Research Ethics, Volume 18, Issue 1, Page 51-63, January 2022. Aboriginal and Torres Strait Islander peoples in Australia, have historically experienced research as another means of colonialization and oppression. Although there are existing frameworks, guidelines and policies in place that respond to this history, the risk of exploitation and oppression arising from research still raises challenging ethical questions. Since the 1990s the National Health and Medical Research Council in Australia has developed specific sets of guidelines that govern research with these (...) populations in an attempt to redress injustices of the past. The current guidelines: Ethical Conduct in Research with Aboriginal and Torres Strait Islander Peoples and Communities: Guidelines for Researchers and Stakeholders, 2018, emphasis six core values which are bound together by “spirit and integrity.” The values are reflected through respect for cultural inheritance, and genuine negotiation of partnerships between researchers, other stakeholders, and communities. We examine whether these guidelines can lead to research and research practices that redress some of the ongoing traumas of colonialization and racism. We draw upon Margaret Urban Walker’s formulation of restorative justice, based upon her “pragmatics of repair” which relies upon “voice, validation and vindication” and at its core, the restoration of relationships. (shrink)

Adaptations can occur at different hierarchical levels, but it can be difficult to identify the level of adaptation in specific cases. A major problem is that selection at a lower level can filter up, creating the illusion of selection at a higher level. We use optimality modeling of the volvocine algae to explore the emergence of genuine group adaptations. We find that it is helpful to develop an explicit model for what group fitness would be in the absence of group-level (...) relationships between traits and group fitness. We call this “counterfactual fitness,” because in many actual cases of interest there are group-level relationships. Once counterfactual fitness is modeled, the difference between effects that filter up and genuine group selection is explicit and so, therefore, is the distinction between apparent and genuine group adaptations. We call the latter group-specific adaptations. Recognizing group-specific adaptations is important because only group-specific adaptations would cause the lower-level units to be maladapted if they were to leave the group and enter a global cell-level population. Thus, as group-specific adaptations evolve, they create selective pressure for increased cohesiveness and individuality of groups. This article suggests that group-specific adaptations could be present in the simplest, earliest branching colonial volvocine species, which do not have distinct specialized cells. The article also makes predictions about the kind of empirical evidence needed to support or refute the hypothesis that a particular trait is a group-level adaptation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are (...) essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are (...) essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

Understanding good design requires addressing the question of what units undergo natural selection, thereby becoming adapted. There is, therefore, a natural connection between the formal Darwinism project (which aims to connect population genetics with the evolution of design and fitness maximization) and levels of selection issues. We argue that the formal Darwinism project offers contradictory and confusing lines of thinking concerning level(s) of selection. The project favors multicellular organisms over both the lower (cell) and higher (social group) levels as the (...) level of adaptation. Grafen offers four reasons for giving such special status to multicellular organisms: (1) they lack appreciable within-organism cell selection, (2) they have multiple features that appear contrived for the same purpose, (3) they possess a set of phenotypes, and (4) they leave offspring according to their phenotypes. We discuss why these rationales are not compelling and suggest that a more even-handed approach, in which multicellular organisms are not assumed to have special status, would be desirable for a project that aims to make progress on the foundations of evolutionary theory. (shrink)

We review Evolution and the Levels of Selection by Samir Okasha. This important book provides a cohesive philosophical framework for understanding levels-of-selections problems in biology. Concerning evolutionary transitions, Okasha proposes that three stages characterize the shift from a lower level of selection to a higher one. We discuss the application of Okasha’s three-stage concept to the evolutionary transition from unicellularity to multicellularity in the volvocine green algae. Okasha’s concepts are a provocative step towards a more general understanding of the major (...) evolutionary transitions; however, the application of certain ideas to the volvocine model system is not straightforward. (shrink)

This article explores the temporal organization and manipulation of time in the production and presentation of news reports. Time is often cited as one of the most central organizing concepts of news production; indeed one of the major features of news reporting is the breaking of stories and the reporting of events `as they happen'. However, whilst much emphasis is placed upon time within media production, much of this pertains to the reporting of past and present events rather than the (...) reporting of the future. This article explores the future within news reporting through an examination of sequential events leading up to a main scheduled newsworthy event: the execution of Timothy McVeigh. It analyses how the production of `news' utilizes the future by relying upon prediction and speculation about what will happen and examines: how news can be seen to depend to a large degree on uncertainty for its value; the use of time frames within media reporting; and the way time is manipulated in the service of the recency and immediacy of news reporting. (shrink)

