Scientists of the Human Genome Project tend to rely on three metaphors to describe their work, each of which implicitly tells much the same story. Whether they claim to interpret the ultimate "book," to fix a flawed "machine," or to map a mysterious "wilderness," they invariably cast the researcher as one who dominates and exploits the Other. This essay, which explores the ways such a story conflicts with feminist values, proposes an alternative.

The most searching elaboration of the detective image of the historian has come from the pen of R. G. Collingwood. His short detective story "Who Killed John Doe?" implied that, in spite of the often tentative nature of the question-answer process in a successful historical investigation, the pieces of the puzzle fit together and their coherence becomes self-evident. The predominance of physical evidence in Collingwood's detective story had its counterpart in his research on Hadrian's Wall. In examining (...) the questions raised by his investigations, and distinguishing between direct and circumstantial evidence, Collingwood was able to formulate a comprehensive theory concerning the date of the Wall's construction, the purpose of the Wall, the date of the related turf wall at Birdoswald, the chronological position of the fourteen forts along the Wall, and the role and date of the Vallum following the Walls' course. The pattern of research into the mysteries of Hadrian's Wall has hardly conformed to the linear, step-by-step schema of Collingwood's logic of question and answer. As with much detective work, it has embodied its share of informed guesswork, mistaken inference, false leads, and fortuitous revelations. (shrink)

Reading fiction from high and low culture together, Fiction, Crime, and Empire skillfully sheds light on how crime fiction responded to the British and American experiences of empire, and how forms such as the detective novel, spy thrillers, and conspiracy fiction articulate powerful cultural responses to imperialism. Poe's Dupin stories, for example, are seen as embodying a highly critical vision of the social forces that were then transforming the United States into a modern, democratic industrialized nation; a century (...) later, Le Carré employs the conventions of espionage fiction to critique the exhausted and morally compromised values of British imperialism. By exploring these works through the organizing figure of crime during and after the age of high imperialism, Thompson challenges and modifies commonplace definitions of modernism, postmodernism, and popular or mass culture. (shrink)

This is a detective story. The starting-point is a philosophical discussion in 1949, where Alan Turing mentioned a machine whose program, he said, would in practice be “impossible to find.” Turing used his unbreakable machine example to defeat an argument against the possibility of artificial intelligence. Yet he gave few clues as to how the program worked. What was its structure such that it could defy analysis for (he said) “a thousand years”? Our suggestion is that the program simulated (...) a type of cipher device, and was perhaps connected to Turing’s postwar work for GCHQ (the UK equivalent of the NSA). We also investigate the machine’s implications for current brain simulation projects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in late (...) sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

"... fascinating throughout.... the book is recreative in the highest sense." —Arthur C. Danto, The New Republic "A gem for Holmes fans and armchair detectives with a penchant for logical reflection, and Peirce scholars." —Library Journal.

Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create (...) a “great”character,theauthor cannot just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in late (...) sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

The second season of True Detective bears many marks of a classic urban‐noir crime drama. The city is a central character of the narrative. And the relationship between the detectives and the city is one of the crucial elements of the story. This is most obvious in the case of Vinci Detective Ray Velcoro, and apparent to a lesser degree in the cases of Ani Bezzerides and Paul Woodrugh. This chapter examines the philosophical aspect of the relationship between (...) the detective and the city, comparing it to a classical view of the relationship between philosophy and the city, presented by Plato over two millennia ago in his dialogues Apology and The Republic. The Apology tells the story of Socrates on trial. There are some parallels between Socrates and the noir detective on this score, but there are some stark differences as well. (shrink)

The paper aims to show how the Tv series True Detective (season 1, 2014 – created and written by Nic Pizzolatto) aids us understanding the status of power whether in its political, judicial or religious form. The conjunction of sex and death is depicted through acts of paedophilia, rape, and murder of women and children. The study aims to elucidate the logic which is inherent to those acts of violence and which founds the reproduction of social domination mechanisms.

Emphasizing the philosophical debates raised by generations of devoted fans, this intriguing volume will be of interest to philosophers and Holmes enthusiasts alike.

