The world food economy has undergone a basic transformation during the seventies. Not only did the world have surplus stocks and excess production capacity at the beginning of the decade, but it also appeared that both would be around for a long time to come. Suddenly in 1972 and 1973, they disappeared and the whole world was trying to make it from one harvest to the next. During the mid-seventies global food insecurity was greater than at any time since the (...) war-torn years immediately following World War II. (shrink)

The National Association for Science, Technology and Society and the Calvert Social Investment Fund created this lectureship to honor Robert D. Rodale, the late Chairman of Rodale Press and Rodale Institute, and a regular speaker at earlier TLC events. On February 7, 1992 the President of the Worldwatch Institute, Lester R. Brown, presented the first Robert Rodale Lecture.

Experiential evidence shows that pain is associated with common meanings. These include a meaning of threat or danger, which is experienced as immediately distressing or unpleasant; cognitive meanings, which are focused on the long-term consequences of having chronic pain; and existential meanings such as hopelessness, which are more about the person with chronic pain than the pain itself. This interdisciplinary book - the second in the three-volume Meanings of Pain series edited by Dr Simon van Rysewyk - aims to better (...) understand pain by describing experiences of pain and the meanings these experiences hold for the people living through them. The lived experiences of pain described here involve various types of chronic pain, including spinal pain, labour pain, rheumatic pain, diabetic peripheral neuropathic pain, fibromyalgia, complex regional pain syndrome, endometriosis-associated pain, and cancer-related pain. Two chapters provide narrative descriptions of pain, recounted and interpreted by people with pain. Language is important to understanding the meaning of pain since it is the primary tool human beings use to manipulate meaning. As discussed in the book, linguistic meaning may hold clues to understanding some pain-related experiences, including the stigmatisation of people with pain, the dynamics of patient-clinician communication, and other issues, such as relationships between pain, public policy and the law, and attempts to develop a taxonomy of pain that is meaningful for patients. Clinical implications are described in each chapter. This book is intended for people with pain, their family members or caregivers, clinicians, researchers, advocates, and policy makers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 182-186 [Access article in PDF] Book Review Rhetoric and Community: Studies in Unity and Fragmentation Rhetoric and Community: Studies in Unity and Fragmentation. Studies in Rhetoric/Communication. Ed. J. Michael Hogan. Series ed. Thomas W. Benson. Columbia, SC: U of South Carolina P, 1998. Pp. xxxviii + 315. $39.95. Based on papers and critical responses presented at the Fourth Biennial Public Address Conference, which was (...) held at Indiana University in 1994, this collection of fourteen essays by leading rhetoric scholars concentrates on the relationships among rhetoric, community, and fragmentation. Organized into three broad sections entitled "Race, Gender, and Community," "War and Community," and "Artistic and Scientific Community," the book contributes to ongoing conversations about the roles of language, symbolism, differences, metaphors, myths, hegemony, economic class, pluralism, and multiple consciousness in unifying the United States. A preface and a conclusion by J. Michael Hogan, who edited the collection, provides an orientation and summary for this new volume in the University of South Carolina Press series devoted to Studies in Rhetoric/Communication.The preface frames the book's contribution as a response to a belief that "a growing number of social and political commentators fear that the United States has lost all sense of 'community'--that repository of shared purpose, values, and traditions which historically has defined the American character" (xii). Hogan amplifies, "The signs of stress and fragmentation appear everywhere, not just in our national political and cultural dialogue but in all of the various communities that define our social lives--our families, our neighborhoods, our towns and cities, our professions, and our social and cultural associations" (xii). The preface situates the book in this concern about a "lost" unity that once upon a time typified the United States. But this "lost" community is a mythic representation of a past that has never existed in the United States, except possibly in the imaginations of people habituated to dominant roles. Stephen H. Browne's comments about restoration projects in general are germane: "The work of restoration has [End Page 182] never come easy for Americans, not least of all because it presumes a state that never existed and the appeal to which is almost always self-interested" (75).Describing the fourteen contributors as sharing "a common bond," Hogan asserts, "recognizing that communities are largely defined, and rendered healthy or dysfunctional, by the language they use to characterize both themselves and others, all share an abiding concern with how communities are constituted and sustained--or, in some cases, threatened and disrupted--by the words their leaders choose to characterize both themselves and others" (xv). Hogan emphasizes a question that he reiterates with slight changes in the conclusion: "Can feminist or ethnic and racial communities successfully sustain and celebrate their own identities without alienating themselves from the larger community?" (295; similarly, xxiii). But if all members of a community are responsible for unity and fragmentation, if we are unwilling to assign responsibility for fragmentation to subordinated community members, it may be necessary, consciously, to reverse the dynamics of power implicit in Hogan's question, by asking: "Can groups that have had a history of dominating others--both beyond and within the borders--sustain their own identities and still relate productively to the community?" In addition, because the English language is a communal inheritance, it may be revealing to ask, in a reversal of the book's focus on "community," how are notions of individualism sustained in the United States?Roderick P. Hart's introduction, "Community by Negation--An Agenda for Rhetorical Inquiry," focuses on a rhetoric of hate as practiced by both the political right and the political left. Hart inquires "whether it is possible to have community without hate" (xxv). This question is necessary in any serious discussion of rhetoric, fragmentation, and community; yet calculated opportunism and economic exploitation may be misnamed and obfuscated in language depicting a rhetoric of "hate." Indeed, Lu-in Wang, a legal scholar, suggests that these other motives may be more common than animus in so-called "hate crimes." Live interviews with convicted killers... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

