Indigenous-led activism against proposed oil pipelines has relied heavily on social media, as in the #NoDAPL campaign against the Dakota Access Pipeline. This paper explores affective engagement in online activism, including the Standing Rock ‘check-in’ campaign on Facebook. Moving beyond dichotomous understandings of embodied vs digital activism, Cannupa Hanska Luger’s Mirror Shields Project employs digital media in order to support direct action at Standing Rock. Patricia Clough draws a direct link between affect and technoscientific understandings of the body in (...) her concept of biomediated bodies. This helps explain how physical and digital activism are linked: the digital and the physical cannot be understood as independent of each other, since online engagement always has an embodied aspect as well. Luger’s Mirror Shields Project functions as a form of alterlife, in resistance to biopower, recognizing historical and ongoing harms while also creating new possibilities for resistance. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the (...) public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

Acclaimed cultural critic Curtis White examines current fissures in Western Buddhism and argues against the growth of scientific and corporate dharma, particularly in Stephen Batchelor's Secular Buddhist movement. In Transcendent, celebrated cultural critic Curtis White, asks what Buddhism will look like in the future. Do we want a secular Buddhism that looks like corporations and neuroscience? Or do we want a Buddhism that still provides refuge from the debased world of money and things? Transcendence is not about magic realms where (...) spirits fly about; the world is, as Shunryu Suzuki put it, its own magic. We only need to reclaim it and reclaim our humanity while we’re at it. The problem White suggests is a culture that recognizes only "things," capitalist things and science things, and aggressively denies the idea that the world of things has a beyond. We're told by science ideologues like the New Atheists that we live in a secular age and that philosophy is dead, and art is only an amusement, and transcendence is not wanted because science can provide all the wonder and beauty we need. Transcendent is a call for the re-enchantment not only of Buddhism but also of our Western art traditions. White recalls the risks and the raptures of the English Romantics, Beat poets, and the children of the counterculture, all in the name of a living world, and in defiance of our current world of climate catastrophe, contagious disease, and social collapse. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

