die Sinfonie der Grossstadt (Walter Ruttmann, 1927), and Menschen am Sonntag (1930). Nazi-era and postwar films are also examined. By exploring German film history alongside environmental history and theory, this book provides a case study of the power of film within processes of environmental transformation. (shrink)

Extreme learning machine is a recent scheme for single hidden layer feed forward networks. It has attracted much interest in the machine intelligence and pattern recognition fields with numerous real-world applications. The ELM structure has several advantages, such as its adaptability to various problems with a rapid learning rate and low computational cost. However, it has shortcomings in the following aspects. First, it suffers from the irrelevant variables in the input data set. Second, choosing the optimal number of neurons in (...) the hidden layer is not well defined. In case the hidden nodes are greater than the training data, the ELM may encounter the singularity problem, and its solution may become unstable. To overcome these limitations, several methods have been proposed within the regularization framework. In this article, we considered a greedy method for sparse approximation of the output weight vector of the ELM network. More specifically, the orthogonal matching pursuit algorithm is embedded to the ELM. This new technique is named OMP-ELM. OMP-ELM has several advantages over regularized ELM methods, such as lower complexity and immunity to the singularity problem. Experimental works on nine commonly used regression problems indicate that the investigated OMP-ELM method confirms these advantages. Moreover, OMP-ELM is compared with the ELM method, the regularized ELM scheme, and artificial neural networks. (shrink)

This work investigates the possibility of iʿrâb (parsing) simple texts by utilizing simple grammar rules in the case of I’râb al-Awâmil al-mi’a. I'râb, which is the 'application of grammar on texts', is an operation of reinforcing the knowledge of grammar from one perspective, and an attempt to under-stand the text from another. Since I’râb al-Awâmil al-mi’a is the iʿrâb of al-Awâmil al-mi’a, which is a brief grammar treatise, it is clear that this iʿrâb is intended to reinforce grammar knowledge. Moreover, (...) it indicates the level of knowledge to be reinforced, as is evident from the text. We think that examining such iʿrâb works in terms of the applicability of iʿrâb, will provide data to the field of grammar teaching. The work is currently available in manuscript and consists of the object text and the author's iʿrâb. The object text of the work, al-Awâmil al-mi'a, is a textbook and the target reader of the book is beginners. It is naturally assumed that both al-Awâmil al-mi'a and its parsing were written for the same level. This work examines the validity of this assumption. In order to determine whether the rules used in the parsing are simple or complex, it was necessary to create a measure of simplicity. Three measures of simplicity have been created. If the grammatical rules used in parsing are: limited to the rules in al-Avâmil, or if they are within the frame of the main topics of grammar or if the author does not address controversial issues during the application of the iʿrâb, then they are simple rules. Moreover, in order to facilitate the achievement of our goal, we divided the sentences into simple and complex sentences, and selected our data mostly from complex sentences. We simplified complex sentences by dividing them into two types: sentences with missing elements and sentences that are semantically connected. We created a second dataset by adding some examples other than the complex sentence types. We selected the other sentence types that make up the second dataset from sentences that contain elements that al-Awāmil al-mi'a does not include. The mentioned datasets examined by utilizing the measure of simplicity that we created and the degree of complexity of the grammatical rules used in I'râb al-Awâmil al-mi'a, was revealed. (shrink)

Bu makale, kelâm söyleminde modern argümantasyon teorilerinin kullanılması gerektiğini savun- maktadır. İslam geleneği kendi istidlâl teorilerine sahip olsa da modern terminoloji ve teoriler, yorumlayıcı anlayış ve eleştirel analize yardımcı olabilir. Bu makale, Kâdî Abdülcebbâr’ın (ö. 415/1025) Hıristiyanlığa karşı kelâm ve reddiye geleneklerindeki aklî yöntemleri kullandığı Tesbît’ine odaklanmaktadır. Yine, Kâdî Abdülcebbâr’ın Hıristiyanlıktaki “İsa’nın ilahî doğası” iddiasına karşı delillerini örneklerle tahlil etmekte- dir. Makale, tarihî kelâm metinlerinin istidlâlî açıdan incelenmesi gerektiğini; ayrıca delile dayalı kelâmın tarihini ve gelişimini anlamada hem analitik teorilerin hem (...) de argümantasyon teorilerinin ne kadar önemli olduğunu tartışmaktadır. (shrink)

