Actin plays several essential roles in cellular processes and is a vital component in the contractile apparatus. To accomplish its many cellular tasks, actin must interact with a wide range of other proteins in addition to self‐assembling into filaments. Characterization of these functional domains and localized binding regions on the actin monomer is therefore an important undertaking. Strategies for elucidating the many interaction sites include X‐ray diffraction, NMR and fluorescence spectroscopy, chemical modification, chemical cross‐linking, protein cleavage, and the study of (...) sequence homologies between the many isotypes of actin. Based on these varied data, we discuss the possible spatial relationships between the interaction sites. (shrink)

Readers of reports on ethical failures by four-star general officers must wonder, “Don’t they have staffs to ensure that the general follows ethics rules?” The Department of Defense publishes robust ethics guidance in several documents; however, a staff’s best efforts to implement this guidance may fail to make an impression on a senior leader who is susceptible to the “Bathsheba syndrome,” an allusion to the biblical account where the prophet Nathan rebuked King David for his moral failings. This paper proposes (...) a methodology to enable senior headquarters staffs to play the role of Nathan in supporting ethical behaviors by high-level officers. It examines the mechanisms that embed ethical behavior within members of those staffs in carrying out their three principal roles of advising, scheduling, and transporting the four-star officer. The authors offer a framework based on an ethical infrastructure of organizational climate that focuses the staff’s daily efforts to mitigate risk across seven ethical “danger areas” that threaten ethical failures by senior officers. (shrink)

The overall aim of this article is to discuss how the MUSIC Model of Motivation can be applied to L2 instruction in a manner that is consistent with positive psychology, which emphasizes individuals’ strengths and the conditions in which they thrive. The article begins by describing the MUSIC model, which is a research-based framework that organizes strategies that instructors can use to motivate students to engage in learning. The MUSIC model can be used by L2 instructors to create learning experiences (...) that consider learners’ cognition, affect, needs, and desires in order to foster their motivation and engagement in L2 classes. The article also provides teaching strategies related to the MUSIC model and presents an assessment tool (the MUSIC Model of Academic Motivation Inventory) that can be used by L2 instructors to measure students’ MUSIC perceptions of their class. The assessment tool provides feedback to instructors that can be used to improve their instruction by incorporating strategies that allow their students to flourish. Examples of how the MUSIC Inventory can be used to assess L2 instruction are provided. Although researchers have examined the use of the MUSIC model in L2 classes, this research is underdeveloped, and many questions related to its use in L2 classes remain. The article concludes by proposing unanswered questions that could lead to more effective uses of the MUSIC model in L2 classes. (shrink)

BackgroundRandomized controlled trials (RCTs) are often complex and expensive to perform. Less than one third achieve planned recruitment targets, follow-up can be labor-intensive, and many have limited real-world generalizability. Designs for RCTs conducted using cohorts and routinely collected health data, including registries, electronic health records, and administrative databases, have been proposed to address these challenges and are being rapidly adopted. These designs, however, are relatively recent innovations, and published RCT reports often do not describe important aspects of their methodology in (...) a standardized way. Our objective is to extend the Consolidated Standards of Reporting Trials (CONSORT) statement with a consensus-driven reporting guideline for RCTs using cohorts and routinely collected health data.MethodsThe development of this CONSORT extension will consist of five phases. Phase 1 (completed) consisted of the project launch, including fundraising, the establishment of a research team, and development of a conceptual framework. In phase 2, a systematic review will be performed to identify publications (1) that describe methods or reporting considerations for RCTs conducted using cohorts and routinely collected health data or (2) that are protocols or report results from such RCTs. An initial “long list” of possible modifications to CONSORT checklist items and possible new items for the reporting guideline will be generated based on the Strengthening the Reporting of Observational Studies in Epidemiology (STROBE) and The REporting of studies Conducted using Observational Routinely-collected health Data (RECORD) statements. Additional possible modifications and new items will be identified based on the results of the systematic review. Phase 3 will consist of a three-round Delphi exercise with methods and content experts to evaluate the “long list” and generate a “short list” of key items. In phase 4, these items will serve as the basis for an in-person consensus meeting to finalize a core set of items to be included in the reporting guideline and checklist. Phase 5 will involve drafting the checklist and elaboration-explanation documents, and dissemination and implementation of the guideline.DiscussionDevelopment of this CONSORT extension will contribute to more transparent reporting of RCTs conducted using cohorts and routinely collected health data. (shrink)