In True Detective, the description of time as a "flat circle" is one of the most mysterious aspects of the story. The idea of the flat circle ultimately helps Rust to overcome his bleak interpretation of reality, although for a long time it anchors him in his dreary worldview. A philosophical pessimist is likely to view knowledge and meaning as inherently flawed. Rust tells Marty all about his philosophical pessimism in the first episode of season one. A metaphysical claim (...) tries to describe the true nature of reality. Friedrich Nietzsche calls his theory "eternal recurrence", however differ in name aside, there are numerous similarities between his theory and Rust's. The flat circle is really a thought experiment that Rust remains trapped within insofar as he remains a philosophical pessimist, at least up to the point of his near‐death experience, where he "sees the light". (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. Agamben’s intuition and meditation are fascinating, and not least when he turns his critical eye to the mysteries and contradictions of early religion. _The Unspeakable Girl: The Myth and Mystery of Kore_ is a book of three richly detailed treatments (...) of the myth of Kore. Kore, also called Persephone, and referred to poetically by the Greeks as “the unspeakable girl,” was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. Kore and her story gave rise to a mysterious cult at Eleusis, the site of the well where Demeter mourned her lost daughter. This book opens with an innovative and insightful essay that focuses on the mysterious indeterminacy of the figure of Kore/Persephone—at once a woman and a girl, a virgin and a mother—as well as the attendant divisions of speech and silence, the sacred and the profane, the animal and the human, and the mortal and the divine. Here, tracing these dichotomies, Agamben is in top form, able to articulate paradoxes that in another writer’s hands might be ineffable. In the second and third parts of the book the reader is treated to a series of beautiful paintings by acclaimed artist Monica Ferrando, as well as her translation of crucial Greek and Latin source materials. As a whole, _The Unspeakable Girl_ will not only be welcomed by Agamben’s many readers across the disciplines, but also by enthusiasts of classical mythology in general. (shrink)

The European Legacy, Volume 17, Issue 3, Page 426, June 2012.

Cryonics is the practice of cryopreserving the bodies or brains of legally dead individuals with the hope that these individuals will be reanimated in the future. A standard argument for cryonics says that cryonics is prudentially justified despite uncertainty about its success because at worst it will leave you no worse off than you otherwise would have been had you not chosen cryonics, and at best it will leave you much better off than you otherwise would have been. Thus, it (...) is a good, no-risk bet; in game-theoretic terms, cryonics is a weakly dominant strategy relative to refraining from utilizing cryonics. I object to this argument for two reasons. First, I argue that there is a practically relevant chance that cryonics will put you into an inescapable and very bad situation. Hence, cryonics is neither a no-risk bet nor a weakly dominant strategy. Second, I argue that the experience of being reanimated and living in the distant future would likely be transformative, and this likelihood undermines your justification for thinking that reanimation would be beneficial to you. I conclude that the standard argument does not show that cryonics is prudentially justified. (shrink)

Ethical considerations in today’s businesses are manifold and range from human rights issues and the well-being of employees to income inequality and environmental sustainability. Regardless of the specific topic being investigated, an integral part of business ethics research consists of deeply comprehending the personal meanings, intentions, behaviors, judgements, and attitudes that people possess. To this end, researchers are often encouraged to use more qualitative methods to understand the dynamic and fuzzy field of business ethics, which involves collecting in-depth information in (...) real time. Qualitative methods in business ethics research, however, raise the two-fold responsibility of not only conducting such investigations fairly and appropriately, but also clearly communicating the research processes and outcomes to readers. Especially leading journals in the field such as Journal of Business Ethics have a responsibility to conduct their business ethically, by making sure that their content represents clear and honest communications of research concerning a wide range of business systems. Unfortunately, the question of how to effectively facilitate transparent insight into the research process of qualitative business ethics studies is still unresolved. Both the lack of a clear communication of methods and results and the iterative nature of qualitative methods often make it difficult for the readers to properly assess a qualitative business ethics study and understand its results. We propose the use of narratives to remedy this situation. Specifically, we suggest a new classification of audits, named second-party audits, to facilitate a better understanding of research procedures ex-post for the readers. To illustrate this new narrative-based reconceptualization of audits, we use Agatha Christie’s detective novel The Murder on the Links as a frame of reference. (shrink)