This is a work of critical theory in the deconstructionist tradition. It investigates the impact and role of visual art practice in cultural dispensation. Its central argument is that conceptions of 'leadership' and of 'being a subject' (or subjugation) play a formative role in the manner with which cultural ideas are appropriated and spread out in organic interactions within the community. The arguments advanced in this work demonstrate that leadership conceptions are disseminated as 'signs' (a conceptual term for how ideas (...) and their significance are understood in the context of cultural dispensation) and that signs have historical roots and connotations. Using deconstructionist techniques like différance, this work concretises the critical in the discourse which states that 'signs' in the cultural dispensation are in constant interaction with each other in terms of defining their historic, epistemic and contemporary 'meaning'. The Discourse of Acknowledgements and Distinctions introduces three concepts that account for themselves through the infinite propensities of social contexts and the 'signs' that anchor them for referral. These are the notions of Cerebrinity, Hysteridence and Remembrance. The use of psychoanalysis - and of the perspectives of Kristeva, Jung and Freud - distinguishes this book from other works of critical theory that deal with art and art movements. The book aims to illuminate on the propensity of the community to participate in its own subjugation in the context of Modernity. It is concise and incorporates critical theory perspectives by writers like Baudrillard, Lyotard, Kristeva and Spivak. It can be appreciated by art students interested in the intersection between visual art, critical theory and psychoanalysis -- page 4 of cover. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...) that embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:510 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Shelley Streeby Speculative Writing, Art, and World-Making in the Wake of Octavia E. Butler as Feminist Theory The late great speculative fiction writer Octavia E. Butler often referred to herself as a feminist. In an autobiographical note she revised frequently over the course of her lifetime, now held in the massive archive of more than 8,000 individually (...) cataloged items that comprise The Octavia E. Butler Papers (OEB) at the Huntington Library in San Marino, California, Butler called herself a “hermit in the middle of Los Angeles,” a pessimist when she wasn’t “careful,” and “a feminist” as well as “a Black” and “a former Baptist.”1 Throughout her published work, Butler explores intersections of gender, sexuality, race, and class in ways shaped by her life growing up “black, female, and working class” across town in Pasadena, California.2 The keywords “feminism” and “feminist” pop up often in her archive. In 1988, in one of dozens of notebooks Butler filled with writing, she proudly claimed to be writing “true cross-over science fiction ” that reached both science fiction and general audiences, “encompassing feminists and blacks as well,” a claim she often repeated.3 The thousands of clippings Butler kept and annotated on subjects of interest to her included many on feminism, which she organized to emphasize 1. OEB, Folder 95. The OEB collection organized by Curator Natalie Russell, who authored the finding aid. 2. OEB, Folder 3093. 3. OEB, Folder 3239, November 9, 1988. 511 Shelley Streeby Books Discussed in This Essay Migrant Futures: Decolonizing Speculation in Financial Times. Aimee Bahng. Durham, NC: Duke University Press, 2018. Queer Feminist Science Studies: A Reader. Edited by Cyd Cipolla, Kristina Gupta, David A. Rubin, and Angela Willey. Seattle: University of Washington Press, 2017. Emergent Strategy: Shaping Change, Shaping Worlds. adrienne maree brown. Oakland, CA: AK Press, 2017. Octavia’s Brood: Science Fiction Stories from Social Justice Movements. Edited by adrienne maree brown and Walidah Imarisha. Oakland, CA: AK Press, 2015. Radio Imagination: Artists and Writers in the Archive of Octavia E. Butler. Edited by Janet Duckworth and Savanah Wood. Los Angeles: Clockshop, 2018. M Archive: After the End of the World. Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2017. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Walidah Imarisha. Oakland, CA: AK Press, 2016. Old Futures: Speculative Fiction and Queer Possibility. Alexis Lothian. New York: New York University Press, 2018. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Sami Schalk. Durham, NC: Duke University Press, 2018. intersections among feminist and other struggles. A 1991 piece by Black syndicated columnist Clarence Page, for instance, called “The F. Word to Watch For: Feminists,” which was written in the wake of the HillThomas hearings and speculated that the Bush administration would demonize “feminists” as a “smoke screen” for “real economic problems,” 512 Shelley Streeby was filed under “Economy.”4 Much of the archival material and fiction that Butler produced relevant to the keyword “feminism” addresses intersections of gender, sexuality, race, and class in right-wing projects of the neoliberal era, from the 1970s through the early 2000s. As both a pejorative epithet used by the right to demonize women who deviated from patriarchally defined gender and sex roles as well as a term she counter-valued by claiming it for herself, intersectional “feminism” was central to Butler’s speculative collecting, research, and fiction-writing. Since her untimely death in 2006, Butler’s fame continues to grow as new generations embrace her work, since it speaks to our present in powerful ways. Butler rejected narrow genre categories and was ambivalent about the term “science fiction” as a descriptor for her writing, often expressing frustration with marketing categories and wondering if they stood in the way of reaching a wider audience. The umbrella term “speculative ” is useful both for recognizing the boundary-crossing dimensions of Butler’s writing, in its defiance of narrow definitions of genre, and for describing Butler’s contributions to feminist theories of knowledge production, political leadership, and imagining the future. Since Butler’s archive at the Huntington opened to researchers in 2013... (shrink)

In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy”—art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike (...) the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day. (shrink)

Traditionally, in Spain bullfighting represents an ancient and well-respected tradition and a combined brand of sport, art and national identity. However, bullfighting has received considerable criticism from various segments of society, with the concomitant rise of the animal rights movement. The paper reports a survey of the Spanish citizens using a face-to-face survey during January 2016 with a total sample of 2522 citizens. The survey asked about degree of liking and approving; culture, art and national identity; socio-economic aspects; emotional perception (...) and animal welfare. The hypothesis proposed that the perception of bullfights may be affected by gender, age, occupation, origin and nationality of the persons surveyed. The hypothesis was confirmed. The majority of citizens surveyed do not like bullfights and great majorities do not attend or watch such events. Two extreme clusters were described: one representing favorable attitude towards bullfighting and other against bullfighting. The proportion of indifferent persons was important. Women and young people showed a more favorable attitude towards animal welfare issues associated with these events. Rural people were more accepting bullfights than urban people. Students were more anti-bullfight than those in other occupations. Additionally, technical economic factors made people favor more bullfights. The growth of claim against bullfights establishes an element of a far more multifaceted phenomenon that animal cruelty per se and support of a new paradigm called social change in countries as Spain. (shrink)

