The Networks of Centres of Excellence programme is perhaps Canada's most dramatic science policy innovation since theFirst World War. This article traces its development, using documentary analysis and interviews with the policy actors responsible for conceiving and implementing the programme.Established in 1989, the networks were explicitly designed to change the norms of science. The intention was to instil an approach to long-term fundamental research that considered possibilities of use from the start. Of equal importance was the idea that (...) management was essential to produce knowledgein a network structure. (shrink)

Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively (...) implementing collaborations as well as dangers in potentially instrumentalizing artistic work for science policy or innovation agendas when power differentials in collaborations remain unacknowledged. Art-science collaborations can be thought of as processes of exchange which require acknowledgement of and attention to artistic agendas as well as identification of and attention to aesthetic dimensions of scientific research. I suggest the advantage of specifically identifying public engagement/science communication as a distinct aspect of such projects so that aesthetic, scientific or social science/philosophical research agendas are not subsumed to the assumption that the primary or only value of art-science collaborations is as a form of public engagement or science communication to mediate biological research community public relations. Likewise, there may be potential benefits of acknowledging an art-science-RRI triangle as stepping stone to a more reflexive research agenda within the STS/science communication/science policy community. Using BrisSynBio, an EPSRC/BBSRC-funded research centre in synthetic biology, I will discuss the framing for art-science collaborations and practical implementation and make remarks on what happened there. The empirical evidence reviewed here supports the model I propose but additionally, points to the need to broaden the conception of and possible purposes, or motivations for art, for example, in the case of cross-sectoral collaboration with community engaged art. (shrink)

? We gratefully acknowledge the Center for Consciousness Studies at the University of Arizona, Tucson, which provided a grant for the support of this work. E.T. is also supported by the Social Sciences and Humanities Research Council of Canada, and the McDonnell Project in Philosophy and the Neurosciences. 1 See David Woodruff Smith.

In this text, which employs the analytic-comparative method, we read the Poetics of Aristotle in a new way to take an example of translation as an artistic creation. We can present the result of the essay as a metaphor called “the art of translation”, and then we refer to four evidences which can support our metaphor: reading the text as seeing the world, understanding the meaning as perceiving the main action, representing the text as recreating an image, and word making (...) as the art of poetic. If we want to explain the useful dimension of our research, it can be said: every translation has a moral dimension which depends on its imitation of the author’s line and reader’s culture, and also has an artistic dimension that attends to the beauty of text and new vision of culture. According to Moderation theory of Aristotle, an ideal intercultural translation sees the right of author and reader by the equal criterion. Then it shows a production that is combined with “representation”, a term which can embrace the beauty and ethic in the art of translation. Keywords: poetics, representation, artistic creation, art of translation, cultural relationship 1. Mimesis in art and translation As Aristotle has said about art and poetry, they are based on Mimesis or imitation. It means that he believes art is Mimesis. But his theory about this issue is totally different to Plato’s thought. He thinks that Mimesis is not imitation of Ideas as Plato thought. Mimesis in his thought is imitation from the existence, aspect or form of things in this world. So he emphasizes that Mimesis is imitation of something or maybe happenings outside of man. After collecting all of Aristotle’s thoughts, especially about poetry, it seems clear that the imitation or Mimesis is a representation of the subject of imitation in which sometimes the subject of imitation has been represented better than its fact, like tragedy, and sometimes worse, like Comedy. It seems that we can see translation as imitation, understanding the latter as in Aristotle’s conception of art mentioned above. Indeed, a translator at the beginning of is translation process looks at the text deeply and tries to understand it as well as possible. After that, he thinks about the value of translations. In this step, if the text has repeatability in other languages and cultures, the translator starts the imitation from an original text to create another text. It seems that this process is like what an artist does to create artworks. 2. resemblances between art and translation On the basis of Aristotle’s Poetics, we want to explain some resemblances between art and translation to describe our conception of translation as an art. We think those resemblances can convince us to see translation as an art. The first resemblance between creation of artworks and translation is at the first step of them. The first resemblance between the artistic creation and translation is in their first step. Viewing the environment and finding something for imitation is the first step of artistic creation, which is like confronting and reading a text for translation. It is clear that viewing the environment deeply and reading a text carefully are necessary for artistic creation and translation because a surface of them cannot be suitable and helpful for Mimesis or imitation. The second step of artistic creation and translation is the accurate understanding of the subject of imitation. In Fact, deep and accurate understanding is necessary for exact imitation. Without comprehensive understanding, imitation of things is not possible. Both artist and translator in the process of imitation should take this step. In the other words, it seems that by deep and exact understanding they can find the direction of similarity between subject of imitation and artwork or translated text. Rewriting text in a new language like representing an image is the third step of imitation that is visible in the process of artistic creation and translation. In this step, combining their understanding and viewing the environment, translator and artist try to create the subject of imitation in a new style and a new form. The last step of imitation in artistic creation and translation is that of choosing colors in art and words and other literary elegances in translation, and using them. In this step, paying attention to details of their work, artist and translator try to create a new thing that is similar to the subject of imitation, although it is a new thing and there may be some differences between them. As was stated, the understanding of the subject of imitation by artist and translator is a very important step, in which, however, their thought of the subject of imitation is not totally the same as it, and so, during creating the new thing their understanding and thought can affect the form and the style of the new thing. 3. conclusion In conclusion, it seems that, because of the similarity between art and translation based on Aristotle’s conception of art, we can move from ethical and aesthetic functions of art, and artist’s moral duty in creating art, to the same aspects in translation and translator. In other words, based on Aristotle conception, while translator makes a faithful imitation and a creative presentation of the source, after the ethical decision to translate and promote the original text, he should pay attention to linguistic and cultural details of his translation. In this regard, while observing his audience in the target language, he also refreshes his insights and attitudes because this two-sided view, the center of gravity of moderation, will take into account the aspects of beauty and ethics in the cultural interactions of societies. References - Aristotle,, Ethics of Nicomachus, translation of Mohammad Hasan Lotfi, Tehran, New Design. - Aristotle,, About the Art of Poetry, Translated by Soheil Mohsen Afnan, Tehran, Hekmat. - Aristotle,, Fan al-Sha’r, Abdul Rahman Badawi’s research, Beirut, Dar al-Safat. - Aristotle, Sermon, Translation by Ismail Sa’adat, Tehran, Hermes. - Aristotle,, Metaphysics, Sharaf al-Din Khorasani Translation, Fourth Edition, Tehran, Wisdom. - Plato,, Period of works, translation by Hasan Lotfi, Tehran, Kharazmi. - Bermann, Sandra and Wood,, Michael, Nation, language, and the ethics of translation, Princeton University Press. - Koskinen, Kaisa,, Beyond Ambivalence; Postmodernity and the Ethics of Translation, University of Tampere. - Meschonnic, Henri,, Ethics and Politics of Translating, Translated and edited by Pier-Pascale Boulanger, Benjamins Translation Library. - Venuti, Lawrence,,The Translation Studies Reader, Routledge. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others (...) would incline objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animalmade art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