Turkey has passed the import substitution economic model to a new model of the economy called open out since 1980. Along with the neoliberal policies implemented, the process of integration with the global economy has begun. The incomes of the religious people who cannot be excluded from the effects of this articulation also increased and their consumption behaviors has changed. On the other hand, some transport elements, especially the media, have enabled consumption codes to reach different segments. The new values (...) emerged in this process also caused transformations in individual consumption trends. In this study, the "Scale of Consumption Dynamics" (SCD) was developed in order to identify the trends of consumption of devotees and to find out how they changed. Quantitative research approach was adopted in the study and the datas were collected by face-to-face survey technique. The individuals included in our sample were selected by quota sampling. In this study, an expression pool was created as a result of literature review, expert opinion consultation, brainstorming with academicians and observations. The validity and reliability analysis of the scale was made using different statistics through the SPSS program. As a result of these steps, the dimensions of the scale consisting of 16 items and 3 dimensions are called "showy consumption", "wasteful consumption" and "religious priority consumption". Summary: The first studies on consumption history and sociology belong to Marx, Weber, Veblen and Simmel. In these studies consumption is examined as a part of production process and consumption forms were investigated as a social class aspect. Consumption phenomenon was later studied under critical approach (Frankfurt School) with Adorno, Max Horkheimer, Herbert Marcuse and Erich Fromm’s theories. Theorists at Frankfurt School study how social structure steers individuals to consumption. After the 1970’s, the meaning of consumption phenomenon has changed. There are studies by Jean Baudrillard, Mike Featherstone, George Ritzer, and Zygmunt Bauman on changing phenomenon of consumption. It is widely believed that modern consumption phenomenon was originated in the USA after the World War II. After the war Keynesian economic policies and Fordist consumption forms later influenced other Western nations. After 1950’s and 1960’s mass consumption was initiated in the USA and except very poor sections of the nations, other social classes, it started to spread out in Europe, the USA, and other countries. In 1970’s and 1980’s, it has merged with individuals’ identity definitions. After 1980’s in Turkey a new economic policy instead of import substitution was adopted. In application along with neo liberal policies, Turkey started to integrate to the rest of the World. Religious people as well influenced these changes and their incomes have increased along with their consumption habits. In addition to media, some other forms of communication channels have carried new consumption habits to other sections of the society. With the increased effects of mass communication media, new social sections have emerged and their cultural characteristics have become the norms of the whole society. A new values created in this process also transformed the consumption habits. In this article, in order to assess consumption habits of religious people as it is now and to understand which direction these habits evolve, Consumption Dynamics Scale (CDS) has been developed. Scales are widely used when a researcher tries to identify and measure respondents’ feelings and ideas on a subject matter. There are different scales used in social sciences such as Thurstone, Likert, Guttman, and Bogardus that are among the most widely used ones. A Likert Type scale has been used in this study. In the first phase of the study and pilot study 5 point Likert scale and in the second phase of the study 10 point Likert scales was used to collect the data. We could not come across with any study in the literature on investigating consumption characteristics Dynamics of individuals with a formal religious education. In the study, quantitative research method has been adopted and the research data has been collected with face to face administration of the survey instrument. The scale development phase lasted about 6 months from August, 2016. Based on 3% error rate, we determined to sufficient sample size as 516, yet we reached 600 individuals and end up with 563 usable responses. Sample has been determined with quota sampling methodology. We formed a pool of statements based on literature review, expert opinion, brain storming with academicians. 49 questions have been selected from the question pool where 93 questions were found, then they are merged, some questions are changed or totally eliminated and final 30 questioned questionnaires made ready for pilot study. Two pilot studies have been carried out. In the first pilot study, 47 people are reached and 30 questions with Likert scales have been administered. In the second phase of the study, 10 point Likert scales with 57 questions has been given to 54 individuals. After pilot studies, data was analyzed with SPSS 20 version and 32 questioned final survey instrument has been formed. In order to check sufficiency of data set for Factor Analysis Kaisser-Meyer-Olkin (KMO) test and the relationships among variables Bartlett test were used. Sample composed of 563 responses revealed significant results (3358,808, p=0,000) and KMO test revealed (KMO=0,812) value. After expletory factor analysis, factor loading less than 0,40 were deleted from the scale. Hence the final structure is composed of 29 questions with 8 different factors. The reliability of scales were calculated with Cronbach Alfa analysis separately for each dimension. After reliability analysis, items with 0,60 and less reliability score were taken out from the scales. Finally 16 items were made up 3 dimensions namely “ostentatious consumption”, “wasteful consumption”, and “religious priority consumption”. The items in Factor 1 are related with luxury, fashion and statue, in Factor 2 desire to make more shopping, purchase without need, advertisement and showcase, and factor 3 religious sensitive reference focus and religion first purchasing are decided as appropriate names. Based on the analysis, measurement was decided valid and sound. Therefore, this study is believed to contribute significantly to the existing literature. (shrink)