It is vital that social workers have a deep and critical understanding of the social work value-base, and are able to analyse and apply values and ethics to their everyday practice. This fully-revised edition of one of our best-selling titles identifies current issues in social work and then applies an ethical dimension. These issues are then investigated further within an anti-discriminatory framework and against the background of the code of practice for social care workers and employers. Traditional value perspectives are (...) clearly explained and current developments in virtue theory and the ethics of care for social work are also introduced. (shrink)

contemporary ethical project--one that should inform our lives as well as our thoughts.

In _Ecce Homo_ Friedrich Nietzsche calls himself "the first immoralist" and adds "that makes me the annihilator _par excellence_". Lester Hunt examines this and other radical claims in order to show that Nietzsche does have a coherent ethical and political philosophy. He uses Nietzsche's writings as a starting point for a critique of a wider, contemporary ethical project - one that should inform our lives as well as our thoughts.

You want to see the concert, but don’t want to take a long drive (even though the concert is far away). Such *strongly conflicting desire ascriptions* are, I show, wrongly predicted incompatible by standard semantics. I then object to possible solutions, and give my own, based on *some-things-considered desire*. Considering the fun of the concert, but ignoring the drive, you want to see the concert; considering the boredom of the drive, but ignoring the concert, you don’t want to take the (...) drive. (shrink)

Algorithms wield increasing control over our lives—over which jobs we get, whether we're granted loans, what information we're exposed to online, and so on. Algorithms can, and often do, wield their power in a biased way, and much work has been devoted to algorithmic bias. In contrast, algorithmic neutrality has gone largely neglected. I investigate three questions about algorithmic neutrality: What is it? Is it possible? And when we have it in mind, what can we learn about algorithmic bias?

It describes and explains the patient-centered model examining and evaluating qualitative and quantitative research. It comprehensively covers the evolution and the six interactive components of the patient-centered clinical method, taking the reader through the relationships between the patient and doctor and the patient and clinician. All the editors are professors in the Department of Family Medicine at the University of Western Ontario, London, Canada.