In a career extending over almost six decades, Nicholas Rescher has conducted researches in almost every principal area of philosophy, historical and systematic alike. In this extraordinary volume, two dozen scholars join in offering penetrating discussions of various facets of Rescher s investigations. The result is an instructively critical panorama of the many-faceted contributions of this important American philosopher. Born in Germany in 1928, Nicholas Rescher came to the U.S. at the age of nine. He is University Professor of Philosophy (...) at the University of Pittsburgh where he has also served as Chairman of the Philosophy Department and as director (and currently chairman) of the Center for Philosophy of Science. In a productive research career extending over six decades, he has established himself as a systematic philosopher of the old style. His work represents a many-sided approach to fundamental philosophical issues that weaves together threads of thought from continental idealism and American pragmatism. And apart from this larger program Rescher has made various specific contributions to logic (the conception autodescriptive systems of many-sided logic), the history of logic (the medieval Arabic theory of modal syllogistic), to the theory of knowledge (epistemetrics as a quantitative approach in theoretical epistemology), and to the philosophy of science (the theory of a logarithmic retardation of scientific progress). Rescher has also worked in the area of futuristics, and along with Olaf Helmer and Norman Dalkey is co-inaugurator of the so-called Delphi method of forecasting. Ten books about Rescher s philosophy have been published in four languages. Rescher earned his doctorate at Princeton in 1951 while still at the age of twenty-two a record for Princeton s Department of Philosophy. He has served as a President of the American Philosophical Association, of the American Catholic Philosophy Association, of the American G. W. Leibniz Society, of the C. S. Peirce Society, and of the American Metaphysical Society. He was the founder of the American Philosophical Quarterly. An honorary member of Corpus Christi College, Oxford, he has been elected to membership in the European Academy of Arts and Sciences (Academia Europaea), the Royal Society of Canada, the Institut International de Philosophie, and several other learned academies. Having held visiting lectureships at Oxford, Constance, Salamanca, Munich, and Marburg, he has been awarded fellowships by the Ford, Guggenheim, and National Science Foundations. Author of some hundred books ranging over many areas of philosophy, over a dozen of them translated from English into other languages, he is the recipient of eight honorary degrees from universities on three continents. He was awarded the Alexander von Humboldt Prize for Humanistic Scholarship in 1984, the Belgian Prix Mercier in 2005, and the Aquinas Medal of the American Catholic Philosophical Association in 2007.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to pay (...) heed when a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 135-137 [Access article in PDF] The 2002 Meeting of the Society for Buddhist-Christian Studies Alice Keefe University of Wisconsin-Stevens Point "Religious Responses to Violence" was the theme for the program at the SBCS Annual Meeting in Toronto, Canada, on November 22-23, 2002. Speaking from Christian and Jewish perspectives, the presenters in Session I were Harold Kasimow, Professor Emeritus of Grinnell College; Elaine MacInnes, O.L.M.; (...) Sarah Pinnock of Trinity University; and Rebekah Miles from the Perkins School of Theology. Responding from a Buddhist perspective was Virginia Strauss of the Boston Research Center. Session II offered reflections on Buddhist responses to violence from Gene Reeves of the International Buddhist Congregation; Christopher Ives of Stonehill College; and John Makransky, professor of Religious Studies at Boston College and a Buddhist teacher, with a Christian response from Theodore Walker of Perkins School of Theology, noted for his work in Black theology.Opening Session I, Harold Kasimow explored Jewish responses to violence, which he finds similar in many ways to responses to violence in Mahayana Buddhism. Both traditions unequivocally condemn violence. Basic to Jewish reflection on violence is the great commandment that one shall love one's neighbor as oneself, along with the principle that all humans are created in the image of God; therefore, as Rabbi Akiva taught, whoever sheds blood diminishes God's presence in the world. But like Mahayana Buddhism, the Jewish tradition admits to rare cases where violence may be legitimately used in a spirit of compassion when the lives of others are at stake. On this point, Kasimow, himself a Holocaust survivor, cited Abraham Heschel, who said that "indifference to evil is more insidious than evil itself." Heschel dreamed of a world rid of evil by human effort, and he suggested that interfaith dialogue serves as a step toward this goal as it works against the evil of demonizing the "other."Sarah Pinnock, who has written on the religious journeys of Holocaust survivors, explored the themes of memory, solidarity, hope, and mystical faith as compelling Christian modes of survival and resistance in the face of evil. Logic cannot solve the problem of evil, but through memory, suffering is not forgotten; through solidarity, we identify and join with the victimized in resistance to evil; and through hope, we find the energy for resistance. Mystical faith discovers divine transcendence in all things, while abandoning egotistical demands that God be the world's puppet master; [End Page 135] in mystical faith, Christians do not look for divine intervention, but for human beings to act for God against evil.Rebekah Miles, a Christian ethicist, offered a lucid outline of three distinct Christian approaches to violence: (1) absolute pacificism, which rejects the use of violence for any reason; (2) the "crusade" perspective, which justifies war when it can be construed as a conflict between good and evil and which calls for the total eradication of evil in the form of the enemy; and (3) the "just war" perspective, which stipulates precise criteria for instances when the use of violence may be justified and places restraints on any exercise of violence. In addition to this helpful overview, she engaged arguments (put forth by Rosemary Ruether, SharonWelch, and ReginaSchwartz) that there is something inherent in the nature of Western monotheism that serves to legitimate and encourage violence, and argued for divine transcendence as undergirding the effective power of the prophetic critique against all forms of idolatry and tyranny.The final Christian presenter was Elaine MacInnes, O.L.M., a Catholic nun and Zen master who is noted for her activist work in prison ministry in the Philippines and in Canada. She reminded us that even as violence brings suffering, it is at the same time a mystery in that it carries a redeeming potential to rid us of all that is false. It is the cultivation of silence that allows the sacred inner life to do its work.Responding from a Buddhist perspective, Virginia Strauss returned to the problem of the human desire for retributory justice and looked to Buddhism... (shrink)

Introduction: Dignity is a core value in nursing. Nursing education shall prepare students for ethical professional practice and facilitate insight into the phenomenon of dignity and its significance. There is limited knowledge about how nursing students discover dignity in their education. Research aim: The aim of the study is to develop an understanding of how nursing students discover and acquire dignity. Research design: The study has a hermeneutic approach where qualitative interviews of nursing students were employed. The process (...) of interpretation was inspired by text of Fleming, Gaidys and Robbs. Participants and research context: Nineteen nursing students agreed to be included in the study, representing six different campuses at three different educational institutions. All were in the final year of their study. The interviews took place at the educational institutions. Ethical considerations: The educational institutions facilitated recruitment of the students who signed voluntarily for participation and continuous informed consent. The study was approved by The Norwegian Center of Reporting Data. The research recommendations of the Declaration of Helsinki were followed. Findings: The nursing students discovered the expression and significance of dignity through experiences, gained through introspection and in interaction with others during the education. Discussion: The findings are discussed using Gadamer’s concept of experience and how experiences can create new insight. In particular, the students’ experiences with the inner ethical and external aesthetic dimension of dignity are discussed. Conclusion: The study shows that students discovered the inner ethical dignity through experiencing vulnerability, pride and shame. They discovered the external aesthetic dignity through incidents, where they experienced both to be confirmed and not to be confirmed, and through observation of good or bad role models. Crucial negative and positive experiences are important for discovering the expression and significance of dignity. (shrink)

