These days 'evolution' is usually defined as any change in the relative frequencies of genes in a population over time. This definition and some obvious alternatives are examined and rejected. The criticism of these definitions points out the need for a more holistic analysis of genotypes. I attempt such analysis by introducing measures of similarity of whole genotypes and then by grouping genotypes into similarity classes. Three sorts of measures of similarity are examined: a measure of structural similarity, a measure (...) of functional similarity and one of relational or historical similarity. The functional approach is shown to be superior and a definition of 'evolution' is suggested. (shrink)

The fact that education is, and must be, a process of enculturation for those being educated gives us some, but by no means enough, guidance as to what we would expect to see going on in our schools. For given that our educational institutions are part of our culture and, given that anything that is part of our culture will transmit cultural messages, if we put children in school and let them play all day, or simply asked teachers to explain (...) their hobbies to the children, then some processes of enculturalisation would be going on. But no one with any real concern for either our children or their education would think such things fulfil a proper role for schools. Certainly if, as Arnold thought, education is a question of passing on, or trying to pass on, the features from our culture that we value, then any such reliance on random processes must be ruled out. Instead we have to select those aspects of our culture which we wish our children to partake of and insist that our educational establishments make sustained and intentional efforts to ensure such participation. (shrink)

Background and objectives: Developmental coordination disorder is a neurodevelopmental motor disorder occurring in 5-6% of school-aged children. It is suggested that children with DCD show deficits in motor learning. Transcranial direct current stimulation enhances motor learning in adults and children but is unstudied in DCD. We aimed to investigate if tDCS, paired with motor skill training, facilitates motor learning in a pediatric sample with DCD.Methods: Twenty-eight children with diagnosed DCD were randomized and placed into a treatment or sham group. Anodal (...) tDCS was applied in conjunction with fine manual training over 5 consecutive days. Children's motor functioning was assessed with the Purdue Pegboard Test and Jebsen-Taylor Hand Function Test at baseline, post-intervention and 6 weeks following intervention. Group differences in rates of motor learning and skill transfer/retention were examined using linear mixed modeling and repeated measures ANOVAs, respectively.Results: There were no serious adverse events or drop-outs and procedures were well-tolerated. Independent of group, all participants demonstrated improved motor scores over the 5 training days [F, p < 0.001, 95% CI ], with no skill decay observed at retention. There was no interaction between intervention group and day [F, p = 0.086, 95% CI ].Conclusion: Children with DCD demonstrate motor learning with long-term retention of acquired skill. Motor cortex tDCS did not enhance motor learning as seen in other populations. Before conclusions of tDCS efficacy can be drawn, additional carefully designed trials with reproducible results are required.Clinical Trial Registration:ClinicalTrials.gov: NCT03453983. (shrink)