Traditionally, in Spain bullfighting represents an ancient and well-respected tradition and a combined brand of sport, art and national identity. However, bullfighting has received considerable criticism from various segments of society, with the concomitant rise of the animal rights movement. The paper reports a survey of the Spanish citizens using a face-to-face survey during January 2016 with a total sample of 2522 citizens. The survey asked about degree of liking and approving; culture, art and national identity; socio-economic aspects; emotional perception (...) and animal welfare. The hypothesis proposed that the perception of bullfights may be affected by gender, age, occupation, origin and nationality of the persons surveyed. The hypothesis was confirmed. The majority of citizens surveyed do not like bullfights and great majorities do not attend or watch such events. Two extreme clusters were described: one representing favorable attitude towards bullfighting and other against bullfighting. The proportion of indifferent persons was important. Women and young people showed a more favorable attitude towards animal welfare issues associated with these events. Rural people were more accepting bullfights than urban people. Students were more anti-bullfight than those in other occupations. Additionally, technical economic factors made people favor more bullfights. The growth of claim against bullfights establishes an element of a far more multifaceted phenomenon that animal cruelty per se and support of a new paradigm called social change in countries as Spain. (shrink)

The rise of networked social movements contesting neo-liberal globalization and protesting the summits of global finance and governance organizations has posed an analytical challenge to social movement theorists and called into question the applicability to this global milieu of the familiar concepts and heuristics utilized in social movement studies. In this article, we argue that the self-defining alter-globalization movement(s) might instead be engaged with as an expression and effect of global complexity, and we draw upon a (...) ‘minor’ literature in social movement studies that includes Gregory Bateson, Gilles Deleuze and Alberto Melucci to illustrate our claims. This article uses a Deleuzian reading of complexity to describe the phase space of the ‘movement of movements’, and its perturbation of global civil society through the iteration of sense-making processes (reflexive framing) and the exploration of singularities inhering in social movement ‘plateaux’. Those transnational gatherings, protests and social forums facilitated by computer-mediated communications and the advent of unprecedented mobility which constitute a ‘shadow realm’ that remains largely invisible to political exchange theories operating within the conceptual confines of the nation-state. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Achieving Social and Cultural Educational Objectives through Art Historical Inquiry PracticesJacqueline Chanda (bio)Some overburdened art or generalist teachers may ask: "With all the things we have to know and do these days, why should we be interested in art history inquiry processes? What educational value is there in promoting the use of art history inquiry processes in teaching and learning?" The answer to the first question lies in (...) art history's relationship to the humanities and the visual arts. The humanities is the branch of learning concerned with human thought and relations. We turn to the humanities when we wish to understand the human condition, social and cultural values, and ourselves. But some might say that historical inquiry methods do the same thing. What distinguishes art historical inquiry from general historical inquiry is the focus on the visual arts. Visual arts are in the branch of learning that deal with the production and study of visual imagery and material objects. In the context of art history inquiry, visual imagery and material objects are the primary data used for the study of changes in ourselves; religious, social, and cultural values; and human conditions. Visual imagery is one of the universal ways that the human condition and social and cultural values of the past and present are expressed. It is one of the fundamental means by which humans communicate feelings, emotions, ideas, ideologies, etc.Art educators have acknowledged for a long time the importance of the study of images and visual elements in the lives of children and the field of art education. This is even more evident today as the discipline moves to embrace notions of "visual culture," which emphasize exploring and studying all the things that visibly shape our lives. The acknowledgment of art history as an inquiry process rather than simply the study of facts about past artworks developed in the discipline-based arts education (DBAE) [End Page 24] movement of the 1980s and 1990s.1 In spite of the recommendations that art history be explored as a discipline of inquiry, much of the art history investigations that take place in the classroom today focus on understanding the artist through his/her biography and understanding the work of art through analysis of style and formal description.2 While the artist biography brings to light the artist's intention and a formal description examines what one can see in the work and makes reference to aspects of style and formal elements, the two approaches do not provide enough information to generate meaning and speculate about what social and cultural elements may have caused the work of art to look the way it does or the effects it may have had at the time of its creation. Unfortunately, many educators are not aware of how to extend their investigations to uncover these levels of analysis.Erickson provides one definition of inquiry as describing, attributing (determining who created the work), reconstructing (determining what the object originally looked like), and interpreting the artwork.3 While these aspects are all a part of an art historical investigation, they do not go far enough into the practices utilized by art historians when exploring a work of art. Therefore, in the context of this article the phrase "art historical inquiry processes" refers to the use of authentic activities (asking questions, collecting and analyzing data, interpreting, speculating about cause or effect, and disseminating knowledge) and approaches that art historians use when studying works of art; this approach goes beyond what is clearly seen in visual imagery in order to reveal not only the denotative but also the connotative meanings that are relevant to the historical and cultural context of the artwork. These authentic activities incorporate approaches related to structural analysis (that is, contemporary analysis—iconography, iconology semiotics, feminism, etc.—that draws from literary reading skills to generate meaning) and explore, examine, and facilitate the drawing of conclusions about the significance and place of visual imagery and material objects in the societies from which they come.4 The purpose of this article is to discuss the value of studying visual images and material objects using authentic art history inquiry processes to uncover meanings, and by extension... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not a (...) prescription or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)