RESUMEN El presente trabajo describe los cambios estratégicos del Centro de Inmunología y Productos Biológicos de la Universidad de Ciencias Médicas de Camagüey que contribuyen a la formación profesional, la investigación y los servicios científico técnicos. Recoge los resultados obtenidos desde el 2015 hasta el 2017. Los referentes teóricos permiten un acercamiento epistémico que facilita la relación con el conocimiento y la creación de concepciones para abordar los problemas de salud. El centro tiene cuatro proyectos asociados a programas y 11 (...) institucionales. Se posee 2,7 publicaciones por autor y 18 participaciones en eventos, de ellos, ocho internacionales. Se perfecciona un sistema de gestión de la calidad, nueve servicios científico-técnicos, diversos servicios a la docencia y proyectos de investigaciones. Se aprovecha el potencial que genera el proceso de auto-organización del trabajo colectivo, para un mejor funcionamiento, sinergia y sustentabilidad de la gestión de una unidad de desarrollo e innovación. ABSTRACT The present work describes the strategic changes of the Center of Immunology and Biological Products of the University of Medical Sciences of Camagüey that contributes to the professional training, the investigation and the technical-scientist services. It gathers the results obtained from 2015 to 2017. The theoretical bases allow an epistemic approach that facilitates the relation with the knowledge and the creation of conceptions to tackle the health problems. The center has four projects associated with programs and 11 institutional ones. There are possessed 2.7 publications per author and 18 participations in events, of them, eight international ones. Scientist - technical staff perfects a system of management of the quality, nine services, diverse services to the teaching and projects of investigations. One makes use of the potential that generates the auto-organization process of collective work, for a better functioning, synergy and sustainability of the management of a unit of development and innovation. (shrink)

The article examines the development of physics research in Ukraine on the example of the Ukrainian Institute of Physics and Technology (UIPT). Founded on the initiative of the eminent physicist Abram Ioffe, the UIPT has gradually become one of the world’s leading research institutions. During 1928–1938, many important events took place at the institute, which became markers for the development of physics in Ukraine and the USSR as well as in the world. An experiment on the fission of (...) atomic nucleus using artificially accelerated protons confirmed the validity of the intentions to reorient research towards nuclear physics. The involvement of foreign specialists in the work of the UIPT contributed to the informal consolidation of scientific thinking in physics. Outstanding physicists of the world such as Boris Podolskyi, Oleksandr Weisberg, Konrad Weiselberg, Friedrich Houtermans, Laszlo Tisza, Fritz Lange, Victor Weisskopf, George Placzek, Paul Dirac, Georgii Gamov, Niels Bohr, Paul Ehrenfest, and others worked here for longer or shorter periods. Niels Bohr, Ivar Waller, Milton S. Plesset, Evan J. Williams, and Leon Rosenfeld made reports at the theoretical conferences of UIPT. As a result, in the late 1920s and during the 1930s, an informal society of physicists from around the world was formed in Kharkiv. The consolidation of talented scientists has accumulated traditions, centuries of experience, and practical knowledge in the field from many scientific schools around the world. (shrink)

This paper presents a segment of a broader research project titled “When Black Consciousness Meets White Consciousness,” which first developed out of my research work with White women in violence-against-women organizations. It documents an interview between a White woman and me, a Black South African philosopher. I lived and worked in Canada at the time but I traveled to the United States for conferences on a regular basis. I was presenting my work on Black consciousness, White consciousness, (...) and Black existentialism—relying on Derridean deconstruction and psychoanalysis—when I had the exchange with a White woman, a young faculty member in the philosophy department, which had jointly hosted the talk with the women and gender studies department. This paper offers a verbatim account of this dialogue wherein the history of philosophy is unraveled and where I draw on Jacques Derrida's “White Mythology” to demonstrate how White consciousness is engraved. It is out of this intertwined analysis that my work on White consciousness emerged in the 1990s—and with which I continue—as is evidenced throughout the paper. In unpacking this dialogue, I situate the complexities that arise from the pedagogical practices within philosophy when race takes center stage within a discipline that has written itself as though race does not exist. (shrink)

In 1947 America’s premier philosopher, educator, and public intellectual John Dewey purportedly lost his last manuscript on modern philosophy in the back of a taxicab. Now, sixty-five years later, Dewey’s fresh and unpretentious take on the history and theory of knowledge is finally available. Editor Phillip Deen has taken on the task of editing Dewey’s unfinished work, carefully compiling the fragments and multiple drafts of each chapter that he discovered in the folders of the Dewey Papers at the Special Collections (...) Research Center at Southern Illinois University Carbondale. He has used Dewey’s last known outline for the manuscript, aiming to create a finished product that faithfully represents Dewey’s original intent. An introduction and editor’s notes by Deen and a foreword by Larry A. Hickman, director of the Center for Dewey Studies, frame this previously lost work. In Unmodern Philosophy and Modern Philosophy, Dewey argues that modern philosophy is anything but; instead, it retains the baggage of outdated and misguided philosophical traditions and dualisms carried forward from Greek and medieval traditions. Drawing on cultural anthropology, Dewey moves past the philosophical themes of the past, instead proposing a functional model of humanity as emotional, inquiring, purposive organisms embedded in a natural and cultural environment. Dewey begins by tracing the problematic history of philosophy, demonstrating how, from the time of the Greeks to the Empiricists and Rationalists, the subject has been mired in the search for immutable absolutes outside human experience and has relied on dualisms between mind and body, theory and practice, and the material and the ideal, ultimately dividing humanity from nature. The result, he posits, is the epistemological problem of how it is possible to have knowledge at all. In the second half of the volume, Dewey roots philosophy in the conflicting beliefs and cultural tensions of the human condition, maintaining that these issues are much more pertinent to philosophy and knowledge than the sharp dichotomies of the past and abstract questions of the body and mind. Ultimately, Dewey argues that the mind is not separate from the world, criticizes the denigration of practice in the name of theory, addresses the dualism between matter and ideals, and questions why the human and the natural were ever separated in philosophy. The result is a deeper understanding of the relationship among the scientific, the moral, and the aesthetic. More than just historically significant in its rediscovery, Unmodern Philosophy and Modern Philosophy provides an intriguing critique of the history of modern thought and a positive account of John Dewey’s naturalized theory of knowing. This volume marks a significant contribution to the history of American thought and finally resolves one of the mysteries of pragmatic philosophy. (shrink)

Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory – the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend (...) their own self-interest. This conclusion represents an important alternative to the standard history of aesthetics as a series of preludes to the achievements of Immanuel Kant, as well as a reinterpretation of several canonical figures in the German and Scottish Enlightenments. It also offers a foundation for a transnational history of the Enlightenment without the French philosophes at its centre, while solidly endorsing historians' growing reluctance to call the Enlightenment a secularising movement. (shrink)

Between 11–14 February 2021 the first international Philosophical Workshop organized by The Lvov–Warsaw School Research Center and Kazimierz Twardowski Philosophical Society of Lviv took place in the on–line version due to the ongoing COVID–19 pandemic. The working languages of the event were Polish, Ukrainian and English. The coordinators’ goal was to refer to the tradition of seminar of Kazimierz Twardowski, who was not only a distinguished philosopher but also a great educator, to stimulate interest and support for the young (...) generation of researchers into the heritage of the Lvov–Warsaw School. It is claimed that due to Twardowski’s unprecedented didactical engagement he managed to upbring dozens of Professors like Kazimierz Ajdukiewicz, Stefan Baley, Leopold Blaustein, Tadeusz Czeżowski, Izydora Dąmbska, Tadeusz Kotarbiński, tanisław Leśniewski, Jan Łukasiewicz, Władysław Witwicki. (shrink)