From the leader of the nation's most powerful animal-protection organization comes a frontline account of how conscience and creativity are driving a revolution in American business that is changing forever how we treat animals and create wealth. Wayne Pacelle of the Humane Society of the United States reveals how entrepreneurs, Fortune 500 CEOs, world-class scientists, philanthropists, and a new class of political leaders are driving the burgeoning, unstoppable growth of the "humane economy." Every business grounded on animal exploitation, Pacelle argues, (...) is ripe for disruption. Indeed each one of us is, and will be, touched by this far-reaching transformation in food and agriculture; in the pharmaceutical, chemical, and cosmetics industries; in film, television, and live entertainment; in tourism and wildlife management; in the pet trade for dogs and cats and exotic wildlife; and in fur and leather fashions. Collectively it promises to relieve or end the suffering of billions of creatures, while allowing businesses aligned with the best instincts and values of their customers to flourish. Pacelle shows, for instance, how the cruelties of industrial chicken farming are quickly becoming obsolete with a visit to Hampton Creek, the makers of a plant-based egg substitute and the world's fastest-growing food startup ever. Pacelle also recounts the stories of how established companies are joining in this economic transformation: from Petco and PetSmart, which have turned the conventional pet store model on its head by forswearing puppy mill suppliers in favor of shelter dogs; to John Paul Mitchell Systems, the Body Shop, and Lush, which use safe ingredients instead of animal tests for their cosmetics; to major food retailers like Whole Foods, Chipotle, and even Costco and Walmart, which are embracing animal welfare standards that are one by one unwinding the horrors of the factory farm. The Humane Economy is a clarion call to business leaders and to the world's growing animal protection movement; it is equally a warning to the static thinking of animal-use industries and their apologists: "Here, in this humane economy," Pacelle argues, "human ingenuity meets human virtue, and we discover at last that we can have it both ways--a better world for us and for animals, too. (shrink)