Acquiring perceptual expertise is slow and effortful. However, untrained novices can accurately make difficult classification decisions by reformulating the task as similarity judgment. Given a query image and a set of reference images, individuals are asked to select the best matching reference. When references are suitably chosen, the procedure yields an implicit classification of the query image. To optimize reference selection, we develop and evaluate a predictive model of similarity-based choice. The model builds on existing psychological literature and accommodates stochastic, (...) dynamic shifts of attention among visual feature dimensions. We perform a series of human experiments with two stimulus types and nine classification tasks to validate the model and to demonstrate the model's potential to boost performance. Our system achieves high accuracy for participants who are naive as to the classification task, even when the classification task switches from trial to trial. (shrink)

Despite the growing body of literature on training in the responsible conduct of research, few studies have examined the effectiveness of delivery formats used in ethics courses. The present effort sought to address this gap in the literature through a meta-analytic review of 66 empirical studies, representing 106 ethics courses and 10,069 participants. The frequency and effectiveness of 67 instructional and process-based content areas were also assessed for each delivery format. Process-based contents were best delivered face-to-face, whereas contents delivered online (...) were most effective when restricted to compliance-based instructional contents. Overall, hybrid courses were found to be most effective, suggesting that ethics courses are best delivered using a blend of formats and content areas. Implications and recommendations for future development of ethics education courses in the sciences are discussed. (shrink)

Whereas boson coherent states with complex parametrization provide an elegant, and intuitive representation, there is no counterpart for fermions using complex parametrization. However, a complex parametrization provides a valuable way to describe amplitude and phase of a coherent beam. Thus we pose the question of whether a fermionic beam can be described, even approximately, by a complex-parametrized coherent state and define, in a natural way, approximate complex-parametrized fermion coherent states. Then we identify four appealing properties of boson coherent states (eigenstate (...) of annihilation operator, displaced vacuum state, preservation of product states under linear coupling, and factorization of correlators) and show that these approximate complex fermion coherent states fail all four criteria. The inapplicability of complex parametrization supports the use of Grassman algebras as an appropriate alternative. (shrink)

Whereas boson coherent states with complex parametrization provide an elegant, and intuitive representation, there is no counterpart for fermions using complex parametrization. However, a complex parametrization provides a valuable way to describe amplitude and phase of a coherent beam. Thus we pose the question of whether a fermionic beam can be described, even approximately, by a complex-parametrized coherent state and define, in a natural way, approximate complex-parametrized fermion coherent states. Then we identify four appealing properties of boson coherent states and (...) show that these approximate complex fermion coherent states fail all four criteria. The inapplicability of complex parametrization supports the use of Grassman algebras as an appropriate alternative. (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)

Bringing together the expertise of rhetoricians in English and communication as well as media studies scholars, Arguments about Animal Ethics delves into the rhetorical and discursive practices of participants in controversies over the use of nonhuman animals for meat, entertainment, fur, and vivisection. Both sides of the debate are carefully analyzed, as the contributors examine how stakeholders persuade or fail to persuade audiences about the ethics of animal rights or the value of using animals.