Optimality Theory is a theory of the economy of constraint violation. Can this property of the theory be exploited in our understanding of economy effects in general? Can economy of structure and movement be derived without reference to economy of structure and movement? The central idea of this paper is that the choice between filling positions by movement and filling positions with independent material is determined by markedness and faithfulness constraints. There is no ‘economy of movement’ constraint, just economy of (...) movement effects. Economy of movement follows from the theory of what a chain is. (shrink)

Context: During the 1980s, Ernst von Glasersfeld’s reflections nourished various studies conducted by a community of mathematics education researchers at CIRADE, Quebec, Canada. Problem: What are his influence on and contributions to the center’s rich climate of development? We discuss the fecundity of von Glasersfeld’s ideas for the CIRADE researchers’ community, specifically in didactique des mathématiques. Furthermore, we take a prospective view and address some challenges that new, post-CIRADE mathematics education researchers are confronted with that are related to interpretations (...) of and reactions to constructivism by the surrounding community. Results: Von Glasersfeld’s contribution still continues today, with a new generation of researchers in mathematics education that have inherited views and ideas related to constructivism. For the post-CIRADE research community, the concepts and epistemology that von Glasersfeld put forward still need to be developed further, in particular concepts such as subjectivity, viability, the circular interpretative effect, representations, the nature of knowing, errors, and reality. Implications: Radical constructivism’s offspring resides within the concepts and epistemology put forth, and that continue to be put forth, through a large number of new and different generations of theories, thereby perpetuating von Glasersfeld’s legacy. (shrink)

Since the publication of Listening to Prozac there have been many debates about how and why Prozac and other similar drugs are prescribed. The articles that follow take up debates about what conditions such drugs can and should address, questions about authenticity in using drugs for psychic well‐being, and concerns about what means we morally endorse in projects of self‐creation. The contributions from Carl Elliott, Peter Kramer, James Edwards, and David Healy derive from a project supported by the Social Sciences (...) and Humanities Research Council of Canada, “Enhancement Technologies and Human Identity.” Psychiatry, like the Prozac it prescribes, aims to enhance the patient's internal psychic well‐being. Yet what ails many may be not an internal state like depression or anxiety, but alienation. And the experts of the self to whom we turn cannot “cure” our collective form of life in which alienation takes root. (shrink)

BackgroundObtaining a research participant’s voluntary and informed consent is the bedrock of sound ethics practice. Greater inclusion of children in research has led to questions about how paediatric consent operates in practice to accord with current and emerging legal and socio-ethical issues, norms, and requirements.MethodsEmploying a qualitative thematic content analysis, we examined paediatric consent forms from major academic centres and public organisations across Canada dated from 2008–2011, which were purposively selected to reflect different types of research (...) ethics boards, participants, and studies. The studies included biobanking, longitudinal studies, and gene-environment studies. Our purpose was to explore the following six emerging issues: (1) whether the scope of parental consent allows for a child’s assent, dissent, or future consent; (2) whether the concepts of risk and benefit incorporate the child’s psychological and social perspective; (3) whether a child’s ability to withdraw is respected and to what extent withdrawal is permitted; (4) whether the return of research results includes individual results and/or incidental findings and the processes involved therein; (5) whether privacy and confidentiality concerns adequately address the child’s perspective and whether standard data and/or sample identifiability nomenclature is used; and (6) whether retention of and access to paediatric biological samples and associated medical data are addressed.ResultsThe review suggests gaps and variability in the consent forms with respect to addressing each of the six issues. Many forms did not discuss the possibility of returning research results, be they individual or general/aggregate results. Forms were also divided in terms of the scope of parental consent (specific versus broad), and none discussed a process for resolving disputes that can arise when either the parents or the child wishes to withdraw from the study.ConclusionsThe analysis provides valuable insight and evidence into how consent forms address current ethical issues. While we do not thoroughly explore the contexts and reasons behind consent form gaps and variability, we do advocate and formulate the development of best practices for drafting paediatric health research consent forms. This can greatly ameliorate current gaps and facilitate harmonised and yet contextualised approaches to paediatric health research ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Evolution of Pragmatism in India: Ambedkar, Dewey, and the Rhetoric of Reconstruction by Scott R. StroudAlbert R. SpencerBy Scott R. StroudThe Evolution of Pragmatism in India: Ambedkar, Dewey, and the Rhetoric of Reconstruction Chicago and London: The University of Chicago Press, 2023. 302 pp., incl. indexMore scholarly attention needs to be paid to the mutual influences between Asian and American thought, especially with regards to the development, (...) legacy, and future of pragmatism. Fortunately, there have been several notable attempts. Throughout his works, Richard Shusterman frequently incorporates the perspectives of various East Asian philosophies into his articulation of somaesthetics. Multiple scholars have explored John Dewey’s lectures in China and their political and educational impact, such as Jessica Ching-Sze Wang’s John Dewey in China or The Democracy of the Dead by Roger T. Ames and David L. Hall. Still others have highlighted the influence of Indian thought on pragmatism’s forerunners, such as American Philosophy Before Pragmatism (Goodman 2015), American Pragmatism: An Introduction (Spencer 2020), and The Ethics of Oneness (Engles 2021). Perhaps the most interesting inquiries into this influence can be found in a special volume of The Journal of Aesthetic Education (Vol. 43, No. 1) where multiple scholars discuss pragmatism’s connections and comparisons to The Bhagavad Gita, Confucianism, and Taoism. Among these scholars is Scott Stroud whose most recent publication The Evolution of Pragmatism in India (2023) represents the culmination of nearly two decades of research on the subject with special attention to the continuities between pragmatism and Indian thought. In it, he meticulously explores the influence of John Dewey on one of his students, Bhimrao Ambedkar (1891–1956), who was a transformative figure in the founding of the nascent Republic of India. The result is a work of scholarship that shows the global relevance of pragmatism in the 20th Century, [End Page 456] introduces the fascinating philosophy of Ambedkar to a non-Indian audience, and provides an entry for further scholarship on this profound thinker and activist.Bhimrao Ambedkar was a critical figure in the birth of modern India. Born an “untouchable” due to the rigid caste system, he tirelessly advocated for the right of Dalits (“crushed” or “untouchables”). By the mid-20th century, he had greatly influenced Indian politics, safeguarded the interests of the oppressed, and played a key role in drafting the Indian Constitution. Separate to his role as a statesman, Ambedkar promoted Buddhism in the 1950s as an escape from caste oppression, culminating in his publication, The Buddha and His Dhamma (1957). While his name is less familiar outside of India, he was voted the “Greatest Indian” in a 2012 poll due to his profound impact on the nation’s post-independence development. These accomplishments were supported by an extensive education, but unlike most subjects of the British Empire, Ambedkar also studied in the United States. Stroud initiates his study by focusing on this formative period, specifically his time at Columbia University and the influence of the philosopher and psychologist John Dewey. While their relationship has been acknowledged, Stroud is the first to explore this relationship in depth and he not only reconstructs the influence of Dewey on Ambedkar’s Navayana Pragmatism but illuminates the ways that Ambedkar integrated, modified, and even resisted Dewey’s pragmatism.Stroud masterfully builds his reconstruction of this synergy between Dewey’s pragmatism and Ambedkar’s philosophy not out of ephemeral conjecture or pithy textual evidence, but through painstaking, detailed, and exhaustive scholarship. He draws on comparative evidence in their major and minor works, their private correspondence, interviews of Ambedekar’s cohort at Columbia, Dewey’s voluminous lecture notes, and even the marginalia and notecards found between the pages of Ambedkar’s pragmatism bookshelf. Indeed, I often found myself pleasantly distracted as I imagined Stroud’s academic pilgrimage throughout India, Columbia University, and the Center for Dewey Studies to find every scrap of relevant information. In our age of instant information and digital archives, it is refreshing and inspiring to encounter a scholar still willing to trek across the globe for answers to his inquiries. Despite his passion to uncover the influence of Dewey on Ambedekar, Stroud never reduces the... (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was (...) fascinated by the power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relational theory of interactive narrative formation, outlining future (...) class='Hi'>research in the area. (shrink)

