Researchers are often faced with attempting to estimate a correlation based on the aggregation of sample rs either from several samples or from repeated measures within a single sample. The usual approach is either to average the observed correlations or to average the Fisher’s z- transformed rs and to back-transform the average z value. This note describes a minimum-variance unbiased estimator for the situation that is superior to either approach and is also simple to compute.

In lieu of an abstract, here is a brief excerpt of the content:On Reviewing: A Response to Mary Ann StankiewiczRalph A. Smith, Professor EmeritusI very much appreciate the positive comments made by Mary Ann Stankiewicz in her review published in Studies in Art Education of my Readings in Discipline-Based Art Education: A Literature of Educational Reform.1 I was gratified to read that she believes the volume is a comprehensive and valuable guide that all art educators should own as a reference (...) source for the intellectual history of American art education in the late-twentieth century. Stankiewicz further notes my steadfastness in holding to a vision ofaesthetic education that is firmly rooted in the humanities and my forthrightness in acknowledging that a different choice of selections might well convey a somewhat different picture of Discipline-Based Art Education (DBAE). Between encomia, however, Stankiewicz raises questions about my editorial politics (that is, opportunities editors have to make selections they think are important) and my views about art education.The format of Stankiewicz's review was patterned after an essay in the volume by Frances Schoonmaker who discusses the professional preparation of teachers in terms of autobiography, school contexts, and scholarship. Accordingly, Stankiewicz recalls in some detail her own extensive participation in the Getty's educational venture in art education. And instead of referring to the Introduction's discussion of historical antecedents of DBAE she provides her own account of events that were contemporaneous with Getty's period of operation and refers to some currents of contemporary thinking. In other words, she does not give the kind of space to the book's contents that reviewers usually do.2 This prompted me to recall some material from the book's Introduction, which is followed by a sketch of the DBAE literature project that furnished the impetus for the volume and rejoinders to some of Stankiewicz's concerns.DBAE RememberedThe Getty Center for Education in the Arts (later renamed the Getty Education Institute for the Arts and eventually discontinued) flourished mainly in the 1980s and 1990s and proceeded under the banner of DBAE. The Getty's notion of DBAE supported a major trend that had been growing in the field since the mid-1950s. In this respect the Getty initiative was neither novel nor revolutionary. Yet by correcting an error of certain reform movements, namely those whose tendency was to bypass professionals in the field, it did constitute a significant venture. Getty officers perceived the field to be [End Page 93] moving in the direction of strengthening the content of art education with additional content that was believed requisite for an intelligent and sensitive engagement with works of art. In effect the Getty position argued that a well-developed sense of art is composed not just of the rudiments of artistic creation art but also those of a number of other relevant disciplines, for example the interrelated disciplines of art making, art history, art criticism, and aesthetics (usually understood as the philosophy of art). It was acknowledged that these were not the only disciplines relevant to art education, but they were considered to be basic. Nor was it believed that these disciplines should be taught as separate subjects; rather, they were meant to suggest content and useful modes of inquiry. As Stankiewicz notes, DBAE endorsed both the substantive and procedural dimensions of the cognitive revolution that was occurring in thinking about mind and learning. Indeed, mind building emerged as one of the major themes in the theory underlying the Getty approach.3Not surprisingly, the Getty approach had its critics. As pointed out in my "Afterthoughts,"the Getty initiative was contemporaneous with the increasing politicization of cultural and educational life.4 The critical literature produced in this climate — subscribing variously to postmodernism, multiculturalism, feminism, cultural studies, social reconstructionism, and deconstruction — was often by turns extreme, dense, and intimidating. It further tended to be skeptical of Western cultural values and traditions. I think it is fair to say that many in the field of art education were ill prepared to digest these writings or to be alert to some of their potential negative consequences. I mention just a few of these.For example, although developing an appreciation for hitherto unfamiliar cultures is... (shrink)

Background -- Continental drift : a threat to the establishment -- Evolution and creationism : science vs religion -- Dietary fat : nutritional politics -- Climate change : environmental politics -- Vaccination : exploitation of fear -- Gmo foods : fear of a frankenstein -- Science under attack.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of the intellectual origins (...) of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