Leishmania major infection of inbred mice leads to a major dichotomous response—death or survival—that depends on the strain of mice. This finding has motivated efforts to locate genetic determinants of disease susceptibility. Genotyping studies have confirmed a complex multilocus trait, but studies directed at the biology of the response suggest identifiable components of susceptibility that may direct the genetic investigations. A confluence of parasite variables—residence in macrophages, class II-dependent immunity, and avoidance of early IL-12 induction—with host factors—a prominent helper T-cell (...) precursor frequency to a dominant parasite epitope and a bias in IL-4 gene activation—conspires to drive an aberrant immune response in animals that suffer fatal disease. These insights may lead to an understanding of factors that focus responses on dominant antigens and that mold the naive T-cell repertoire. Collectively, such factors might contribute to the pathogenesis of other infectious and autoimmune diseases. BioEssays 21:510–518, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

This paper presents the intelligent virtual animals that inhabit Omosa, a virtual learning environment to help secondary school students learn how to conduct scientific inquiry and gain concepts from biology. Omosa supports multiple agents, including animals, plants, and human hunters, which live in groups of varying sizes and in a predator-prey relationship with other agent types (species). In this paper we present our generic agent architecture and the algorithms that drive all animals. We concentrate on two of our animals to (...) present how different parameter values affect their movements and inter/intra-group interactions. Two evaluations studies are included: one to demonstrate the effect of different components of our architecture; another to provide domain expert validation of the animal behavior. (shrink)

This article relates the emergence of a group of faculty researchers utilizing complexity science approaches. The narrative emerges from three projects combining research into complexity, communities, and technologies. Details of how the research was initiated, and the nature and quality of the conversational method, are provided. In addition, theoretical concepts that were consciously applied and others that arose through insights from the data as it was collected are discussed. Although this is like most real narratives, a never-ending story, it concludes (...) with a presentation of some of the ideas that separate complexity-informed research from other paradigms. (shrink)

Actor‐Network Theory is a research lens that has gained popularity in the nursing and health sciences domains. The perspective allows a researcher to describe the interaction of actors (both human and non‐human) within networked sociomaterial contexts, including complex practice environments where nurses and health technology operate. This study will describe Actor‐Network Theory and provide methodological considerations for researchers who are interested in using this sociotechnical lens within nursing and informatics‐related research. Considerations related to technology conceptualization, levels of analysis, and sampling (...) procedures in Actor‐Network Theory based research are addressed. Finally, implications for future nursing research within complex environments are highlighted. (shrink)

The ethical issues raised by cybersecurity practices and technologies are of critical importance. However, there is disagreement about what is the best ethical framework for understanding those issues. In this paper we seek to address this shortcoming through the introduction of a principlist ethical framework for cybersecurity that builds on existing work in adjacent fields of applied ethics, bioethics, and AI ethics. By redeploying the AI4People framework, we develop a domain-relevant specification of five ethical principles in cybersecurity: beneficence, non-maleficence, autonomy, (...) justice, and explicability. We then illustrate the advantages of this principlist framework by examining the ethical issues raised by four common cybersecurity contexts: penetration testing, distributed denial of service attacks (DDoS), ransomware, and system administration. These case analyses demonstrate the utility of this principlist framework as a basis for understanding cybersecurity ethics and for cultivating the ethical expertise and ethical sensitivity of cybersecurity professionals and other stakeholders. (shrink)

Using artificial intelligence (AI) to make decisions in human resource management (HRM) raises questions of how fair employees perceive these decisions to be and whether they experience respectful treatment (i.e., interactional justice). In this experimental survey study with open-ended qualitative questions, we examine decision making in six HRM functions and manipulate the decision maker (AI or human) and decision valence (positive or negative) to determine their impact on individuals’ experiences of interactional justice, trust, dehumanization, and perceptions of decision-maker role appropriate- (...) ness. In terms of decision makers, the use of human decision makers over AIs generally resulted in better perceptions of respectful treatment. In terms of decision valence, people experiencing positive over negative decisions generally resulted in better perceptions of respectful treatment. In instances where these cases conflict, on some indicators people preferred positive AI decisions over negative human decisions. Qualitative responses show how people identify justice concerns with both AI and human decision making. We outline implications for theory, practice, and future research. (shrink)

The essays in this volume apply philosophical analysis to address three kinds of questions: What are the implications of genetic science for our understanding of nature? What might it influence in our conception of human nature? What challenges does genetic science pose for specific issues of private conduct or public policy?