Background: Research activities in sub-Saharan Africa may be limited to delegated tasks due to the strong control from Western collaborators, which could lead to scientific production of little value in terms of its impact on social and economic innovation in less developed areas. However, the current contexts of international biomedical research including the development of public-private partnerships and research institutions in Africa suggest that scientific activities are growing in sub-Saharan Africa. This study aims to describe the patterns (...) of clinical research activities at a sub-Saharan biomedical research center. Methods: In-depth interviews were conducted with a core group of researchers at the Medical Research Unit of the Albert Schweitzer Hospital from June 2009 to February 2010 in Lambarene, Gabon. Scientific activities running at the MRU as well as the implementation of ethical and regulatory standards were covered by the interview sessions. Results: The framework of clinical research includes transnational studies and research initiated locally. In transnational collaborations, a sub-Saharan research institution may be limited to producing confirmatory and late-stage data with little impact on economic and social innovation. However, ethical and regulatory guidelines are being implemented taking into consideration the local contexts. Similarly, the scientific content of studies designed by researchers at the MRU, if local needs are taken into account, may potentially contribute to a scientific production with long-term value on social and economic innovation in sub-Saharan Africa. Conclusion: Further research questions and methods in social sciences should comprehensively address the construction of scientific content with the social, economic and cultural contexts surrounding research activities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium: The Future of the Art Museum: Curatorial and Educational Perspectives:IntroductionDaniel A. SiedellIntroductionThere are few futures pondered more often than the art museum's. The new millennium has spawned a veritable cottage industry of such prognostication. Most of it has occurred from the perspectives of building expansion, audience growth, and collection development. These are not, by any means, unimportant considerations. However, such sustained attention to them by directors, marketers, board (...) members, collectors, and the mass media tend to obscure the fact that these areas of concern are not ends in themselves. A new museum wing, higher attendance, and more gifts of art to the collection mean little unless they serve to facilitate specific curatorial and educational ends, which themselves are in the service of expanding and deepening their capacity to enhance the experience of art. The future of the art museum rests on the ability of curators and educators to develop new and more robust curatorial and educational work that is responsive to both the larger culture and to the vocational standards of their respective professions. Curators and educators need, then, to be more self-critical of their practices.This symposium brings together a few of these professionals to reflect on the future of the art museum from the perspective of those involved in the day-to-day production, presentation, and interpretation of works of art. It is occasioned by the publication of David Carrier's book, Museum Skepticism: A History of the Display of Art in Public Galleries, recently published by Duke University Press, and more specifically, Carrier's conclusion, which offers its own reflection on the future of the art museum. A frequent contributor to the Journal of Aesthetic Education, Carrier is a philosopher and art critic whose interests range widely from the art criticism of John Ruskin and Adrian Stokes to the writing of art history and the paintings of Sean Scully.1 Carrier's book, written while a scholar in residence at the Getty Center for the History of Art and the Humanities, explores the history and philosophy of art museums from the point of view of the narratives on which they rely as well as produce. And it is narratives that art educators and curators produce, affirm, and expand when they curate exhibitions and do educational programming.Because they are "public" institutions (even when they are private organizations) and serve many competing audience constituencies, art museums [End Page 1] often suffer from an acute identity crisis, even while they build large expansions, engage in aggressive campaigns to court collectors, placate increasingly more powerful governing boards, and expand their programming to the point that it ceases to be education. The business of the art museum often masks these deep crises, which eventually become a neurosis that plagues curatorial and educational practice. A symptom of this illness can be seen in the misplaced tension between curators and educators as a battle between the "scholars" and the "popularizers," the "elites" and the "community."In 1946 Alfred H. Barr Jr. of the Museum of Modern Art presented a paper called "Research and Publication in Art Museums."2 In it Barr not only recognizes the importance of museum scholarship; he argues that such scholarship, unlike that of the academic art historian, must engage and interact with "the man off the street." Indeed, Barr passionately believed that museum scholarship not only could but should engage a broader and more diverse public all the while remaining committed to scholarly ideals. Barr acknowledges the tensions between museums as "popular community centers" and museums as places of "research and publication." But, he continues, "Both can be done provided we have enough faith to believe in the values of both and enough skill to persuade others to agree with us."3 Barr's expansive definition of scholarship is instructive and a challenge. "By publication I mean not only the scholarly treatise but also the popular article or book, the classroom or public lecture, the gallery talk, publicity releases."4 For Barr, scholarship is not merely a curator's or educator's opportunity to address her professional colleagues and strengthen guild rank; it is a value that is infused throughout all work... (shrink)

Interdisciplinarity is often framed as crucial for addressing the complex problems of contemporary society and for achieving new levels of innovation. But while science policy and institutions have provided a variety of incentives for stimulating interdisciplinary work throughout Europe, there is also growing evidence that some aspects of the academic system do not necessarily reward interdisciplinary work. In this study, we explore how mid-career researchers in an environmental science research center in Sweden relate to and handle the distinct forms (...) of uncertainty that arise from conflicting institutional and policy impulses. Our material suggests that interdisciplinary academics are often confronted with and at times themselves operate with a surprisingly dichotomous, value-laden view of their research practice. Disciplinarity is primarily associated with the ideals of scientific rigor, while interdisciplinarity becomes conflated with application-oriented work and a lack of ‘theory.’ We also draw attention to the underlying practical dynamics that reproduce this tension and entangle it with the very process of academic socialization. Specifically, we analyze the ambivalent consequences of the various work-arounds that researchers rely on to carve out opportunities for ongoing interdisciplinary research within heterogeneous funding landscapes. These tactics turn out to be undermined by the overriding normative power of formal career incentives at universities, which continue to emphasize the ideals of the individual high-performing academic who publishes in disciplinary journals and attracts the most selective grants. Under such circumstances, the work-arounds themselves become an insidious mechanism that allows researchers to stay in academia but systematically marginalizes their voices and epistemic ambitions in the process. (shrink)