Nature's simplest atom and mother of all matter, hydrogen feeds the stars as well as interlaces the molecules of their biological descendants – to whom it ultimately whispers the secrets of quantum reality. Hydrogen’s most prevalent earthly guise lies within the composition of water. A slight electrical disturbance can split water into hydrogen and oxygen gas, resulting in diaphanous bubble clouds slowly rising towards the liquid’s surface. Though the founding fathers of electrochemistry posited that the mass of liberated bubbles is (...) directly proportional to the input voltage, certain modes of electrolysis release more energy than is spent. One such mode involves water’s Janus-faced capacity to react as either an acid or a base. Emanating from an array of electrodes at the bottom of a water-filled chamber, strings and strata of hydrogen bubbles meticulously trace their emergent surroundings. In addition to eddy formations incited by a bubble's rapid growth and subsequent detachment from the electrode surface, acoustic vibrations permeate the two-phase fluid. As the sonic frequency and amplitude rises, the hydrogen bubbles start to coalesce with one another. When the sound field reaches maximum intensity, it can trap bubbles within its antinodes. The vibrations are generated both by transducers and by the bubbles themselves, which emit frequencies ranging from the audible spectrum to as high as 800 kHz. A white laser sheet scans and illuminates the hydrogen bubble trajectories. Each quivering bubble-lens divides the white light into its constituent spectrum of colors. While scanning, the laser sheet also swiftly pulsates and thereby extends the perceivable resolution of micro-momentary bubble dynamics. Before it even begins to map out its vibratory environment, a bubble goes through various stages of spatio-temporal evolution. During the first phase of growth, a bubble nucleus inflates linearly with time. At the second stage, bubble growth is limited by the diffusion of gas within the liquid, causing its size to increase as the square root of time. The final phase before detachment is limited by the kinetics of dissolved gas production, causing the bubble to grow as the cube root of time.1 Beyond macroscopically observable bubbles, an expanse of nanobubbles hides within the water’s internal architecture. Some researchers presume that these nanobubbles of dissolved gas are the carriers of water’s magnetic ‘memory’, enabling electromagnetic fields to saturate its innards for hours and even days after their initial appearance. In the seas and oceans, the lingering presence of electromagnetic fields photonically imparted by sunlight, triggers the electrolysis responsible for most of the Earth’s hydrogen. An essential form of photosynthesis, solar water splitting is the cleanest and most efficient means imaginable for generating and storing energy. —Evelina Domnitch & Dmitry Gelfand *** Animals and plants are formed in earth and in water because there is water in earth, and there is pneuma in water, and there is soul heat in all pneuma ; so that in a way all things are full of soul. Hence plants and animals quickly form once this gets enclosed; and when this enclosing happens, when the corporeal liquids get heated, a sort of frothy bubble is formed. Now the difference between the various creatures which are produced in this way are due to the stuff which makes up the envelope around the soul-source.2 Throwing light into this pneumatic spray of perdurances, which would otherwise swarm below the threshold of human visibility, Evelina Domnitch and Dmitry Gelfand’s Hydrogeny saturates the viewer’s sensorial space with the nano-architectures of froth. Straddling the cell wall between scientific enquiry and artistic praxis, Hydrogeny , beckons a recasting of Lucretius' clinamen in tune with the technologies of the modern observer. For Lucretius it was the indeterminate swerving of an atomistic layer of reality which accounted for the unpredictability of change and the existence of free will. Taken up by Harold Bloom to describe the swerving of cultural production from that which has already been made, the idea has since been textually redressed by Lacan, Derrida, Serres, Deleuze, Nancy, and Badiou. Here we have been given a kaleidoscopic technique for refining and expanding awareness of our enmeshment with so many nested, atomistic layers of object-bubbles—of things—as Aristotle might say,“full of soul.” The gravitational pull of Hydrogeny ushers a de-centered human spectatorship to the ever more intimate recesses of what media philosopher N. Katherine Hayles calls our capacity for “deep attention.”3 Vaporous attention suspended and re-oriented. Microscopic as these diaphanous waves are, the calling they produce is anything but inconsequential. Evelina Domnitch and Dmitry Gelfand are two-thirds of the Amsterdam-based Art–Science Labratory, Optofonica , an atelier initiated by the Italian interdisciplinary artist TeZ in 2006. Follow more of their work at www.portablepalace.com —Isaac Linder NOTES (1) cf. Brandon, Kelsall, Levine, & Smith. “Interfacial Electrical Properties of Electrogenerated Bubbles.” Journal of Applied Electrochemistry 15 (1985):485-493. (2)Aristotle, On the Generation of Animals, 762a18, tr. A. L. Peck (Cambridge, MA: Loeb Classical Library, 1942). (3)“ My article on hyper and deep attention ,” N. Katherine Hayles, accessed on September 14, 2011. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Reducing health disparities and improving health outcomes are fundamental principles in global health. Environmental justice remains underrecognized and undervalued as a key driver of health dispar...

This is a book that opens up an area of contemporary experience that rarely sees the light of day. I believe readers from all walks of life and different educational backgrounds will be as excited to read about these experiences as my subjects were delighted to talk about them. One measure of the public's interest in relevant oral history is the current popularity of Brandon Stanton's Humans of New York, Stories, found in museums and bookstores throughout the city. And (...) the fact that the recent Nobel went to Svetlana Alexievich, a writer whose work is grounded in oral history, will expand the market for such books, and is a sign that more and more readers are interested in what ordinary people, whose voices are usually muted, have to say about crucial aspects of modern life. The book's interdisciplinary appeal will attract faculty and students in cultural studies, English, sociology, and other departments and programs interested in aesthetics. The book will have considerable crossover appeal to a wide general audience that especially includes women (most of my subjects are women) and women of color (a third of my subjects are members of a minority). The book is, in fact, eminently "Oprah-ble" because of its undoubted appeal to her vast audience. The challenge for an academic press, of course, will be to gain this audience's attention, a task to which I will be more than happy to devote substantial time and effort. (shrink)