The article addresses Europeanization of social movements in the context of the European Sovereign Debt Crisis. Europeanization occurs when movements collaborate, or make horizontal communicative linkages with movements in other countries, contest authorities beyond the state, frame issues as European and claim a European identity. The article presents a theoretical framework and research design for measuring the degree of social movement Europeanization followed by results of a pilot study on mobilization in Spain and Greece during (...) 2011. While many contentious action events studied only encompassed the domestic arena, the pilot study showed a relatively high degree of Europeanization in the Greek case, suggesting the viability of future research.El presente artículo aborda la europeización de los movimientos sociales en el contexto de la crisis de la deuda soberana europea. La europeización se produce cuando los movimientos colaboran, o establecen vínculos horizontales, con movimientos de otros países, contestan a las autoridades más allá de los límites del Estado-nación, identifican cuestiones como europeos y reclaman una identidad europea. El artículo presenta un marco teórico y un diseño investigación para medir el grado de europeización de los movimientos sociales seguido por los resultados de un estudio piloto de la movilización en España y Grecia durante el año 2011. Mientras que muchas de las acciones de protesta estudiadas solamente apelaban al ámbito doméstico, el estudio piloto muestra un relativamente alto grado de europeización en el caso griego, lo que sugiere la viabilidad de futuras investigaciones. (shrink)

Heidegger formulates the artwork's origin in a movement against the false motion of portrayal and repetition. The term mimesis is employed in the present essay to describe this origin and the means by which truth 'happens', specifically when mimesis turns against itself as imitation. The movement of the artwork is considered within the following constellation: the concept of mimesis is examined in light of Heidegger's 'Origin' essay to illuminate the concept and the essay by placing both in relation to Adorno's (...) aesthetics (especially the way mimesis figures there) as well as Kant's doctrine of the sublime- via Lyotard's Lessons on the Analytic of the Sublime. The movement of the artwork toward truth is presented as the movement of mimesis. Further, for both Heidegger and Adorno's accounts, the mimetic movement of the artwork parallels the movement of aesthetic judgment, especially as it is construed in regard to Kant's doctrine of the sublime. Key Words: aesthetic judgment • .art theory • . beauty • . mimesis • . the Sublime. (shrink)

All the manifestos for a ‘total work of art’ after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the union or synthesis of the (...) arts prefigures the reconciliation of the classes as the condition of the unity of the people. But who is this people that will realize itself in the total work? Is it the same people for the artists of the Bauhaus as it is for the leaders of the Third Reich? These are the questions I try to answer through an interrogation of the continuities and breaks in the re-workings of the Wagnerian concept of the Gesamtkunstwerk in the programmes of the Bauhaus and the policies of National Socialism. (shrink)