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations (...) between its disorganized self and others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Meyer Schapiro (1904–1996)David RosandMeyer Schapiro, University Professor Emeritus at Columbia University, died at home in New York City on Sunday 3 March, at the age of 91. With his death, the worlds of art and learning have lost a legendary figure.“The humanity of art lies in the artist and not simply in what he represents,” Schapiro had declared in his lectures on abstract art. “It is the (...) painter’s constructive activity, his power of impressing a work with feeling and the qualities of thought that gives humanity to art.” Informing his own life and work, these were the values that enabled him to give such expressive voice to so much of the art of the past and of the present, to articulate the passions of eighth-century Northumbrian manuscript illuminators and Romanesque stonecarvers as well as of the most creative painters of our own century. Schapiro’s range as an art historian was universal, for he believed in the universality of art.Meyer Schapiro was born 23 September 1904, in Siauliai, Lithuania, and emigrated to the United States with his family when he was three. He grew up in the Brownsville section of Brooklyn, where he was first exposed to art in evening classes taught by John Sloan at the Hebrew Settlement House. He entered Columbia College in 1920 at the age of 16, having won both Pulitzer and New York State Regents Scholarships, and received his AB in 1924. Five years later he submitted his dissertation for the Ph.D., the first in fine arts and archaeology awarded by Columbia. “The Romanesque Sculpture of Moissac,” parts of which were published in The Art Bulletin of 1931, opened an entirely new critical perspective on Romanesque art; recognizing its creative and expressive imperatives, Schapiro’s study articulated the aesthetic quality of that art as well as situating it historically and culturally with new precision. Supported by a grant from the Carnegie Corporation, he travelled widely in Europe and the Near East in 1926–27, leaving behind a trail of anecdotal legends that continued to be recounted long after by those who met the brilliant young graduate student—including Bernard Berenson, who compared the eloquence of the “very handsome youth” to Solomon himself.Schapiro began his teaching career at Columbia in 1928 as a lecturer and rose through the professorial ranks, becoming full professor in 1952; he was named University Professor in 1965 and became University Professor Emeritus in 1973. Throughout his career, he moved between the university campus on Morningside Heights and his home neighborhood in Greenwich Village. Lecturing as well at the New School for Social Research from 1936 to 1952, he reached the larger community of the New York art world, especially the artists, in the years when New York was becoming the most dynamic center of contemporary art. And he brought the artists uptown; auditing and participating in his classes at Columbia, their presence in his classroom seemed to validate his wisdom. At the other end of Schapiro’s range were the mathematicians, [End Page 547] scientists, and philosophers, in whose worlds he moved with equal confidence and, importantly, enthusiasm.During the ‘30s Schapiro’s was an important voice of moral balance in the cultural debates of the political left. Although he demonstrated with new insight and undogmatic focus the social bases of art, he insisted on recognizing “its own conditions which distinguish it from other activities.” Even as he avidly pursued knowledge—of history, culture, languages—Schapiro remained an artist. He talked about pictures as an artist. His criticism was an act of re-creation, as he lovingly reconstructed decisions made by the painter on the canvas; every stroke demanded attention. Choice was important, that freedom of the individual responding to the world around him and to the challenge of his own creation. In the anonymous art of the early Middle Ages Schapiro discovered the artist, the human maker; he intuited the feeling individual responsible for the invention of such expressive form. Distant art took on life and became accessible through his recognition of and insistence on its humanity.Schapiro’s learning was legendary, and yet, however intimidating it may have... (shrink)

In this essay, the author intends to show the reasons for the interest on the Critique of Judgment, and especially to aesthetic judgment of taste within thephenomenological context. The study is divided into four sections: at first the concept of aesthetic reflective judgment will be introduced, highlighting the crucial role it assumes within the Kantian critical project as a whole. In a second step the specificity of the judgment of taste will be studied with particular attention on its (...) character of Zweckmässigkeit and its universal voice. In the third section it will be shown how the judgment of taste introduces a new paradigmatic articulation of the relationship between feeling and thinking, which is further explained through a critical comparison with the interpretations of Jean-Francois Lyotard and Marc Richir of aesthetic judgment. In the last and more extended section, the affinity of the disinterested character of the judgment of taste with the phenomenological attitude will be at the center of the research. (shrink)

Be aware... and you will be mindful of a notable ambiguity in semiotics as well as of those who have masterfully strived to transcend it. This event, commented on by Elize Bisanz (Texas Tech University) and chaired by William Passarini (Institute for Philosophical Studies), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of (...) Arts and Humanities of the University of Coimbra, the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Ionut Untea is currently a fellow-in-residence at the Akademie Schloss Solitude, in Stuttgart, where he is researching on the semioethic and aesthetic coordinates of the “social compact” and intercorporeal relationships. In 2021, he has taught a course entitled “Intercultural Philosophy: Semiotic Approaches and Aesthetic Themes” as a Visiting Professor at Università degli Studi di Bari Aldo Moro. Since 2016, he has been teaching History of Western Philosophy and Semiotics at Southeast University, Nanjing. He previously taught at the University of La Rochelle, and was a postdoctoral fellow of the Foundation for Interreligious and Intercultural Research and Dialogue (FIIRD) at the University of Geneva. He obtained his doctorate in 2013 at Ecole Pratique des Hautes Etudes (EPHE), in Paris. He holds Romanian citizenship, having obtained his first degrees in philosophy and theology at the University of Bucharest. His focus is on the modern and contemporary intersections between semiotic, moral, political and religious thought. He has published recently “Peircean and Confucian Interpretations of Self-Development: Semiotic, Normative and Aesthetic Aspects,” Philosophy East and West 72.1: January 2022: 188–209. His recent work has appeared in academic journals such as The American Journal of Semiotics (2021), Semiotica (2021), Ethical Perspectives (2021, 2019), Philosophical Forum (2019), Journal of Aesthetic Education (2020), Politics and Religion (2019), The Monist (2018). *** Dr. Bisanz's education includes an MA (Philosophy) from the University of Lüneburg in Germany; Graduate Studies in Jacques Derrida's philosophy Seminars at l'École des Hautes Études en Sciences Sociales, Paris; a Ph.D. (History of Communication Sciences) from the Technische University of Berlin; and a post-doc Habilitation Degree (Image Studies), from the University of Lüneburg. Bisanz has published several interdisciplinary books reflecting her educational background; these include a major European edition of Peirce's writings The Logic of Interdisciplinarity: Charles S. Peirce, The Monist Series (Akademie-Verlag, Berlin, 2009), which was realized with the aid of research and publication grants from State and private endowments; Prolegomena to a Science of Reasoning: Phaneroscopy, Semeiotic, Logic, which is a collection of manuscripts by Peirce on reasoning (Peter Lang Publishers, Berlin, 2016); Overcoming the Iconic Turn: Cultural Concepts of Images [in German: Die Überwindung des Ikonischen: Kulturwissenschaftliche Perspektiven der Bildwissenschaft] (transcript Verlag, Hamburg, 2010). Bisanz is a member of the advising board of the Deutsche Gesellschaft für Semiotik and chair of the society's subdivision for Cultural Studies. Since her Fulbright scholarship in 2006 at Texas Tech University, Bisanz has been an active member of the Institute for Studies in Pragmaticism. She has organized several international congresses dedicated to Peirce and interdisciplinary research. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