From David Hume's famous puzzle about 'the missing shade of blue' to current research into the science of colour, the topic of colour is an incredibly fertile region of study and debate, cutting across philosophy of mind, epistemology, metaphysics and aesthetics as well as psychology. Debates about the nature of our experience of colour and the nature of colour itself are central to contemporary discussion and argument in philosophy of mind and psychology, and philosophy of perception. This outstanding Handbook contains (...) twenty-nine specially commissioned contributions by leading philosophers and examines the most important aspects of philosophy of colour. It is organised into six parts: The Importance of Colour to Philosophy The Science and Spaces of Colour Colour Phenomena Colour Ontology Colour Experience and Epistemology Language, Categories and Thought. The Routledge Handbook of Philosophy of Colour is essential reading for students and researchers in philosophy of mind and psychology, epistemology, metaphysics and aesthetics, as well as for those interested in conceptual issues in the psychology of colour. (shrink)

Neo-Fregeanism aims to provide a possible route to knowledge of arithmetic via Hume’s principle, but this is of only limited significance if it cannot account for how the vast majority of arithmetic knowledge, accrued by ordinary people, is obtained. I argue that Hume’s principle does not capture what is ordinarily meant by numerical identity, but that we can do much better by buttressing plural logic with plural versions of the ancestral operator, obtaining natural and plausible characterizations of various key arithmetic (...) concepts, including finiteness, equinumerosity and addition and multiplication of cardinality—revealing these to be logical concepts, and obtaining much of ordinary arithmetic knowledge as logical knowledge. Supplementing this with an abstraction principle and a simple axiom of infinity (known either empirically or modally) we obtain a full interpretation of arithmetic. (shrink)

Business ethics as an applied inquiry requires an expanded normative method which allows both philosophical and religious ethical considerations to be employed in resolving complex issues or cases. The proposed foundational normative method provides a comprehensive framework composed of major philosophical and religious ethical theories. An extensive rationale from the current trends in business ethics and metaethical considerations supports the development of this method which is illustrated in several case studies. By using this method, scholars and business persons gain greater (...) certitude about the ethical quality of their deliberations and decision making than what may be achieved with current nonsystematic or nascent normative methods. (shrink)

We show that data collected from corpuses of documents violate the Clauser-Horne-Shimony-Holt version of Bell’s inequality and therefore indicate the presence of quantum entanglement in their structure. We obtain this result by considering two concepts and their combination and coincidence operations consisting of searches of co-occurrences of exemplars of these concepts in specific corpuses of documents. Measuring the frequencies of these co-occurrences and calculating the relative frequencies as approximate probabilities entering in the CHSH inequality, we obtain manifest violations of the (...) latter for all considered corpuses of documents. In comparing these violations with those analogously obtained in an earlier work for the same combined concepts in psychological coincidence experiments with human participants, also violating the CHSH inequality, we identify the entanglement as being carried by the meaning connection between the two considered concepts within the combination they form. We explain the stronger violation for the corpuses of documents, as compared to the violation in the psychology experiments, as being due to the superior meaning domain of the human mind and, on the other side, to the latter reaching a broader domain of meaning and being possibly also actively influenced during the experimentation. We mention some of the issues to be analyzed in future work such as the violations of the CHSH inequality being larger than the ‘Cirel’son bound’ for all of the considered corpuses of documents. (shrink)

Biological science does not try to distinguish between health and disease. Biology is concerned with the interaction between living organisms and their environment. What we call health or disease is quite irrelevant.These reactions between the individual and his environment are complex. The individual and his surroundings form an integrated system which we can arbitrarily divide into two parts. There is an “external” component, by which we mean such factors as light, heat, percentage of oxygen in the air, quantity of minerals (...) or vitamins in food, micro-organisms in food or air, and so on. These can induce changes in what we arbitrarily call the “internal” component. Here we include such crude factors as anatomical structures, or finer details like composition of intercellular fluid, or secretions of glands, or changes of electrical potential in nerve or muscle. (shrink)

What is African American Politics? What form should it take? How does it conceptualize white supremacy? In In the Shadow of Du Bois, Robert Gooding-Williams uses the work of W. E. B. Du Bois and Fredrick Douglass to provide answers to these questions. While the choices of Douglass and Du Bois make a great deal of sense, they reproduce the tendency of confining political theory to literature – a move that bounds the genre in problematic ways. In this article, I (...) in effect attempt to “unbound” the genre by considering Ella Baker, a civil rights era political organizer. (shrink)

This comprehensive anthology of Bertrand Russell's writings brings together his definitive essays from the period 1903 to 1959. It covers the most fertile and the most lasting work on every significant area he published in.