This paper provides an analysis of the key term aidagara ('betweenness') in the philosophical ethics of Watsuji Tetsurō (1889-1960), in response to and in light of the recent movement in Japanese Buddhist studies known as 'Critical Buddhism'. The Critical Buddhist call for a turn away from 'topical' or intuitionist thinking and towards (properly Buddhist) 'critical' thinking, while problematic in its bipolarity, raises the important issue of the place of 'reason' vs 'intuition' in Japanese Buddhist ethics. In this paper, a comparison (...) of Watsuji's 'ontological quest' with that of Martin Heidegger (1889-1976), Watsuji's primary Western source and foil, is followed by an evaluation of a corresponding search for an 'ontology of social existence' undertaken by Tanabe Hajime (1885-1962). Ultimately, the philosophico-religious writings of Watsuji Tetsurō allow for the 'return' of aesthesis as a modality of social being that is truly dimensionalized, and thus falls prey neither to the verticality of topicalism nor the limiting objectivity of criticalism. (shrink)

Mainstream theory and research in the field of social movements and political sociology has, by and large, ignored the influence of gender on social protest. A growing body of feminist research demonstrates that gender is an explanatory factor in the emergence, nature, and outcomes of all social movements, even those that do not evoke the language of gender conflict or explicitly embrace gender change. This article draws from a case study of the postpartum depression self-help (...) movement to outline the relationship between gender and social movements. Linking theories of gender to mainstream theories on social movements allows us to recognize gender as a key explanatory factor in social movements and, in turn, to identify the role that social movements play in the social construction of gender. (shrink)

This article aims to confront the principal arguments of the concept of critique in sociology and to demonstrate the emergence in recent years of a re-dimensioned conception of critique, on the one hand, of a pragmatic, pluralistic and contingent nature, and, on the other, show how the need for a strong and transcendental concept of critique that does not renounce the possibility of individual and collective emancipation is still present. This article argues that the analytic and empirical space in which (...) we can better observe the meeting between the contingent and normative aspects of critique is that of the social movements, that unsurprisingly have been important reference points for many of the different sociological traditions of critique. (shrink)

Racism, sexism, and other forms of injustice are more than just bad attitudes; after all, such injustice involves unfair distributions of goods and resources. But attitudes play a role. How central is that role? Tommie Shelby, among others, argues that racism is an ideology and takes a cognitivist approach suggesting that ideologies consist in false beliefs that arise out of and serve pernicious social conditions. In this paper I argue that racism is better understood as a set of practices, (...) attitudes, social meanings, and material conditions, that systematically reinforce one another. Attitudes play a role, but even the cognitive/affective component of ideologies should include culturally shared habits of mind and action. These habits of mind distort, obscure, and occlude important facts about subordinated groups and result in a failure to recognize their interests. How do we disrupt such practices to achieve greater justice? I argue that this is sometimes, but not always, best achieved by argument or challenging false beliefs, so social movements legitimately seek other means. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

The Situationist International have become a canonical reference point when discussing artists’ participation in political action or activism. This article attempts to decentre the SI from this position, by tracing their theories and representations of political agency and labour. I argue that their notion of agency is deeply conflicted, epitomized by the dual invocations ‘never work/all power to the workers’ councils. I examine how the SI’s representations of agency betray an attraction to and fascination with 1960s reactionary fantasies around brainwashing, (...) conditioning, control and torture. Their practical descriptions of a constructed situation, which ‘makes people live’ are, in fact, closer to torturous state control than total liberation. The notions of agency they mobilise draw on colonial and classist sources, which actually deny the agency of radical movements. As a result, the SI produce a series of weak fantasies of participation, in which agency is denied and ‘demanding the impossible’ is actually a demand to constitute and police the impossible. Artistic-political agency was both guarded centre and constituent other. The SI’s policing of their identity, tied in name to the agency of ‘situations’, involved the ongoing exclusion and repression of other artists’ more practically-engaged labour within social movements. (shrink)