The goal of this paper is to increase our understanding of what archaic verse epitaphs meant to contemporary readers. Section I suggests their fundamental message was praise of the deceased, expressed in forms characteristic of poetic encomium in its broad, rhetorical sense, i.e., praise poetry. In section II, the conventions of encomium in the epitaphs are compared to the iconographic conventions of funerary art. I conclude that verse inscriptions and grave markers, not only communicate the same message of praise, but (...) do so in a formally parallel manner. Section III, drawing on Pindar as a preserver of archaic thinking, attributes the parallelism between verse epitaph and grave marker to their common debt to funerary ritual. The epigrams will be seen to share with their monuments the goal of memorializing this ritual. (shrink)

This article explores two examples of non-visibility as a way of describing the specificity of contemporary surfaces of visualization. The two cases are the disappearance of Malaysia Airlines Flight 370, the scheduled passenger flight from Kuala Lumpur to Beijing, which lost contact with air traffic control on 8 March 2014 at 01:20 MYT, and the 276 Nigerian girls who went ‘missing’ at about the same time. The analysis is developed through an exploration of these examples in terms of the patterning (...) of vision produced in recursive relations, or relations of feedback with the environment. We argue that changes in the organization of this feedback, which we describe as ‘rendition’, equip contemporary observers with both the capacity to see ‘close up at a distance’ and the capacity to be situated adjacent, next to or ‘beside from above’. (shrink)

The philosophical problems of liberty may be classified as those of definition, of justification and of distribution. They are so complex that there is a danger of being unable to see the wood for the trees. It may be helpful, therefore, to provide an aerial photograph of a large part of the wood, namely, the liberty ofindividual persons. But it is, of course, a photograph taken from an individual point of view, as Leibniz would have put it.

While the effect of humanitarian intervention on the recurrence and intensity of armed conflict in a crisis zone has received significant scholarly attention, there has been comparatively less work on the negative externalities of introducing peacekeeping forces into conflict regions. This article demonstrates that large foreign forces create one such externality, namely a previously non-existent demand for human trafficking. Using Kosovo, Haiti, and Sierra Leone as case studies, we suggest that the injection of comparatively wealthy soldiers incentivizes the creation of (...) criminal networks by illicit actors. We theorize further that the magnitude of increase in trafficking should be directly proportional to the size of the foreign force, with larger forces producing larger increases. We find that both hypotheses hold with varying levels of confidence across our three case studies. Despite the benevolent intent of peacekeeping missions, the possibility that they may contribute to human trafficking for the purpose of sexual exploitation runs counter to the spirit of such interventions. This is especially problematic given that trafficking rings, once established, may be adapted to provide weapons and narcotics, thereby planting the seed of further destabilization. (shrink)

This article addresses the role of social media fragments in the return of fascist politics It argues that beside or contrary to a conscious collective intelligence emerging through the internet, a collective unconscious has seized the political space, delegitimatizing modern institutions of documentary truth based on evidence, method, and the institutional construction of facts.

In disproof of the materialist principle, that common things exist unperceived, and in defence of the New Principle, Philonous here objects that it is inconceivable that a common thing should do so. Hylas replies that, on the contrary, we can and do think of, e.g., a tree standing alone as opposed to a tree being perceived by an observer. But Philonous counter-objects to this reply that it contains a contradiction, since it asserts that we can think of something which is (...) not thought of. (shrink)

Both these developments would have surprised Berkeley. He would have found it paradoxical that the vulgar should have rejected his vulgar immaterialism as paradoxical, since he of course believed himself to be on their side in the matter, and characterised his own philosophy as a.

In this paper, we demonstrate how the collaborative and sequential unfolding of a story ties into the constitution of a membership categorization device which we have glossed as ‘us and them’. The data come from a focus group activity where first and second generation immigrants to Denmark have been asked to discuss their situation in Denmark. Using Ethnomethodological Conversation and Membership Categorization Analysis, we present one story which involves a story-teller and his family and an elderly Danish couple living in (...) the same block of flats. In the telling of the story, co-participants align and affiliate, and disalign and disaffiliate, at sequentially relevant junctions. We will argue that not only do such phenomena indicate listenership and possible agreement to the moral of the story in its telling, but also to the morally implicative categorical work involved in the story’s telling. (shrink)