I introduce an underdiscussed type of moral luck, which I call interpersonal moral luck. Interpersonal moral luck characteristically occurs when the actions of other moral agents, qua morally evaluable actions, affect an agent’s moral status in a way that is outside of that agent’s capacity to control. I suggest that interpersonal moral luck is common in collective contexts involving shared responsibility and has interesting distinctive features. I also suggest that many philosophers are already committed to its existence. I then argue (...) that agents who are susceptible to interpersonal moral luck are usually for this reason defeasibly entitled to make demands of those agents who are the source of that luck. This is the phenomenon of normative entanglement. I conclude by discussing some of the important ways in which normative entanglement can shape the norms that govern the actions of agents in collective contexts as well as explain some of our intuitions about what participants in these contexts owe one another. (shrink)

This study investigates whether employees attribute different motives to their organization's corporate social responsibility efforts and if these motives influence employee performance. Specifically, we investigate whether employees could distinguish between intrinsic and extrinsic CSR motives by surveying 229 employee–supervisor dyads from various industries , and the impact of these perceptions on in-role and extra-role performance of subordinates. We found that employee task performance increases when employees attribute both intrinsic and extrinsic motives for CSR. Moreover, when employees perceive that their organization (...) invests in a CSR practice that is both intrinsic and extrinsic, they also tend to exert extra effort in their work. Theoretical and practical implications are also discussed alongside future research directions. (shrink)

From the end of the 19th century until his death, one of history's most brilliant mathematicians languished in an asylum. The Mystery of the Aleph tells the story of Georg Cantor (1845-1918), a Russian-born German who created set theory, the concept of infinite numbers, and the "continuum hypothesis," which challenged the very foundations of mathematics. His ideas brought expected denunciation from established corners - he was called a "corruptor of youth" not only for his work in mathematics, but for (...) his larger attempts to meld spirituality and science. (shrink)

We investigate the question of whether (and if so why) creating or distributing deepfake pornography of someone without their consent is inherently objectionable. We argue that nonconsensually distributing deepfake pornography of a living person on the internet is inherently pro tanto wrong in virtue of the fact that nonconsensually distributing intentionally non-veridical representations about someone violates their right that their social identity not be tampered with, a right which is grounded in their interest in being able to exercise autonomy over (...) their social relations with others. We go on to suggest that nonconsensual deepfakes are especially worrisome in connection with this right because they have a high degree of phenomenal immediacy, a property which corresponds inversely to the ease with which a representation can be doubted. We then suggest that nonconsensually creating and privately consuming deepfake pornography is worrisome but may not be inherently pro tanto wrong. Finally, we discuss the special issue of whether nonconsensually distributing deepfake pornography of a deceased person is inherently objectionable. We argue that the answer depends on how long it has been since the person died. (shrink)

The divisions that mark my subject are three. The first is that point where the world begins--where it appears from out of the mystery of non-being. The second lies somewhere between its progeny and its future--the times between beginnings and ends where we, the beneficiaries of our being-here, come together to sing a celebration of the wonder that it happened at all, and then intone the fear of its ending. The third division is a speculation on ends--our own and (...) the ending of the world. I use these divisions to locate a something that comes from nothing onto a historical tradition that imposes a value on the progression of that something, and so requires a judgment on all that has passed. I first discuss these through religious attempts to invest life and history with purpose--for they form the major explanatory traditions of Western culture and are a thematic source of much of its greatest art. I continue with an art-critical approach where themes of process and purpose are located in artworks through their stylistic histories and ambitions. I indicate how present art, when open to reconstitute such themes, could change the nature of today's efforts to give art polemical purposes, and so provide new reasons for its making. I conclude with some stories, unevenly biographical, partly fictional, which I offer as parables for the developed themes and their transformations. This last aim is to elucidate a view of art as providing specific symbols for a cosmology of beginning, living, and ending. (shrink)

I argue that death can be (and sometimes is) bad for cattle because it destroys relationships that are valuable for cattle for their own sake. The argument relies on an analogy between valuable human relationships and relationships cattle form with conspecifics. I suggest that the reasons we have for thinking that certain rich and meaningful human relationships are valuable for their own sake should also lead us to think that certain cattle relationships are valuable for their own sake. And just (...) as death is bad for us when it destroys our valuable relationships, so death is bad for cattle when it destroys their valuable relationships. This argument is important because it pinpoints something that is bad about death for cattle that is overlooked by popular accounts of the badness of death for non-human animals that focus exclusively on the impact of death on lifetime well-being levels. Thus, the argument reveals an overlooked moral cost of some of our farming practices. (shrink)