BioArt has become an umbrella term for art practices utilizing biotechnology and living matter. Pioneering BioArt creations erode the boundaries between science and art, provoking a series of social and cultural debates. BioArtists deprive the pragmatic function of biotechnology and alter life itself. However, BioArt is an art practice strongly tied to the development of biotechnologies and evolving bio-media. The increasing familiarity of biotechnologies enables the creative works to evolve as technologies evolve. This article aims to contextualize the issues (...) presented in the artworks by two artists based in Taiwan, Kuang-Yi Ku and Pei-Ying Lin, who adapted emerging biotechnologies for their artworks. This article attempts to use affect theory as a lens to observe post-biological artworks and suggests that the Autonomy of Affect, the postmodern power after ideology, should play a significant role in their works. (shrink)

Sociology is becoming fragmented. With specialised fields spinning off beyond the capacity of a unifying theoretical frame to embrace them, the prospect exists that sociology's vital centre may not hold. Proceeding from a social constructionist perspective, this work examines the existence and probes the origins of the specialised sociological fields of social problems and social movements. Conceptual ambiguities that currently plague both specialisations are noted, as are their effective theoretical isolation from general sociological theory. Each field (...) is traced to its roots in sociology's formative period in the nineteenth century. Two modes of doing sociology are found to have evolved, respectively, in the United Stales and in Continental Europe, each conditioned by distinctive historical experiences and resonating with the prevailing social and political concerns on the two continents. American sociology emerged in response to social perceptions that progress is inhibited by a proliferation of 'social problems'. Continental European sociology arose in reaction to Enlightenment principles failing to be institutionalised, inviting the perceived social threat of either revolution or anarchy. Both sociologies are thus seen as ideologically contaminated, and their respective dominant perspectives, through the 1950s, are contrasted as the 'social problem orientation' and the 'social movement orientation'. Comparative analysis of these orientatations probes such issues as ahistorical vs. historical treatments: methodological individualism vs. collectivism: differential conceptions of class; the discipline's need to inhibit ideological contagion through a sociological reconstruction of prevailing social constructions of reality; the vital distinction between structural and processual conceptualisations. The study concludes that temporality serves as a crucial but much-neglected dimension in much of American sociology. So-called social problems and social movements are found to be grounded in essentially similar empirical social circumstances, with their alternate conceptualisations attributable to differential time-frames through which such circumstances are sociologically apprehended. This points to the potential theoretical integration of these two fields. Scientific, ideological. and social policy implications of alternative constructions of reality are also explored. (shrink)

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out (...) of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context. (shrink)

Choreography and Ceremony: The Artful Side of Action "Actions" are normally thought of as taken by individuals. But to understand their quality, it is not enough to classify them from the perspective of individual psychology (rational vs. emotional, technical vs. artistic, etc.). We need to grasp their relation to those forms of collective life which have a historical existence independent of specific individual action (institutions, the conventions of social gathering, the organizing principles of games, architecture, music, ritual, etc.). This (...) paper focuses on what characteristics such forms of collective life share, not what seems to separate them (eg. into sacred vs secular, technology vs creative art). The main features emphasized are their choreography, that is their enactment within commonly understood patterns of a spatial and temporal kind, as well as rules of interactive movement; and their ceremonial character, something which can be found in simple situations such as a conversation or a meal, though much more intensely in major religious ritual. A particularly resonant image for these enactments of social life is the dance. Because there is a ceremonial aspect to all social interaction, the paper argues that individual action, necessarily oriented to the social context, always has an "artful" side (however habitual or technical). The paper draws on the writings of Wittgenstein on action, and those of Collingwood on language and art, to shape the argument. Illustrations are provided of the "artful" employment of language (especially by actors on the stage), the "artful" side of material culture, and from the author's own ethnographic studies, the significance of dance among Sudanese refugees in Ethiopia. (shrink)

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism (...) and socialist realism. Despite the general view that postmodernism emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. (shrink)

Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across the humanities (...) and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. The Moving Eye: Film, Television, Architecture, Visual Art and the Modern gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. Ranging from early cinema, to works by Le Corbusier, Sergei Eisenstein, Gordon Matta-Clark, and Pierre Huyghe, to theories of the image in motion informed by psychoanalysis, theories of the public sphere, and animal studies, each of the nine essays in the book advances the lines of inquiry commenced by Friedberg. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social (...) and political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

The cultural turn in copyright law identified authorship as a rhetorical construct employed by economic interests to strengthen claims to property rights. Grassroots intellectual property political movements have been seen as both a means of countering these interests’ everexpanding proprietary control of knowledge and establishing a more public regarding copyright system. This Article examines one of the most notable intellectual property political movements, the emergence of late nineteenth-century agitation to provide copyright protection for foreign authors as a (...) class='Hi'>social movement. It places this political and legal activism within the larger framework of Progressive Era reform. During this period, activists promoted the idea of the public — and not simply the author — as primary to the workings of American copyright. The framing of the purposes of copyright, the appeal to a broader public, and the complex negotiations surrounding the passage of an international copyright act after a long period of gestation was formative to the creation of modern United States copyright law. Ironically, the movement for international copyright also sharpened the identification of interest groups. The first modern American comprehensive copyright legislation, the 1909 Copyright Act, was drafted by gathering together these groups for negotiations remarkably similar in style to those which led to the protection of the rights of foreign authors — but which would strongly embrace a proprietary model. (shrink)

. This paper discusses the transformative power of aesthetic narrative within the framework of Nietzsche’s theory of transvaluation. The transformative power of creative narrative is the power to give meaning to life’s activity by keeping ahead of forces that would deny it. The power of aesthetic transvaluation plays a fundamental role in the dynamic of the resistance movement that sprang from the Gezi Park sit-ins. The movement erupted with an aesthetic intensity that surprised detractors as well as supporters, employing aesthetic (...) creativity in a way that sets it apart from other protests in Turkey and the Arab world. On several levels, the young movement has become a form of artistic protest. Striking parallels are found in Nietzsche’s aesthetic claim that the existential transformation of one’s narrative is the principle aim of the artist and the dynamic action of the people in Turkey who resist what they feel is an encroachment on their democratic rights and their way of life. The point of the essay, however, is not merely to illustrate the parallels. It is to examine how aesthetic imagination plays a role in forming a narrative that conjures meaning solely through creative fiat, showing how the power of transvaluation is manifested in the Gezi Park resistance. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised internationally (...) to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

Max Weber’s contribution to cultural sociology has received insufficient attention, due to the unfinished character of his work and its reception. This paper investigates aspects of his contribution in relation to the field of art, broadly conceived, and in terms of the uses of his ideas by historians of art and design, such as T. J. Clark. Weber’s social theory considers art from two perspectives: the relative autonomy of cultural and artistic forms and modes of expression, and the (...) class='Hi'>social construction of works of art and culture. From the latter point of view technics and the technical become important factors in a double sense: The technologies of modern civilization external to art shape the “spirit” of art and its contents, and development in art proceeds as an effort to solve technical problems internal to the art form itself. Examples from painting, architecture and music illustrate the relationships. It is these perspectives that characterize the Weberian approach to art and invite further investigation as contributions to cultural sociology and social theory. (shrink)

Movement, Velocity, and Rhythm from a Psychoanalytic Perspective: Variable Speed(s) explores philosophical and psychoanalytic theories, as well as artworks, that show sensible bodily rituals for reviving our social and subjective lives. With a wide range of contributors from interdisciplinary backgrounds, it informs readers on how to find rituals for syncing ourselves with others and world rhythms. It will be essential reading for Lacanian psychoanalysts in practice and in training, as well as anyone interested in rhythm at the intersection of (...) Lacanian psychoanalysis and continental philosophy. (shrink)