Should arts education have a more significant place in our schools? An emphatic "Yes" comes from the editors and other contributors to this provocative volume. They build their case by drawing upon recent developments in cognitive theory and, in particular, upon contemporary thought regarding aesthetic knowing. They contend that aesthetic knowing constitutes a "special mode of cognition" and they see aesthetic learning as vital to intellectual growth and development. They argue that the arts should "constitute a foundational school subject." An (...) opening chapter reviews past practices in education in the arts, thus providing a needed historical context within which current thinking about aesthetic learning can be viewed. The following chapters elaborate on the idea and value of aesthetic knowing from various perspectives to buttress the case for its importance in education. Developmental issues are explored to deepen understanding of the nature of aesthetic growth. Studies reveal that children's art products have not changed over the years. But how has a cognitive perspective changed the way in which child art is interpreted? Can phases in general aesthetic development be identified? Or are such phases specific to each art form? What pedagogical issues arise in education in the arts? How are conceptual learnings important to the development of aesthetic understanding? Does the study of fine arts enrich the quality of life and shape human personality in positive ways. Given the long history of arts education as a peripheral matter in schools, is it now possible to envision a greater recognition of what study of the arts can accomplish by a proper focus on aesthetic knowing? These are some of the questions addressed in a volume that provides stimulating reading not only for arts educators but for all who are genuinely concerned about education. (shrink)

We combine state-of-the-art techniques from computational linguisticsand theorem proving to build an engine for playing text adventures,computer games with which the player interacts purely through naturallanguage. The system employs a parser for dependency grammar and ageneration system based on TAG, and has components for resolving andgenerating referring expressions. Most of these modules make heavy useof inferences offered by a modern theorem prover for descriptionlogic. Our game engine solves some problems inherent in classical textadventures, and is an interesting test case for (...) the interactionbetween natural language processing and inference. (shrink)

A deeply personal account of the scientific, shamanic, and metaphysical encounters that led to the development of Metzner's psychological methods Recounts the author's meetings and friendships with Albert Hofmann, Alexander Shulgin, the McKenna brothers, Wilson Van Dusen, Myron Stolaroff, and Leo Zeff Details his lucid dream encounters with G. I. Gurdjieff, profoundly healing sessions with Hawaiian healer Morrnah Simeona, experiences with plant teachers iboga and ayahuasca, and ecological and mystical lessons learned from animal teachers Shares his involvement in the (...) beginnings of the therapeutic use of MDMA and how it safely and effectively supports the healing of trauma, PTSD, and interpersonal relationships Just as the search for the philosopher's stone is the core symbol of the alchemical tradition, Ralph Metzner, Ph.D., psychotherapist and one of the respected elders of the psychedelic research community, sees it as the central metaphor of his life-long quest to find methods of healing and insight through heightened states of consciousness. Through captivating stories Metzner shares his encounters from the 1960s through the 1990s with genius scientists, shamanic healers, mystics, plant spirits, and animal guides that led to the development of his "alchemical divination" psychological methods, a structured intuitive process of accessing inner sources of healing and insight. He details lessons learned with psychedelic research legends Albert Hofmann, Alexander Shulgin, Terence McKenna, and Dennis McKenna. He reveals his deeply healing encounters with the Kahuna bodywork healer Morrnah Simeona, the first to introduce the Hawaiian Ho'oponopono healing method to the West, and his experiences with West African trance dancing and the psychoactive plant-drug iboga. Metzner recounts in vivid detail his unwelcome encounter with malignant sorcery during an ayahuasca experience in Ecuador and the lessons it taught him about connections with spirits, both harmful and beneficial. He tells of his involvement in the beginnings of the therapeutic use of MDMA and shows how it is an effective and safe substance to support psychotherapy for healing trauma, PTSD, and interpersonal relationships. In sharing his remarkable encounters, Metzner shows how the most meaningful lessons in the alchemy of life come not only from the geniuses we meet but also from the spirits we encounter along the way. (shrink)