Background Genomic research is challenging the tradition of informed consent. Genomic researchers in the USA, Canada and parts of Europe are encouraged to use informed consent to address the prospect of disclosing individual research results (IRRs) to study participants. In the USA, no national policy exists to direct this use of informed consent, and it is unclear how local institutional review boards (IRBs) may want researchers to respond. Objective and methods To explore publicly accessible IRB websites for (...) guidance in this area, using summative content analysis. Findings Three types of research results were addressed in 45 informed consent templates and instructions from 20 IRBs based at centres conducting genomic research: (1) IRRs in general, (2) incidental findings (IFs) and (3) a broad and unspecified category of ‘significant new findings’ (SNFs). IRRs were more frequently referenced than IFs or SNFs. Most documents stated that access to IRRs would not be an option for research participants. These non-disclosure statements were found to coexist in some documents with statements that SNFs would be disclosed to participants if related to their willingness to participate in research. The median readability of template language on IRRs, IFs and SNFs exceeded a ninth-grade level. Conclusion IRB guidance may downplay the possibility of IFs and contain conflicting messages on IRR non-disclosure and SNF disclosure. IRBs may need to clarify why separate IRR and SNF language should appear in the same consent document. The extent of these issues, nationally and internationally, needs to be determined. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Edmund Husserl (1859—1938) was an influential thinker of the first half of the twentieth century. His philosophy was heavily influenced by the works of Franz Brentano and Bernard Bolzano, and was also influenced in various ways by interaction with contemporaries such as Alexius Meinong, Kasimir Twardowski, and Gottlob Frege. In his own right, Husserl is considered the founder of twentieth century Phenomenology with influence extending to thinkers such as Martin Heidegger, Jean-Paul Sartre, Maurice Merleau-Ponty, and to contemporary continental philosophy generally. (...) Husserl’s philosophy is also being discussed in connection with contemporary research in the cognitive sciences, logic, the philosophy of language, and the philosophy of mind, as well as in discussions of collective intentionality. At the center of Husserl’s philosophical investigations is the notion of the intentionality of consciousness and the related notion of intentional content (what Husserl first called ‘act-matter’ and then the intentional ‘noema’). To say that thought is “intentional” is to say that it is of the nature of thought to be directed toward or about objects. To speak of the “intentional content” of a thought is to speak of the mode or way in which a thought is about an object. Different thoughts present objects in different ways (from different perspectives or under different descriptions) and one way of doing justice to this fact is to speak of these thoughts as having different intentional contents. For Husserl, intentionality includes a wide range of phenomena, from perceptions, judgments, and memories to the experience of other conscious subjects as subjects (inter-subjective experience) and aesthetic experience, just to name a few. Given the pervasive role he takes intentionality to play in all thought and experience, Husserl believes that a systematic theory of intentionality has a role to play in clarifying and founding most other areas of philosophical concern, such as the theory of consciousness, the philosophy of language, the philosophy of logic, epistemology, and the philosophies of action and value. This article presents the key elements of Husserl’s understanding of intentionality and intentional content, specifically as these are developed in his works Logical Investigations and Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy. (shrink)

This article examines how incidents are governed in a Belgian Nuclear Research Center by way of an incident reporting system named Retour d’Experiences. Drawing on a documentary analysis of incident reports, interviews, and focus groups with personnel, it illustrates how REX enacts a safety governmentality centered on identifying incident causes and culprits. As this governmentality mode obscures the epistemic and political character of incidents, it closes down important opportunities for collective learning about safety and safety governance. It is argued (...) that joint reflection about incidents and resistances toward incident reporting serve as fruitful starting points for a more reflexive safety governance that makes explicit how decisions are made in high-risk contexts. Social scientists can enhance governance of this kind by pointing to different perceptions and evaluations of incidents and by insisting that contending interpretations are confronted and accounted for. (shrink)

This research examines the most important historical, political, economic, social, cultural, and religious factors before, during, and after the reign of Communism in Czechoslovakia from 1918 to 2021 and their effect on the extreme increase in atheism and decrease in Christianity, particularly Roman Catholicism, in the present-day Czech Republic. It devotes special attention to the role of the Clandestine Catholic Church (Ecclesia Silentii) and the changing policies of the Holy See vis-à-vis this Church, examining these policies' impact on the (...) continuing decline of Roman Catholicism in the Czech Republic after the collapse of Communism. The article also deals with Pope Pius XII's Secret Mandates of 1948-1950, the Second Vatican Council, and the Holy See's Ostpolitik. Scholars, who previously relied only on the views of the Czechs, blame the unprecedented drop in Christianity, the near-total destruction of the Catholic Church, and the rise in atheism on the Czechoslovak communist government's four decades of totalitarianism. Although the increase in atheism and decrease in Christianity were substantial during the era of Communism from 1948 to 1989, our data indicate that the decline in Christianity, particularly the historically predominating Roman Catholicism, did not commence with the 1948 communist coup d’état but traces its origins to the breakdown of the Austro-Hungarian Empire after the conclusion of WWI and the establishment of Czechoslovakia on October 28, 1918. What's more, this research shows that the most significant and unprecedented steep deterioration of the Christian Faith, namely Roman Catholicism, did not occur during the era of Communism but only after the Czechoslovak communist government collapsed in 1989. This massive decay did not happen even during the most extraordinary communist persecution of the Catholic Church during the era of Stalinism in Czechoslovakia. This research further finds that the Holy See's ill-advised policies and systematic, sustained, and prevalent failures in leadership, guidance, and teachings are responsible for the near destruction of the Roman Catholic Church and especially the end destruction of the Clandestine Catholic Church (Ecclesia Silentii), in the Czech and Slovak Republics after the fall of Communism. These failures furthermore contributed to the Czech Republic, the historical lands of Bohemia and Moravia that once were in the center of Christendom, degenerating into the most atheist country in Europe and the world today. (shrink)

A collection of essays discussing the philosophical perspectives of thinking and education, this book considers such subjects as the development of education, the role of micro-computers in science education and theories of education.

Journalology is the science of publication practices and the study of these activities. This communication details a centre for Journalology run by the Ottawa Hospital, Canada. The Centre has a valued role to play in the publication practices, ethics, and guides that researchers need in order to identify suitable journals for their research. Such centres are needed in every university so that the best publication practices are promoted and scientific integrity is maintained and enhanced.

Toward a Postmodernist View of Conflict of Interest Content Type Journal Article Category Case Studies Pages 1-2 DOI 10.1007/s11673-012-9359-x Authors Elise Smith, Doctorat en sciences humaines appliquées, option bioéthique, Programmes de bioéthique, Département de médecine sociale et préventive, Université de Montréal, C.P. 6128, succ. Centre-ville, Montréal, Québec, Canada H3C 3J7 Journal Journal of Bioethical Inquiry Online ISSN 1872-4353 Print ISSN 1176-7529.