Ethics courses are most commonly evaluated using reaction measures. However, little is known about the specific types of reaction data being collected and how these reaction data relate to improvements in trainee performance. Using a sample of 381 ethics training sessions, major reaction data categories were identified. Content and course satisfaction were the most frequently collected types of reaction criteria. Furthermore, content relevance and course satisfaction showed strong, positive relationships with performance criteria, whereas content satisfaction demonstrated a moderate, negative relationship. (...) These results and future directions for ethics training evaluation are discussed. (shrink)

Industrial wind turbines (IWTs) are a new source of community noise to which relatively few people have yet been exposed. IWTs are being erected at a rapid pace in proximity to human habitation. Some people report experiencing adverse health effects as a result of living in the environs of IWTs. In order to address public concerns and assess the plausibility of reported adverse health effects, a number of literature reviews have been commissioned by various organizations. This article explores some of (...) the recent literature reviews on IWTs and adverse health effects. It considers the completeness, accuracy, and objectivity of their contents and conclusions. While some of the literature reviews provide a balanced assessment and draw reasonable scientific conclusions, others should not be relied on to make informed decisions. The article concludes that human health research is required to develop authoritative guidelines for the siting of IWTs in order to protect the health and welfare of exposed individuals. (shrink)

Diseases caused by Salmonella species are characterized by bacterial invasion of host cells. Salmonella invasion requires a genetic locus (inv) with homology to bacterial systems involved in specific protein export and organelle assembly. Until recently, the actual Salmonella invasion factors exported or assembled by the inv system remained unidentified. It now appears that Salmonella produces novel appendages upon contact with host cells. These appendages are transient, appearing and disappearing rapidly from the bacterial surface. Appendages are altered in strains unable to (...) invade due to mutations within the inv/spa locus. Therefore, a role for the invasion locus has been identified, providing another example of bacterial pathogens responding to signals provided by the host cell surface. (shrink)

When we hear about a transgression, we may consider whether the perpetrator’s individual circumstances make their transgression more understandable or excusable. Mitigating circumstances may reduce the severity of punishment that is deemed appropriate, both intuitively and legally. But importantly, in courts of public opinion and of law, mitigating information is typically presented only after information about a perpetrator’s transgression. We explore whether this sequence influences the force of mitigating evidence. Specifically, in two studies, we examined whether presenting evidence about a (...) perpetrator’s background before or after evidence of their violation influenced how severely U.S. participants punished perpetrators. In Study 1 (N = 132), evidence about the perpetrator’s mitigating circumstances reduced punishment only when it was presented before evidence about the perpetrator’s violation. Study 2 (N = 316) additionally revealed this moderating effect of presentation order across a variety of premeditated and impulsive violations. These findings are consistent with person-centered theories of punishment and with the Story Model of adjudication. (shrink)

This article examines allusions to Greek poetry in two Greek verse inscriptions carved on public monuments for Lycian dynasts of the late fifth and early fourth centuriesb.c.(CEG177, 888). Scholarship on these epigrams celebrating the rule, achievements and outstanding qualities of the dynasts Gergis (LycianKheriga) and Arbinas (Erbinna) has largely focussed on the evidence they provide for Lycian history, dynastic ideology and Lycia's relationship to Greece. Less attention has been paid to the possible significance of their long-noted echoes of Greek poetry. (...) Literary analysis of these epigrams has been sidelined, it seems, owing to a prevailing assumption that they were composed and inscribed primarily for Greeks visiting or resident in Xanthus, the Lycian ‘capital’ where they were inscribed, and so their literariness, unheard by Lycian ears, cannot add to our understanding of Lycia and Lycians. Yet, a recent observation of Peter Thonemann suggests that the appropriation and manipulation of Greek poetry is in fact central to the dynastic intent of the epigrams: to assert Lycia's non-Greek, ‘Asiatic’ identity. (shrink)