A major strand of opposition to the West's/Global North's scientificising hegemony has recently been retrieved through Santos’ reinterpretation of Cusanus’ 15th-century doctrine of learned ignorance. Though Cusanus has been marginalised, his doctrine imbues a profound epistemic humility conducive to our present need to reconfigure education. Contributing to this retrieval, I define learned ignorance as an epistemic principle of humility, adherence to which conduces towards reconditioning learning and teaching as non-finalised, processual activities within a genuinely intercultural pluriverse of knowledges. Agreeing with (...) Santos’ marginalisation thesis and his advocacy of recovering similarly silenced voices from within Western discourse, I argue that learned ignorance in some works of English literature and philosophy has also been marginalised. One of the most famous lines from Pope—‘A little Learning is a dang'rous Thing’—has been widely misunderstood through failing to recognise the poem's learned ignorance elements. My reinterpretation of Pope suggests a possibly more extensive literary form of opposition to the scientificisation of knowledge. I also examine another marginalised, educationally significant retrieval of learned ignorance by Hamilton. His learned ignorance standpoint fundamentally opposes the scientificisation and instrumentalisation of knowledge and learning. The discussion identifies the counterhegemonic status of this epistemic principle of humility and intimates its paradigm-shifting opportunities through some brief closing suggestions concerning how learned ignorance enriches Freire's emphases on the importance of ‘love, humility and faith’ as essential to the ‘horizontal relationship’ between teacher and student of an educational dialogue founded on trust. (shrink)

The goal of the book is to provide an anthology covering the reception of Plato's Republic in the Islamic world, with a focus on Averroes's outstanding but underappreciated commentary on Plato's most famous dialogue. Despite the publication of Ralph Lerner's excellent English translation almost 50 years ago, very few scholarly studies have been written on it. We propose the following chapters, keeping in mind that some might be changed owing to collaboration with contributors.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Pragmatism's Evolution: Organism and Environment in American Philosophy by Trevor PearceAlexander KleinTrevor Pearce. Pragmatism's Evolution: Organism and Environment in American Philosophy. Chicago: The University of Chicago Press, 2020. Pp. 384. Paperback, $35.00.Pragmatist pioneers were young lions in the days of Darwin. Evolutionary-biological thinking infused this philosophical movement from the start. And yet the last time a major monograph appeared on classic pragmatism and evolutionary biology—Philip Wiener's Evolution and (...) the Founders of Pragmatism (New York: Harper Torchbooks, 1949)—the author could personally thank Ralph Barton Perry, William James's junior colleague and eventual biographer. John Dewey himself wrote the foreword.Almost seventy-five years later, we have Trevor Pearce's painstakingly researched Pragmatism's Evolution. The author has graduate training in both biology and philosophy and is a former student of William Wimsatt and Robert Richards's (343). The book offers an intricate portrait of how debates about evolutionary biology informed the thinking of a loose-knit group of pragmatists between the years 1860 and 1910. While a remarkable variety of figures are discussed, ten pragmatists command the most attention: Chauncey Wright, C. S. Peirce, Francis Ellingwood Abbot, John Fiske, William James, Josiah Royce, John Dewey, Jane Addams, G. H. Mead, and W. E. B. Du Bois (18). Call them "the American Ten."Without downplaying Darwin, an overarching theme is the special significance of Herbert Spencer. Despite many specific disagreements with him (see e.g. 74, 207–8, 253–54, 281), the American Ten all accepted something more fundamental from Spencer: an intellectual framework that explains mind and morality in terms of functional relationships between organism and environment.After an introduction outlining what Pearce identifies as four chronological "cohorts" of pragmatists (more on this concept below), he examines the 1860s and 1870s reception of Darwin (chapter 1) and Spencer (chapter 2), showing how senior pragmatists like Wright, Peirce, and James defended evolution during this period. In chapter 2, we meet the Metaphysical Club's arch Spencerian, John Fiske, and we get a reading of James's critique of Spencer's psychology and sociology. Chapter 3 gives a highly detailed, reference-work-like portrait of the second cohort's training in evolutionary biology during the 1880s—chiefly Royce, Dewey, Addams, Mead, and Du Bois. In chapter 4, we learn that in the 1880s and 1890s, idealists like Edward Caird, Samuel Alexander, David George Ritchie, and Josiah Royce all co-opted ideas from evolutionary biology, which they apparently thought compatible with Hegelian dialectics. Chapter 5 shows that central planks of Peirce's metaphysics and Dewey's ethics are responsive to an 1890s dispute over the causes of the biological variation upon which selection acts (the so-called "factors" debate). The final two chapters show how pragmatist ethics (chapter 6) and epistemology (chapter 7) were infused with substantive ideas about evolution and about scientific experiment more generally.The depth and use of historical scholarship on offer here are both remarkable. On depth, Pearce draws from nineteen special collections and archives housed at institutions from California to Manchester, UK. The reference list (published on Pearce's website) runs [End Page 160] to 118 pages and was apparently too long for inclusion in the book. Archival research and lengthy bibliographies are to be expected in today's history of philosophy. But the sheer range of sources Pearce draws from is, by any measure, impressive.The use to which he puts those sources is provocative. Close reading, and in particular argument reconstruction, is usually the stock in trade for historians of philosophy. Pearce takes a different approach (7), seeking interpretive insight through a kind of philosophical network analysis. The nodes are mainly philosophers, scientists, and social critics. Unlike digital network analyses, Pearce connects his nodes by hand, via a great multiplicity of social, educational, and intellectual relations. We learn who studied evolution where, with whom, and when; what specific texts were assigned in classes taken, in classes taught; who attacked whom, who sided with whom; and so on.The resulting networks are rich, though they can be difficult to track due to their complexity. At its best, the book uses networks to produce genuine insights that... (shrink)