Forms of Artificial Intelligence (AI) are already being deployed into clinical settings and research into its future healthcare uses is accelerating. Despite this trajectory, more research is needed regarding the impacts on patients of increasing AI decision making. In particular, the impersonal nature of AI means that its deployment in highly sensitive contexts-of-use, such as in healthcare, raises issues associated with patients’ perceptions of (un) dignified treatment. We explore this issue through an experimental vignette study comparing individuals’ perceptions of being (...) treated in a dignified and respectful way in various healthcare decision contexts. Participants were subject to a 2 (human or AI decision maker) x 2 (positive or negative decision outcome) x 2 (diagnostic or resource allocation healthcare scenario) factorial design. We found evidence of a “human bias” (i.e., a preference for human over AI decision makers) and an “outcome bias” (i.e., a preference for positive over negative outcomes). However, we found that for perceptions of respectful and dignified interpersonal treatment, it matters more who makes the decisions in diagnostic cases and it matters more what the outcomes are for resource allocation cases. We also found that humans were consistently viewed as appropriate decision makers and AI was viewed as dehumanizing, and that participants perceived they were treated better when subject to diagnostic as opposed to resource allocation decisions. Thematic coding of open-ended text responses supported these results. We also outline the theoretical and practical implications of these findings. (shrink)

This paper reports on an ongoing ARC Discovery Project that is conducting design research into learning in collaborative virtual worlds (CVW).The paper will describe three design components of the project: (a) pedagogical design, (b)technical and graphics design, and (c) learning research design. The perspectives of each design team will be discussed and how the three teams worked together to produce the CVW. The development of productive failure learning activities for the CVW will be discussed and there will be an interactive (...) demonstration of the project's CVW. (shrink)

The proliferation of digital data and internet-based research technologies is transforming the research landscape, and researchers and research ethics communities are struggling to respond to the ethical issues being raised. This paper discusses the findings from a collaborative project that explored emerging ethical issues associated with the expanding use of digital data for research. The project involved consulting with researchers from a broad range of disciplinary fields. These discussions identified five key sets of issues and informed the development of guidelines (...) orientated to meet the needs of researchers and ethics committee members. We argue that establishing common approaches to assessing ethical risks of research involving digital data will promote consistency in the ethical standards for research, enable the smooth functioning of ethics committees, and sustain public confidence in research. We conclude with recommendations for the development of educational resources for ethics committees, data management guidelines and further public education. (shrink)

Despite the challenges associated with virtually mediated communication, remote collaboration is a defining characteristic of online multiplayer gaming communities. Inspired by the teamwork exhibited by players in first-person shooter games, this study investigated the verbal and behavioral coordination of four-player teams playing a cooperative online video game. The game, Desert Herding, involved teams consisting of three ground players and one drone operator tasked to locate, corral, and contain evasive robot agents scattered across a large desert environment. Ground players could move (...) throughout the environment, while the drone operator’s role was akin to that of a “spectator” with a bird’s-eye view, with access to veridical information of the locations of teammates and the to-be-corralled agents. Categorical recurrence quantification analysis was used to measure the communication dynamics of teams as they completed the task. Demands on coordination were manipulated by varying the ground players’ ability to observe the environment with the use of game “fog.” Results show that catRQA was sensitive to changes to task visibility, with reductions in task visibility reorganizing how participants conversed during the game to maintain team situation awareness. The results are discussed in the context of future work that can address how team coordination can be augmented with the inclusion of artificial agents, as synthetic teammates. (shrink)

The messianic messages delivered to Londoners by the self-styled prophet, Richard Brothers, were regarded by many sceptical observers and pamphleteers as eccentric or, worse still, the embarrassing utterances of someone wishing to reprise the political turmoil of a by-gone era marred by religious ‘fanaticism’. This article shows the extent to which Brothers's messages, as set down in his Revealed Knowledge of the Prophecies and Times (1794–1795), were absolutely central to the religious politics and culture of the 1790s—or what one contemporary (...) critic mockingly referred to as the ‘age of prophecy’. Brothers's prophecies came to the attention of the British government, which culminated in his arrest for treasonable practices in March 1795 when he became a cause célèbre, before being confined to an asylum for eleven years. He was deemed a criminal lunatic but, as this article seeks to demonstrate, his ‘prophetic imagination’ arose out of the same rich theological, political and cultural context that spurred ‘radicals’ like Tom Paine, whilst inspiring poets and artists such as William Blake. If the content of his prophecies were regarded by contemporary sceptics for having no validity, it remains true to say that Richard Brothers, as an educated gentleman and naval officer, dramatically altered 18th-century expectations and perceptions of what prophets were and the nature of prophecy itself. (shrink)