Ben Rich, J.D., Ph.D., presents a scholarly, passionate view of the ethics of the His manuscript is detailed, analytical, and compassionate. No reasonable sensitive person, especially a physician committed to caring for patients, can disagree with the proposal that human beings should have their physical, emotional, and spiritual pain tended to aggressively, meticulously, and compassionately. Similarly, the same individuals advocating for such pain management would agree that no one should go to jail unless he or she is guilty of a (...) serious crime, that decent people should not be robbed or murdered, that children should not be hungry or homeless, and that all citizens of the United States deserve healthcare. Our society attempts to achieve these goals. Laws are written, discussed, and approved by state and federal congresses, voted on by citizens, and theoretically upheld by the courts, churches, and decent individuals. But, unless the world suddenly becomes inhabited by virtuous, ethical humans who can unfailingly differentiate from then, in spite of an abundance of laws and lawyers, doctors, and nurses, this world will continue to have pain and suffering. And, although we want to hold our doctors, politicians, educators, champion athletes, and others to than the average citizen, it is best to remind ourselves frequently that all humans can be weak and are bound to make imprecise judgments, that there is not a homogenous definition of that values and religious beliefs are variable. (shrink)

La chambre à coucher des couples ordinaires ne relevant aucunement de la justice est souvent le théâtre d’une cruauté qui peut se manifester de manière subtile ou brutale. Mieux appréhender la violence sexuelle implique d’en approfondir les origines et la fonction. Les exemples cliniques montrent jusqu’où peut aller ce type de violence. Celle-ci demeure souvent cachée mais est source de grande souffrance. L’auteur souligne l’interaction des partenaires dans ces passages à l’acte. Il envisage une typologie des sadismes sexuels névrotiques.

La chambre à coucher des couples ordinaires ne relevant aucunement de la justice est souvent le théâtre d’une cruauté qui peut se manifester de manière subtile ou brutale. Mieux appréhender la violence sexuelle implique d’en approfondir les origines et la fonction. Les exemples cliniques montrent jusqu’où peut aller ce type de violence. Celle-ci demeure souvent cachée mais est source de grande souffrance. L’auteur souligne l’interaction des partenaires dans ces passages à l’acte. Il envisage une typologie des sadismes sexuels névrotiques.

In an examination of Ryle's distinction between knowing how and knowing that D. G. Brown is led to the conclusion that “All knowing how is knowing that.” The distinction is improper, and these tags should be dropped. All knowledge is propositional, after all, though there is a legitimate way of retaining the essentials of Ryle's account. Knowledge for which the primary evidence is a person's performance replaces the category of knowing how in this reformulated version of the distinction. But to (...) have this type of knowledge is to know the answers to questions concerning the way in which it can be done. And this is knowing that. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:59. HUME'S DEBT TO KANT Various commentators on Hume's work have argued that his examination of our causal reasoning is not fundamentally at odds with the claims made by Kant in his supposed "answer to Hume". One way of making the connection, suggested by Wolff for example, is to emphasize the ways in which Humean epistemology depends upon a theory of mental activity. If this activity itself can only (...) be understood in terms of built-in "propensities" of the mind, these dispositions can be interpreted as psychological descriptions of a mind operating in accordance with something quite like Kantian categories. Another way of arguing for this compatibility between Hume and Kant is to bring out central principles (e.g., relating to causation ) which Hume's account depends upon, but which are such that they cannot be given an experiential foundation. Lewis White Beck has offered such a Kantianization of Hume, arguing that beneath the surface of the official Empiricist Hume (and just outside Hume's view of what he was doing) there is a commitment to principles that have 2 an a priori status in his theory. If Beck is right about this, we might speak with tongue only partially in cheek, of Hume's debt to Kant, for the Kantian categories could be taken as the systematic working out of the underpinnings of Hume's theory. In this paper I shall consider this problem only insofar as it relates to causal reasoning. I focus on Professor Wilson's defense of the Empiricist Hume, in which it is denied that our causal reasoning rests upon a priori principles. The principles in question are that (1) Every event has some cause, and (2) That like causes have like effects, and like effects like causes. Wilson argues that these are both empirical generalizations within an account that is both plausible and Humean. I shall 60. argue briefly that, contrary to Wilson's claim, the Humean account of causation makes the second of these an a priori truth because it is analytic. The first is certainly not an analytic truth, but it could not have been derived from experience, at least as Hume depicts our experience. It thus seems to be a claim that is functioning as synthetic and a priori in Hume's account of our beliefs. Except in the general way that this phrase implies, this paper is not really about Kant, who will barely be mentioned again. In my discussion of Wilson's argument I will not deal with the formalizations which he has introduced, but will attempt to capture the main lines of argument in more or less ordinary language. In proceeding thus, I am siding with Hume in siding with the vulgar. Having listed the eight rules of causal judgment which are under discussion here, Hume says Here is all the LOGIC I think proper to employ in my reasoning; and perhaps even this was not very necessary, but might have been supply 'd by the natural principles of our understanding. Our scholastic headpieces and logicians shew no such superiority above the mere vulgar in their reason and ability, as to give us an inclination to imitate them in delivering a long system of rules and precepts to direct our judgment, in philosophy. (T175) 1. The basic problem is whether or not Hume's explanation of our causal reasoning depends upon the assumption that all events have causes, and depends upon it in a way that makes this assumption a priori. Beck (and Wolff) have argued that this is the case, and hence that Hume is much closer to Kant than is commonly supposed. This Wilson denies. The argument revolves around the cases in which we fail to observe the causes we have come to associate with certain effects (or, in principle, vice versa) so that the conjunction of events is not "constant". The Humean account of what happens in such circumstances is that the imagination supplies the deficiency; we feign unobserved events to 4 fill the gap. But whereas Hume frequently disparages such 61. exercises of the fancy (as he calls them) he does not do so here. Hence, one may ask, what entitles us... (shrink)