Pursuing Justice, Second Edition, examines the issue of justice by considering the origins of the idea, formal systems of justice, current global issues of justice, and ways in which justice might be achieved by individuals, organizations, and the global community. Part 1 demonstrates how the idea of justice has emerged over time, starting with religion and philosophy, then moving to the justice as a concern of the state, and finally to the concept of social justice. Part 2 outlines the very (...) different mechanisms used by various nations for achieving state justice, including systems based on common law, civil law, and Islamic law, with a separate discussion of the US justice system. Part 3 focuses on four contemporary issues of justice: war, genocide, slavery, and the environment. Finally, Part 4 shows how individuals and organizations can go about pursuing justice, and describes the rise of global justice. This updated timely book helps students understand the complexities and nuances of a society's pursuit of justice. It provides students with the foundations of global justice systems, integrating Greek philosophies and major religious perspectives into a justice perspective, and contributes to undergraduate understanding of international justice bodies, NGOs, and institutions. New edition is completely updated and revised to achieve relevance for today's students Covers concepts of justice as well as ideas for pursuing and achieving justice Examines how our modern laws began, and traces their evolution to today's laws Presents concepts and issues in justice studies as well as a comparison of several systems of law Teaching resources include discussion questions and real-world examples. (shrink)

Volume 11 brings together all of Dewey's writings for 1918 and 1919. A Modern Language Association Committee on Scholarly Editions textual edition. Dewey's dominant theme in these pages is war and its after-math. In the Introduction, Oscar and Lilian Handlin discuss his philosophy within the historical context: The First World War slowly ground to its costly conclusion; and the immensely more difficult task of making peace got painfully under way. The armi-stice that some expected would permit a return to normalcy (...) opened instead upon a period of turbulence that agitated fur-ther a society already unsettled by preparations for battle and by debilitating conflict overseas. After spending the first half of 1918-19 on sabbatical from Columbia at the University of California, Dewey traveled to Japan and China, where he lectured, toured, and assessed in his essays the relationship between the two nations. From Peking he reported the student revolt known as the May Fourth Move-ment. The forty items in this volume also include an analysis of Thomas Hobbe's philosophy; an affectionate commemorative tribute to Theodore Roosevelt, our Teddy; the syllabus for Dewey's lectures at the Imperial University in Tokyo, which were later revised and published as Reconstruction in Philosophy; an exchange with former disciple Randolph Bourne about F. Mat-thias Alexander's Man's Supreme Inheritance; and, central to Dew-ey's creed, Philosophy and Democracy. His involvement in a study of the Polish-American community in Philadelphia--resulting in an article, two memoranda, and a lengthy report--is discussed in detail in the Introduction and in the Note on the Confidential Report ofConditions among the Poles in the United States. (shrink)