Chefs have been recognized as potentially important partners in efforts to promote local food systems. Drawing on the diffusion of innovation framework we (a) examine the characteristics of chefs and restaurants that have adopted local foods; (b) identified local food attributes valued by restaurants; (c) examine how restaurants function as opinion leaders promoting local foods; (d) explored network linkages between culinary and production organizations; and (e) finally, we consider some of the barriers to more widespread adoption of local foods in (...) the culinary community. Analyzing quantitative and qualitative data collected from interviews with individuals from 71 restaurants, we compare and contrast restaurants that utilize relatively large amounts of locally-produced ingredients with restaurants using few, if any, local products. Results reveal that chefs are most interested in intrinsic food qualities, such as taste and freshness, and less interested in production standards. As opinion leaders, chefs utilize signage, wait staff, and cooking classes to promote local foods; however, the diffusion process across restaurants, and between restaurants and producers, is limited by network associations. Structural barriers such as distribution problems and lack of convenience were identified as limiting more widespread use of locally-grown foods. We offer several implications of this research for further work that seeks to engage chefs as opinion leaders who are important to building greater support for local food systems. (shrink)

Virtue, the centerpiece of ancient ethics, has come under attack by virtue skeptics impressed by results of psychology experiments including Milgram’s obedience studies. The virtue skeptic argues that experimental findings suggest that character structures are so fragile vis-à-vis situational factors as to be explanatorily superfluous: virtues and robust character traits are a myth, and should be replaced by situation-specific “narrow dispositions” (Gilbert Harman) or “local traits” (John Doris). This paper argues that the virtue skeptics’ sweeping claims are ill-founded. First, blending (...) Aristotelian and contemporary insights about virtue, I reach adecision about a reasonable, nonstraw defmition of “virtue” and of “character trait.” Next, I argue that explanations give by Lee Ross and Richard Nisbett for the Milgram findings covertly invoke character traits. Reflection reveals that more robust, crosssituationally consistent traits are needed for explanation of subject behavior, and that it is reasonable to suppose that such traits were in place. (shrink)

ABSTRACT: Virtue, the centerpiece of ancient ethics, has come under attack by virtue skeptics impressed by results of psychology experiments including Milgram's obedience studies. The virtue skeptic argues that experimental findings suggest that character structures are so fragile vis-å-vis situational factors as to be explanatorily superfluous: virtues and robust character traits are a myth, and should be replaced by situation-specific "narrow dispositions" (Gilbert Harman) or "local traits" (John Doris). This paper argues that the virtue skeptics' sweeping claims are ill-founded. First, (...) blending Aristotelian and contemporary insights about virtue, I reach a decision about a reasonable, non-straw definition of "virtue" and of "character trait." Next, I argue that explanations give by Lee Ross and Richard Nisbett for the Milgram findings covertly invoke character traits. Reflection reveals that more robust, cross-situationally consistent traits are needed for explanation of subject behavior, and that it is reasonable to suppose that such traits were in place. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pleasure of the PlayDeborah KnightThe Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper.I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and (...) postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately.But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272]To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work.The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all.Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p... (shrink)