The growing field of machine morality has becoming increasingly concerned with how to develop artificial moral agents. However, there is little consensus on what constitutes an ideal moral agent let alone an artificial one. Leveraging a recent account of heroism in humans, the aim of this paper is to provide a prospective framework for conceptualizing, and in turn designing ideal artificial moral agents, namely those that would be considered heroic robots. First, an overview of what it means to be an (...) artificial moral agent is provided. Then, an overview of a recent account of heroism that seeks to define the construct as the dynamic and interactive integration of character strengths and situational constraints that afford the opportunity for moral behavior . With this as a foundation, a discussion is provided for what it might mean for a robot to be an ideal moral agent by proposing a dynamic and interactive connectionist model of robotic heroism. Given the limited accounts of robots engaging in moral behavior, a case for extending robotic moral capacities beyond just being a moral agent to the level of heroism is supported by drawing from exemplar situations where robots demonstrate heroism in popular film and fiction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 14.1 (2004) 47-54 [Access article in PDF] Ethical Guidelines for Human Embryonic Stem Cell Research*(A Recommended Manuscript) Adopted on 16 October 2001Revised on 20 August 2002 Ethics Committee of the Chinese National Human Genome Center at Shanghai, Shanghai 201203 Human embryonic stem cell (ES) research is a great project in the frontier of biomedical science for the twenty-first century. Be- cause the research involves (...) the use of human embryos, it triggers serious debate on ethical issues. Opponents consider the embryo to be an early form of human life that should be respected and not destroyed. However, the majority of scientists support embryonic stem cell research, believing that it offers good prospects for the treatment of diseases that have remained incurable until now and so will benefit humankind. The Ethics Committee of the Department of Ethical, Legal, and Social Implications of the Chinese National Human Genome Center at Shanghai seriously discussed the ethical debate initiated by embryonic stem cell research. We concluded that we should support the scientists of our country in actively carrying out human embryonic stem cell research for the noble cause of "medicine being a beneficent art." For the healthy and orderly development of human embryonic stem cell research in our country, we put forward the following recommended Ethical Guidelines for Human Embryonic Stem Cell Research as a reference for leaders, administrative departments, and related scientists. Preface Article 1. Human embryonic stem cells are the primitive cells that play the main role in the growth and development of a human body. These [End Page 47] primitive cells have the potential for infinite proliferation, self-renewal, and multi-directional differentiation. If scientists can discover the mechanism of differentiation of human embryonic stem cells, it will be possible to induce differentiation of human embryonic stem cells to form various types of human cells for clinical cell therapy. If human embryonic stem cell research can be integrated with modern biomedical engineering techniques, it also will be possible to make repair and replacement of human tissues and organs a reality. Article 2. There are two ways to classify human embryonic stem cells. One way is to classify them according to their potential for differentiation. There could be three kinds of stem cells: totipotent stem cells, pluripotent stem cells, and unipotent stem cells.A totipotent stem cell has the potential to develop into a whole individual. It can differentiate into the more than 200 cell types in the whole body, construct any tissue or organ of the body, and finally develop into a whole individual. The fertilized egg and the cleavage cells at the very early stage of embryonic development are totipotent stem cells.A pluripotent stem cell has the potential to differentiate into many cell types derived from the three embryonic layers. However, it has lost the capacity to develop into a complete organism.A unipotent stem cell is derived from the further differentiation of the pluripotent stem cell. It can differentiate only into one cell type such as a hematopoietic stem cell, neural stem cell, and others.The other way is to classify human stem cells according to their source. There could be two kinds of human stem cells: embryonic stem cells and tissue stem cells (also called adult stem cells). The former involves experimentation with embryos, which has serious ethical implications. Ethical issues associated with the latter are mainly expressed in the various opinions regarding the allocation of health resources. Article 3. Human embryonic stem cells are the group of cells called the blastocyst inner cell mass during the early stage of embryonic development. They are the main source of totipotent stem cells, and hence the focal and hot point in stem cell research. Studies on the clinical application of embryonic stem cells probably will involve use of the somatic cell nucleus transfer (SCNT) technique, which destroys the early human embryo. At present, the ethical and moral debate is very serious in human embryonic stem cell research regarding whether the research will develop... (shrink)

Money and support tend to flow in the direction of economics, science, and other academic departments that demonstrate measurable "progress." The humanities, on the other hand, offer more abstract and uncertain outcomes. A humanist's objects of study are more obscure in certain ways than pathogens and cells. Consequently, it seems as if the humanities never truly progress. Is this a fair assessment? By comparing objects of science, such as the brain, the galaxy, the amoeba, and the quark, with (...) objects of humanistic inquiry, such as the poem, the photograph, the belief, and the philosophical concept, Volney Gay reestablishes a fundamental distinction between science and the humanities. He frees the latter from its pursuit of material-based progress and restores its disciplines to a place of privilege and respect. Using the metaphor of magnification, Gay shows that, while we can investigate natural objects to the limits of imaging capacity, magnifying cultural objects dissolves them into noise. In other words, cultural objects can be studied only within their contexts and through the prism of metaphor and narrative. Gathering examples from literature, art, film, philosophy, religion, science, and psychoanalysis, Gay builds a new justification for the humanities. By revealing the unseen and making abstract ideas tangible, the arts create meaningful wholes, which itself is a form of progress. (shrink)

In this paper, I will examine how films recreate memories of resistance and define, both visually and in film narration, the difference between imperial aggressors and local protagonists of resistance. The examples are taken from the Brazilian film Quilombo that describes the resistance of the 17th and 18th century Maroon communities against the onslaught of the Portuguese colonial powers (political and military). Med Hondo’s (Mauretania) Sarraounia deals with the resistance in West Africa against the Jihad of the Sokoto Fulani (...) and the (in)famous French “exploratory” expedition under the command of Voulet. Both films are based on “real” histories as they were generally communicated from the colonialist perspective. And both films present themselves as counter-discursive revisions of history. The analysis in this paper focuses on the visual representation of the resistance heroes, first isolating them from the continuity of film narration in a type of still image, thus emphasizing the contrastive imagology between aggression and resistance. In the second step, aggressors and resistors are examined in terms of how they relate socially to their fellow combatants and to their communities. The obvious difference is that the aggressors have no immediate community to relate to socially or emotionally. Particular emphasis is put on the associative and symbolic meanings of the scenic setting, in which the antagonistic characters are placed. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