In this paper, I explore the connection between certain metaphysical views of time and emotional attitudes concerning one’s own death and mortality. I argue that one metaphysical view of time, B-theory, offers consolation to mortals in the face of death relative to commonsense and another metaphysical view of time, A-theory. Consolation comes from three places. First, B-theory implies that time does not really pass, and as a result one has less reason to worry about one’s time growing short. Second, B-theory (...) entails that there is a real sense in which one’s death does not result in one’s annihilation, and this fact can temper feelings of existential distress. Third, B-theory has the consequence that the benefits one has lost have concrete existence, and this fact can mitigate the emotional significance of the losses of death. (shrink)

Clinicians regularly work as teams and perform joint actions that have a great deal of moral significance. As a result, clinicians regularly share moral responsibility for the actions of their teams and other clinicians. In this paper, we argue that clinicians are exceptionally susceptible to a special type of moral luck, called interpersonal moral luck, because their moral statuses are often affected by the actions of other clinicians in a way that is not fully within their control. We then argue (...) that this susceptibility partly explains why a conscientious clinician has reason to avoid participating in unvirtuous healthcare teams. We also argue that this susceptibility partly explains the special systems of entitlements that characterize healthcare teams and set healthcare teams apart from other teams of workers. (shrink)

In “The Bioethics of Environmental Injustice: Ethical, Legal, and Clinical Implications of Unhealthy Environments,” Ray and Cooper (2024) initiate needed discourse on environmental justice and the...

“Domino regi piissimo, gratia Dei celsissimo, Carlo vere carissimo, regno Christi rectissimo, ultimus namque Cathuulfus, tamen vester servulus, intimo corde puro in spiritu salutem sancto.” In a flurry of flattery, humility, and sycophantic superlatives the Insular scholar and Carolingian courtier known to us as Cathwulf commenced his famous letter to Charlemagne. Composed almost certainly early in the year 775, Cathwulf's letter to the youthful Frankish king is a unique work. His name is associated with no other text, and indeed the (...) letter to Charlemagne exists in only a single manuscript, an indicator perhaps of restricted contemporary circulation. (shrink)

STORY L, MAYFIELD‐JOHNSON S, DOWNEY LH, ANDERSON‐LEWIS C, YOUNG R and DAY P. Nursing Inquiry 2010; 17: 373–384 Getting on Target with Community Health Advisors (GOTCHA): an innovative stroke prevention projectHealth disparities along with insufficient numbers of healthcare providers and resources have created a need for effective and efficient grassroots approaches to improve community health. Community‐based participatory research (CBPR), more specifically the utilization of community health advisors (CHAs), is one such strategy. The Getting on Target with Community Health Advisors (GOTCHA) (...) project convened an interdisciplinary team to answer the call from 10 counties in the rural Mississippi Delta area of ‘The Stroke Belt’ to meet the region’s identified health needs, and to impact the health of a disparaged state. This article explores this CBPR project including the community involvement strategies, innovative CHA training curriculum, evaluation plan, and implications to healthcare professionals, particularly nurses. (shrink)

Intuitively, even very young children can act jointly. For instance, a child and her parent can build a simple tower together. According to developmental psychologists, young children develop theory of mind by, among other things, participating in joint actions like this. Yet many leading philosophical accounts of joint action presuppose that participants have a robust theory of mind. In this article, I examine two philosophical accounts of joint action designed to circumvent this presupposition, and then I proffer my own novel (...) account of what makes (at least some) interactions between very young children and others joint. I argue that children can take up without deliberation intentions with a joint content that have been transmitted to them by others. In doing so, children can come to share intentions with others, and by acting on these shared intentions they can come to act jointly, all without employing a robust theory of mind. (shrink)

In 2008, the Musée des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that had been sold (...) as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musée des Beaux-Arts de Lyon for 17 million euros. What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred. Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes – with its distinctive institutions and experts – that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority. By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art. (shrink)