Richard Evans trad in 2000 op als expert-getuige in het proces dat historica Deborah Lipstadt aanspande tegen haar collega David Irving. Lipstadt beschuldigde Irving ervan in zijn geschriften een grote hoeveelheid goedverkopende historische boeken over de Tweede Wereldoorlog, stelselmatig de Holocaust te ontkennen. Evans, eveneens een historicus, kreeg de taak te onderzoeken of er inderdaad sprake was van verdraaiing van de feiten in het werk van Irving. Zijn bevindingen, die hij in dit essay uit de doeken doet, en het (...) uiteindelijke oordeel van de rechter leiden hem ertoe na te denken over de verantwoordelijkheid die de geschiedschrijver heeft tegenover de waarheid. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 106-123 [Access article in PDF] The (Mis)Uses of Cannibalism in Contemporary Cultural Critique C. Richard King At least since 1979, when W. Arens demystified what he termed "the man-eating myth," cannibalism, once a fundamental feature of the anthropological imagination and a primary trope for interpreting cultural difference, has become subject to serious debate and lingering doubt [see Osborne]. Even as some anthropologists have sought to recuperate (...) anthropophagy as a tangible symbolic, ideological, and ritual complex [Brown and Tuzin; Conklin, "'Thus are our Bodies'"; Forsyth; Harris, Good to Eat 199-234; Sanday], a constellation of scholarly projects and popular works has complicated cannibalism by relocating it in the West. Perhaps most visibly, Hollywood cinema has reclaimed cannibalism. Although a handful of films have revived well-worn clichés of dark-skinned savages preparing to consume Westerners, as in King Solomon's Mines and Crocodile Dundee, others have cast the Western subject as cannibal to grapple with the horrors of reluctant cannibalism, as in Alive! [see Fiddes 121-31], to work through the transgressive and terrifying desires associated with psychopathic cannibalism, as in The Silence of the Lambs [Fuss; Halberstam], and importantly to parody the normative beliefs and behaviors of white, middle-class, heterosexual EuroAmericans, as in Eating Raoul and Parents. At the same time, an array of scholars, artists, and activists have invoked cannibalism to fashion critical perspectives on Western cultural practices. In his film Cannibal Tours (1987), Dennis O'Rourke encourages his audiences to think critically about tourists who travel to the Sepik River Valley to encounter reformed cannibals, asking implicitly who the cannibals are, the Melanesians who formerly (were thought to/claim to have) practiced anthropophagy or the tourists who travel to New Guinea to consume them [see Bruner]. Others have pushed the metaphor. Michael Ames, borrowing explicitly from O'Rourke, uses the cannibal to reframe ethnographic museums and their practices. Similarly, Jane Tompkins asserts that "Museums are a form of cannibalism made safe for polite society" [533]. More generally, Crystal Bartolovich playfully glosses consumerism as the cultural logic of the late cannibalism; bell hooks speaks of the EuroAmerican desires for and incorporation of things ethnic as "eating the other"; and Rosalind Morris suggests that cannibalism is the essential metaphor for late capitalism. More telling, however, are a set of overlapping critical projects that offer detailed theorizations [End Page 106] [Begin Page 108] of contemporary anthropophagy. Here, I will examine three that have had an important impact on discussions of tourism, museums, cultural appropriation, and consumption. Dean MacCannell, in an exciting exploratory review of the documentary Cannibal Tours, makes explicit what O'Rourke left unsaid: we are cannibals, and contemporary capitalism is neocannibalism. Perhaps more radically, Jack Forbes argues that Western civilization fosters cannibalism as an embodied, psychosocial condition or psychosis rooted in exploitation and consumption. Inspired at least in part by Forbes, Deborah Root rethinks Western civilization as cannibal culture.Although I am terribly sympathetic with these perspectives, particularly their political commitments and theoretical creativity, I am disturbed by the practices and effects that animate them. Indeed, as powerful as this critical field promises to be, it is at the same time troubling and dangerous. Although it defamiliarizes practices of cultural production and consumption, it does not enhance understanding of the contexts in which individuals and institutions deploy them and does less to effectively challenge or undermine them. In reframing beliefs and behaviors to accentuate productivity and power, it reinstates and reaffirms binaries and, worse, often turns on the same forms of appropriation.* * *Arguably, flesh eating has always promoted the elaborations of differences. Works central to the Western canon mobilize cannibalism to make (sense of) the world. Herodotus offers an early anthropophagic distinction:These Scythian husbandmen then occupy the country eastward for three days' journey.... Beyond this region the country is desert for a great distance; and beyond the desert Androphagi dwell.... The Androphagi have the most savage customs of all men; they pay no regard to justice, nor make use of any established law. They are nomads and wear a dress like a Scythian; they... (shrink)

In the social sciences and in everyday speech we often talk about groups as if they behaved in the same way as individuals, thinking and acting as a singular being. We say for example that "Google intends to develop an automated car", "the U.S. Government believes that Syria has used chemical weapons on its people", or that "the NRA wants to protect the rights of gun owners". We also often ascribe legal and moral responsibility to groups. But could groups literally (...) intend things? Is there such a thing as a collective mind? If so, should groups be held morally responsible? Such questions are of vital importance to our understanding of the social world. In this lively, engaging introduction Deborah Tollefsen offers a careful survey of contemporary philosophers? answers to these questions, and argues for the unorthodox view that certain groups should, indeed, be treated as agents and deserve to be held morally accountable. Tollefsen explores the nature of belief, action and intention, and shows the reader how a belief in group agency can be reconciled with our understanding of individual agency and accountability. _Groups as Agents_ will be a vital resource for scholars as well as for students of philosophy and the social sciences encountering the topic for the first time. (shrink)