This study probed a crucial assumption underlying much of the ethics theory and research: do managers perceive ethical behavior to be an important personal job requirement? A large sample of managers from a cross-section of industries and job functions indicated that, compared to other job duties, certain ethical behaviors were moderate to somewhat major parts of their jobs. Some noteworthy differences by industry, organization size, tenure and job function were also found. These findings underscore the importance of ethics for business (...) education. They also have implications for manager selection, training, and development by organizations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and LearningRalph A. Smith (bio)IntroductionIt appears to be a defining characteristic of Rembrandt’s works—as important as the brushstrokes, the underdrawing, the types of ground and the paints used—that they move people exceedingly. [T]hey help us feel something of what the artist may have felt about youth, old age, friendship, isolation, and love.—Anthony Bailey[For] Rembrandt, imperfections are the norm of humanity, which is why he will always speak across (...) centuries to those for whom art might be something other than the quest for ideal form.—Simon SchamaArt can arouse the senses, touch the feelings, and stir the passions. In exercising these formidable powers, the artist should respect certain limits of good taste and moral propriety. Rembrandt possessed unequal skill in depicting the passions in original ways without breaking the code. Well, hardly ever.—Gary SchwartzThe National Endowment for the Humanities (NEH) Rembrandt Project was designed to apply state-of-the-art digital technology to the development of the multiple competencies needed for understanding and appreciating [End Page 101] Rembrandt and his time. As educational consultant to the project, I was given the assignment of conceptualizing a framework that would accommodate and illuminate the project’s purposes. This meant that I not only had to refamiliarize myself with seventeenth-century Dutch art and culture and with the national and state standards for the visual arts but also acquaint myself with the standards for socials studies; both sets of standards occupy a prominent place in the project and are the subject of the third section of this article. The overarching viewpoint from which I approached my assignment, however, was that of the humanities, a topic to which I turn first. Furthermore, since the project’s foremost concern is with masterpieces of the visual arts, I thought it apposite to address briefly some issues in aesthetics, especially those that relate to experiencing artworks appropriately. Having surveyed the project from the perspectives mentioned, I then ask to what extent it was successful in avoiding the pitfalls that often frustrate the implementation of novel ideas and methods.1The HumanitiesThe following interpretation of the humanities is condensed from the writings of two distinguished philosophers, Albert William Levi and Walter Kaufmann, and the historian Paul Gagnon. Levi, an early member of the National Council for the Humanities and for most of his career a distinguished professor of the humanities at Washington University, was once asked to define the essence of the humanities. He replied that the purposes of the humanities are to encourage persons to “to think critically, to communicate successfully, and to walk proudly with [their] tradition.”2 Noteworthy in this terse statement is its emphasis on the procedural aspects of the humanities, that is, their effects on human actions and attitudes. Such emphasis accorded well with the tradition of the Middle Ages, which construed the humanities as skills of organizing and understanding human experience. Levi, however, also acknowledged the Renaissance conception of the humanities as subject matters, thereby paying tribute to the endeavors of Renaissance scholars who devoted themselves to recovering and transmitting the literary texts of antiquity. A strong believer in historical continuity, Levi synthesized the Medieval and Renaissance traditions by proposing that the humanities be understood as skills of communication, continuity, and criticism. These skills have their substantive grounding in languages and literatures, history, and philosophy, the latter conceived as critical reflection.3 After pondering Levi’s interpretation, I added another “c,” the arts of creation, to his troika. Thus, the humanities can be understood as indispensable to human experience because they are the arts of creation, communication, continuity, and criticism.Another view of the purposes of the humanities and their relevance to the project can be found in the writings of the historian Paul Gagnon. He [End Page 102] stressed the importance of preparing the young for citizenship, personal cultivation, and vocation within a curriculum committed to the values of equity and competence.4 Gagnon interpreted the study of history as providing critical checks on reality, imparting insights into the various ways in which persons have used historical knowledge to find their place in the flow of events, and... (shrink)