“You Have Seen Their Faces”: Gisèle Freund, Walter Benjamin and Margaret Bourke-White as Headhunters of the Thirties -/- Abstract This paper concentrates on one work by each of three authors: Walter Benjamin’s Deutsche Menschen (Germans), an anthology of twenty-five 18th and 19th century German personal letters; Margaret Bourke-White and Erskine Caldwell’s You Have Seen Their Faces; and Gisèle Freund’s collection of photographic portraits of writers and artists, compiled between 1936 and 1939. The purpose of this paper is to compare the (...) politics of representation of these three figures and to examine the challenge they addressed to the dominant iconography of the 1930s. At the heart of each one’s work was a desire to bring about a shift in contemporary cultural politics by reimagining the body politic. Benjamin’s and Freund’s aim was to displace the monumentalizing, distancing, ‘heroic’ forms of fascist art and writing. They construct and project an intimate, or ‘domestic’ image of humanism as a form of social practice, past and present. Bourke-White’s aim was to bring to visibility an America concealed beneath the glossy homogenized images of white American advertising. All three authors aligned themselves with a documentary tradition that believed that representation should function as a constructed record of the traces of lived experience. Driven by a need to expose the other side’s deliberate falsifications of experience, they saw their own constructed fictions as ways of ‘documenting,’ and then perhaps transforming, an experiential world of ‘facts,’ bodies, and ‘truths.’ -/- Working Paper 3:15 European Society and Culture Research Group. Center for German and European Studies, University of California at Berkeley. April 1994 37pp. -/- M. Kay Flavell Critical Theory, University of California at Davis . (shrink)

In large and small villages, regardless of tourist attraction, cultural life is faded; people's initiative is low as urban migration is extremely high. Many ethnographic villagers do not realize that they live in a significant for the state areas. The younger generation is embarrassed by local traditions, folklore. The low level of aesthetic education, and the poor possibilities of organizing artistic celebrations for the younger generation make them the users of the lowest level of urban culture. The relevance of (...) the research: employees of Lithuanian rural culture centers - a group uniting almost three thousand people, invited to make sense of rural people's leisure time, to create conditions for the development of amateurism in small villages. 882 country cultural centers in villages, towns and cities are institutions of universal use or specific activities. Their work varies, depending on what traditions have formed, the ambitions of the district or eldership that local cultural and sports departments seek. You will not find a cultural center where they would not sing, dance, play, perform, or celebrate. Also, exhibitions are regularly opened. Obviously, more intensive activity takes place in metropolitan areas, district centers, and in resorts during the summer. As here there is more space, more culture and more communities. Village and town culture institutions that are constantly communicating with schools, libraries, religious communities, neighborhoods, and sports clubs are also gaining significant results. However, it is appropriate to move to specific data from the theoretical point of view. Those members of rural communities who go in for sport individually face health supervision problems. Inadequate attention is paid to the development of personal responsibility for one's health and the promotion of a healthy life: proper nutrition, active rest, less health-hazardous environment, abandoning harmful habits and etc. in an environment contrary to life in the countryside. It is important to develop a physically active and healthy society, consciously aware of the importance of a healthy lifestyle, to create a favorable environment for leisure time and sport and for the improvement of health of rural population, moreover, to increase the development of physical education and sports services in rural districts of Lithuania, to increase the quality of sports services, giving rural residents wider opportunities to meet their needs. The problem of the research: the lack of cultural and sporting services in rural communities. The analysis of the problem is based on scientific data of Aleksandravičius and Žukovskis, Baršauskienė, Leliūgienė, Kroeber A., Kluckhohn, Nefas, Paulikas, Adomonis, Putnam, Biologur, documents regulating the activities of rural communities. Methodology of the research: In order to achieve the goal, the analysis and synthesis of scientific literature, legal documents and other information sources and statistical data are used. The aim of the research: to reveal the factors of cultural and sports development in rural communities. Research objectives: to describe the development of cultural and sports services in the context of rural communities' activities; to identify the most significant factors in the development of cultural and sporting services in rural communities. Conclusion. Activities carried out by organizations of rural communities include a wide range of community needs, including the organization of cultural and sporting events, improvement of environmental management assistance, and others. As the main problems of rural community activities, the poor condition of rural social infrastructure objects are mentioned, therefore the process of establishment of community centers for the establishment of universal multifunctional centers is one of the significant tools for the development of rural communities and thus the development of cultural and sports activities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.2 (2000) 175-188 [Access article in PDF] Scope Note 38 Bioethics Resources on the Web * Once described as an "enormous used book store with volumes stacked on shelves and tables and overflowing onto the floor" (Pool, Robert. 1994. Turning an Info-Glut into a Library. Science 266 (7 October): 20-22, p. 20), Internet resources now receive numerous levels of organization, from basic directory listings (...) to elaborate "links" (cross-references to other Internet documents) that flash and glow in the dark. In many ways, the Internet functions as a direct extension of the traditional library. Following linked references across various sites is an electronic version of browsing library stacks, and the serendipitous discoveries made while "surfing the Net" recall the wonders of physically going "book-to-book." Although many of the Internet's best aspects augment library strengths by eliminating physical distance from sources, Net resources pose unique problems for researchers. It is not always clear who is responsible for the content of Web documents, when the document was produced, or how often (if ever) it is updated. Internet resource tools, then, must enable researchers to identify appropriate resources and to evaluate what they find when they get there. Web Research as Taking "Snapshots" Given the Internet's visual nature and fluid content, the process of conducting research on the Web has been likened to taking an informal picture of information on a specific date at a particular time. This metaphor also conveys the "zoom-in" aspect of searching through Web pages by going from general to specific categories. In the first section of this Scope Note, National Reference Center for Bioethics Literature (NRCBL) staff present a snapshot of bioethics resources taken during the spring months of 2000. Entries are divided into the categories of directories, electronic journals, full-text documents, news/current awareness, and teaching resources. In the two subsequent sections, this series of categories is repeated for entries on a specific topic within bioethics-genetics-and again for general search and evaluation tools. Where a Web site may contain pages applicable [End Page 175] to more than one category, multiple entries are made for that site with appropriate information for each category.Much as telecommunication advances have strengthened the relationship of patients and providers as partners, the dynamic nature of the Internet acknowledges that the researcher functions as a librarian whenever accessing the Web. It is our hope that BIOETHICSLINE and the other NRCBL databases not only will enable researchers to search the Web more efficiently, but also will help them to evaluate what they find when they get there. Bioethicsline on the Web: An International Plan in Progress Once only available through libraries, the U.S. National Library of Medicine (NLM), the funding agency for the ongoing development of the BIOETHICS LINE® database from the Kennedy Institute, has provided free Web access to that database of 63,000 citations since September 1998 through Internet Grateful Med. Plans are now underway to eliminate such specialty databases and incorporate all citations into PubMed (for journal articles) or LOCATORplus (for book-like materials and chapters in books). Both of these databases are likewise available at no cost on the Web. In the transition to PubMed and LOCATORplus some features of BIOETHICSLINE that presently are available may be lost. Researchers are encouraged to contact the National Reference Center for Bioethics Literature with search requests or for search strategy assistance with either the current or the future system ([email protected]).The inclusion of bioethics citations in PubMed and LOCATORplus will have several advantages. First, unique keywords from the Bioethics Thesaurus will be considered for inclusion in Medical Subject Headings (MeSH), the indexing vocabulary for PubMed and LOCATORplus, thereby enhancing retrieval of relevant clinical literature by offering more precise terminology covering ethical issues. Second, it will be easier to identify foreign-language materials, which are not currently included in the scope of BIOETHICSLINE. Third, the updating schedule will become more frequent. On the other hand, there may be some loss of searching precision because certain specialized features... (shrink)