This article concerns kime, a somatic code used in the ‘empty hand’ Japanese martial art of karate. Kime is a tactile-kinesthetic entity born out of practice, coming into being in a social setting through the specific organization of the body-self, fusing body and self into one stance and movement. Kime is entirely embodied, yet can only be operated and recognized inter-subjectively. It plays a crucial role in combat and at the same time also indicates a spiritual possibility that depends (...) on eradication of emotion and volition. An analysis of kime shows how cultural understandings can emerge without necessarily using symbolic representations or verbal discourse in their construction. These somatic non-dual understandings can come to form an entire world-of-meaning directly through the moving body. The moving body shapes itself within itself even as it interacts with and contributes to shape its immediate environment. This is a world-of-meaning that includes complex inter-subjectivity founded on the speed and ambiguity of the interface between the innerness and the outerness of the body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Standards of Music Education and the Easily Administered Child/Citizen: The Alchemy of Pedagogy and Social Inclusion/Exclusion Thomas S. Popkewitz and Ruth Gustafson University of Wisconsin-Madison Educational standards are forsome a corrective device to promote the twin goals of excellence and equity by making explicit the performance outcomes ofschooling. For others, performance standards do not do what they say and install the wrong goals for teaching. But various sides (...) in the debate assume that school subjects teach the subjects and what is needed are more effective and efficient classroom practices. Our approach is different. We consider the standards of school subjects as related to the conditions of state governing. School subjects inscribe principles that administer the conduct ofthe child who is to grow into the "reasonable citizen." The Standards Movement is more than what is publicly discussed. Pedagogy embodies particular ways ofthinking or a system ofreason in which pedagogy orders who we are, who we should become, and who are not qualifiedto become that "we." If we think of modern schooling as an inscription device in the fonning of the citizen through the development ofthe child, the crux of the debate is not whether to have standards. It is how particular standards are inscribed through pedagogicalpractices. Ifwe treat school subjects as analogous to a uniform system of taxes, the developmentofuniformmeasurements, andurban planning in the modem state, our concern is with the boundaries created about the rules and standards of reason and the reasonable person. Pedagogygoverns inadoublesense: schoolmusic embodies representations that constitute the objects that children act on as real, and it generates principles to orderand patrol the borders that qualify and disqualify individuals for participation. The standards that govern music education can be thought about as an alchemy.1 The field of music is transported and translated into school subjects andpedagogical content. As the sorcerer ofthe middle ages sought to turn lead into gold, a specializedpedagogyplaces children in a new set ofrelations that is no longerthe academic field of music. Why is the alchemy important? First, the alchemy ofschool subjects is a particular system of reason that fabricates the kinds of people administered in schooling. Second, the alchemy reconfigures the sensitivities and awarenesses of the field of music to make the child's "soul" the site of administration. That soul in music and other school subjects is talked about today as personaldevelopment, self-reflection,personality, and character. Third, school subjects are sites in which the relations between the state, society, community, and individuality are worked and reworked to produce the borders ofinclusion and exclusion. The first section of this paper considers school subjects as a practice of governing that administersprinciples (orstandards ifwecanplay with that word) about who we are and should be. The second section considers psychology as the translation device that transports academic disciplines into school subjects. It may seem odd at firstglancebutthesamepsychologicaltransportation systems exist across school subjects. The historical intervention of the transportation system, we argue in the third section, has little to do with understanding music or science, but with governing the soul. In that section we examine the different cultural practices that overlap to©Philosophy ofMusic Education Review 10, no. 2 (Fall, 2002): 80-91. Thomas S. Popkewitz/Ruth Gustafson 81 generate principles that orderthe nature ofmusic, the child/childhood, teaching, and reflection and subjectivity in music education. The discussion is not about the internal structure or the goodness ofmusic education but the particular frames of reference that form the evidence and possibilities of reform in school subjects. We take up the task ofinquiry into the alchemy of music as part of a broader project to show the contingency ofthe arrangement that we live by showing how thought has played a part in holding those arrangements together and to contestthe strategiesthatgovernthehumanpossibilities. The Art ofGoverning: Standards as Mapping Who We are/to Become Themodern state governs through developing a precise system of classifications and the correct sorting devices to chart a course ofaction that will change society for the better and which will prevent any futurejoining ofthe ranks ofthe poorly performing. To govern is to develop systems ofclassification that calculate and make legiblepeople fortheadministrationofthe society and the citizen. Mass schooling is a central institution in... (shrink)