We introduce a construct called “humanness sensitivity,” which we define as the ability to recognize uniquely human characteristics. To evaluate the construct, we used a “concurrent study design” to conduct an internet-based study with a convenience sample of 42,063 people from 88 countries.We sought to determine to what extent people could identify subtle characteristics of human behavior, thinking, emotions, and social relationships which currently distinguish humans from non-human entities such as bots. Many people were surprisingly poor at this task, even (...) when asked simple questions about human relationships or anatomy. Participants were best at identifying subtle aspects of human cognition and worst at identifying subtle aspects of human communication. Test scores were good predictors of whether someone was employed and modest predictors of other self-reported criterion measures. We also found that people identifying themselves in marginal societal categories identified themselves as less human and also scored lower on our test. As computers continue to become more human-like, our study suggests that the vast majority of humankind will likely have great difficulty distinguishing them from people. Can methods be devised for improving this ability? Might humanness sensitivity help people to make such distinctions? Will people who excel at differentiating humans and non-human entities—like the “blade runners” in the 1982 and 2017 feature films—someday hold a special place in society? (shrink)

In the film Never Let Me Go, clones are forced to donate their organs anonymously. As a work of fiction, this film can be regarded as a negotiation of limited agency, since the clones are depicted as vulnerable individuals. Thereby, it evokes a confrontation with underprivileged positions in technocratic societies, encouraging the audience to take the perspective of the marginalised. The clones are situated in ‘privileged deprivation’; from the audience’s point of view, they are unable to evolve into autonomous agents—but (...) from their own perspective within the dystopian system, they are still ‘privileged’. In this paper, we analyse the depiction of the clones’ personal development. Further, we examine references to bioethical aspects as well as technologies that affect the human body both on a micro and macro level—cloning and its impact on the human embryo and organ donation practised on the full-grown human body. We argue that this film as a reference for the discussion in popular culture focuses on individuals who do not profit from modern technical progress or do not have enough agency to refuse it. To make this point, we analyse the film’s fictional story, set in a form of alternate history, as a negotiation of a historical context which brings out the idea of neglected voices. (shrink)

This study was carried out to determine the ethical sensitivity levels of students enrolled in the nursing faculty. The sample of the descriptive study consisted of 594 students who were taught at the Faculty of Nursing in February - May 2018 and agreed to participate in the study. The data were collected by Personal Information Form prepared by researchers to evaluate the demographic characteristics of students and The Modified Moral Sensitivity Questionnaire for Student Nurses. The data obtained from the application (...) were analyzed using SPSS for Windows 23.0 program. The majority of the students (75.9%) participating in the study were women and 74.9% stated that they internalized the profession. The total score average of The Modified Moral Sensitivity Questionnaire for Student Nurses is 4.93 ± 0.49. While the lowest average score in all classes is “Experiencing Ethical Dilemma” sub-dimension, the highest average score is in the “Interpersonal Orientation” sub-dimension. It is the 3 rd year student with the highest average score received from the scale. It was determined that the ethical sensitivity of the nursing students was medium and there was a significant difference between the ethical sensitivity levels of the students between the classes. It is thought that ensuring the continuity of the ethical education of the nursing students will be effective in increasing the awareness of the students on the subject. For this reason, it is recommended to integrate ethical issues in all courses in the structuring of nursing education curriculum programs. (shrink)

The Human Sciences after the Decade of the Brain brings together exciting new works that address today’s key challenges for a mutual interaction between cognitive neuroscience and the social sciences and humanities. Taking up the methodological and conceptual problems of choosing a neuroscience approach to disciplines such as philosophy, history, ethics and education, the book deepens discussions on a range of epistemological, historical, and sociological questions about the "neuro-turn" in the new millennium. The book’s three sections focus on (i) (...) epistemological questions posed by neurobiologically informed approaches to philosophy and history, (ii) neuroscience’s influence on explanations for social and moral behavior, and (iii) the consequences of the neuro-turn in diverse sectors of social life such as science, education, film, and human self-understanding. This book is an important resource both for students and scholars of cognitive neuroscience and biological psychology interested in the philosophical, ethical, and societal influences of—and on—their work as well as for students and scholars from the social sciences and humanities interested in neuroscience. (shrink)

Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the (...) most persuasive interpretation of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)