Neural devices have the capacity to enable users to regain abilities lost due to disease or injury – for instance, a deep brain stimulator (DBS) that allows a person with Parkinson’s disease to regain the ability to fluently perform movements or a Brain Computer Interface (BCI) that enables a person with spinal cord injury to control a robotic arm. While users recognize and appreciate the technologies’ capacity to maintain or restore their capabilities, the neuroethics literature is replete with examples of (...) concerns expressed about agentive capacities: A perceived lack of control over the movement of a robotic arm might result in an altered sense of feeling responsible for that movement. Clinicians or researchers being able to record and access detailed information of a person’s brain might raise privacy concerns. A disconnect between previous, current, and future understandings of the self might result in a sense of alienation. The ability to receive and interpret sensory feedback might change whether someone trusts the implanted device or themselves. Inquiries into the nature of these concerns and how to mitigate them has produced scholarship that often emphasizes one issue – responsibility, privacy, authenticity, or trust – selectively. However, we believe that examining these ethical dimensions separately fails to capture a key aspect of the experience of living with a neural device. In exploring their interrelations, we argue that their mutual significance for neuroethical research can be adequately captured if they are described under a unified heading of agency. On these grounds, we propose an “Agency Map” which brings together the diverse neuroethical dimensions and their interrelations into a comprehensive framework. With this, we offer a theoretically-grounded approach to understanding how these various dimensions are interwoven in an individual’s experience of agency. (shrink)

The Lily's Tongue offers a nuanced, sustained reading of what Maughan-Brown calls the "Lily Discourses"--four discourses that Kierkegaard wrote about the instruction in the Gospel of Matthew to "consider the lilies." Kierkegaard suggests that the lilies are "authoritative" rather than merely "figural" or "metaphorical." The aim of this book is to explore what exactly Kierkegaard means by asking, How do texts speak with authority? In Maughan-Brown's reading, Kierkegaard argues that the key to a text's authority is in the (...) act of reading itself. No text can have authority unless the reader grants it that authority. That is because, paradoxically, no text can avoid or escape the use of figural language. If the lilies speak authoritatively it is precisely because they are also figural. Texts do not speak directly; their tongue is always the lily's tongue. Drawing on the work of Kant, Hegel, Nietzsche, Benjamin, and Derrida, The Lily's Tongue situates Kierkegaard's reading of Matthew at the intersection of theological, philosophical, political, and literary investigations of figural language. It uniquely contributes to the ongoing discussion of Kierkegaard's theory and practice of "indirect communication" by introducing four pivotal signed discourses into this debate. In so doing, Maughan-Brown reveals a groundbreaking theory of figure--one that ultimately requires a renewed reading of the major pseudonymous works. (shrink)

Engaging and accessible to all students, Good Reasons is a brief, very readable introduction to argument by two of the country's foremost rhetoricians. By stressing the rhetorical situation and the audience, this rhetoric avoids complicated schemes and terminology in favor of providing students with the practical means to find "good reasons" for the positions they want to advocate to their audiences. Supporting the authors' instruction are numerous readings by professional and student writers, including a pivotal selection from Rachel Carson's extraordinarily (...) influential argument, "Silent Spring." Good Reasons is distinctive in its emphasis on visual persuasion and the presentation of arguments in various media, including electronic media. It includes a thorough discussion of visual design and how good document design can support good reasons, as well as a unique introduction to arguments on the World Wide Web. Good Reasons is also distinctive in considering narratives as an important aspect of argument. (shrink)