Mistrust and fear of research often exist in minority communities because of assumptions, preconceived ideas, and historical abuse and racism that continue to influence research participation. The research establishment is full of well-meaning ‘outsider’ investigators who recognize discrimination, health disparities, and insufficient health care providers in minority communities, but struggle in breaking through this history of mistrust. This article provides ethical insights from one such ‘insider-outsider’, community-based participatory research project implemented via community health advisors in the Mississippi Delta. Both community-based (...) participatory research and community health advisors provide opportunities to address the ethical issues of trust, non-maleficence, and justice in minority communities. Implications for ethics-driven nursing research are discussed. (shrink)

Discover innovative ways to strengthen your photography business with your iPad Many photographers are turning to the flexible, easy-to-use tools of the iPad and relying on them to wear a variety of hats in their photography business. Whether portable portfolio, editing tool, payment-tracking system, or appointment calendar, the iPad melds together the best attributes of the cell phone and a laptop computer and this unique book highlights them all. With this helpful resource, you'll learn how to get the most out (...) of your iPad to not only improve your business but also enhance your photography. Details how to use your iPad to schedule client appointments, accept payments, sign model releases, track business expenses, and more Teaches you how to take advantage of the hi-res display, cellular and WiFi connectivity, and powerful processor to increase efficiency Covers ways to use the iPad on location with on-the-fly editing techniques Offers suggestions for using the iPad as a backup storage device and how to use it in the studio Features a chapter on shooting movies with your iPad iPad for Digital Photographers shows you how to leverage the strengths of the iPad to enhance your photography and your business. (shrink)

The interest in ethical leadership has grown in the past few years, with an emphasis on the mechanisms through which it affects organizational life. However, research on the boundary conditions that limit and/or enhance its effectiveness is still scarce, especially concerning one of the main misconceptions about ethical leadership, its incompatibility with effectiveness . Thus, the present study examines the relationship between ethical leadership and organizational deviance via affective commitment to the organization, as a reflection of the quality of the (...) employee–organization relationship and proposes this relationship is conditional on the supervisor’s personal reputation for performance . Using a sample of 224 employees and their respective supervisors from 18 organizations, we confirmed our hypotheses . Our findings suggest that ethical leadership is positively related to employees’ affective commitment to the organization, particularly when supervisor’s reputation for performance is high, which in turn is associated with decreased organizational deviance. The theoretical and practical implications of these findings conclude the paper. (shrink)

The theory of evolution unites the past, present, and future of living things. It puts humanity's place in the universe into necessary perspective. Despite a history of controversy, the evidence for evolution continues to accumulate as a result of many separate strands of incredible scientific sleuthing. In The Story of Evolution in 25 Discoveries, Donald R. Prothero explores the most fascinating breakthroughs in piecing together the evidence for evolution. In twenty-five vignettes, he recounts the dramatic stories of the people (...) who made crucial discoveries, placing each moment in the context of what it represented for the progress of science. He tackles topics like what it means to see evolution in action and the distance between species in space and time, following figures from Darwin to lesser-known researchers as they unlock the mysteries of the fossil record, the earth, and the universe. The book also features the stories of animal species strange and familiar, including humans-and our ties to some of our closest relatives and more distant cousins. Prothero's wide-ranging tales showcase awe-inspiring and bizarre aspects of nature and the powerful insights they give us into the way that life works. (shrink)

This chapter focuses on the elements of time, memory and mystery in Veronica Mars. Both the plot and the visual style of Veronica Mars assign a huge importance to the past, suggesting that past events have a major impact on the present. The most straightforward way in which the past is accessible to us and has an impact on the present is through everyday memories. Much of the time when we voluntarily remember things, it's because something happening now has (...) prompted us to go looking for a memory designed to answer our question. The final episode of the first season ends with a touching sequence symbolizing the end of one particular detective story. Veronica dreams that she and Lilly are floating together in a pool, surrounded by flower petals, still in the soft focus of the past, but without the dark tints of foreboding and mystery. (shrink)

This book makes Calhoun's philosophy accessible to contemporary thinkers and shows what Calhoun thought about issues such as world government.Topics discussed ...