Ben Rich, J.D., Ph.D., presents a scholarly, passionate view of the ethics of the “barriers to effective pain management.” His manuscript is detailed, analytical, and compassionate. No reasonable sensitive person, especially a physician committed to caring for patients, can disagree with the proposal that human beings should have their physical, emotional, and spiritual pain tended to aggressively, meticulously, and compassionately. Similarly, the same individuals advocating for such pain management would agree that no one should go to jail unless he or (...) she is guilty of a serious crime, that decent people should not be robbed or murdered, that children should not be hungry or homeless, and that all citizens of the United States deserve healthcare. Our society attempts to achieve these goals. Laws are written, discussed, and approved by state and federal congresses, voted on by citizens, and theoretically upheld by the courts, churches, and decent individuals. But, unless the world suddenly becomes inhabited by virtuous, ethical humans who can unfailingly differentiate “good” from “bad,” then, in spite of an abundance of laws and lawyers, doctors, and nurses, this world will continue to have pain and suffering. And, although we want to hold our doctors, politicians, educators, champion athletes, and others to “higher standards” than the average citizen, it is best to remind ourselves frequently that all humans can be weak and are bound to make imprecise judgments, that there is not a homogenous definition of “good,” that values and religious beliefs are variable. (shrink)

Vorliegende Studie behandelt die philosophiehistorische Bedeutung und den systematischen Gehalt, den zur Zeit seiner Konstruktion, d. h. in der Epoche des Hellenismus, jener Fall zweier Schiffbrüchiger besitzt, denen zur Rettung nur eine Planke, die nur einen von beiden tragen kann, zur Verfügung steht, welcher als "Brett des Karneades" in die abendländische Geschichte des Rechts wie der Rechtsphilosophie eingegangen ist und als Paradigma der europäischen Notrechtslehre ausgezeichnet werden kann. Im ersten Teil der Untersuchung wird anhand einer philosophiegeschichtlichen Auswertung der Quellen (...) des Falles, Ciceros De officiis und Laktanz' Institutiones Divinae, und ihrer historischen Kontexte die Plausibilität der Zuschreibung der Autorschaft an dem Fall an den akademischen Skeptiker Karneades erwiesen. Im zweiten Teil werden die verschiedenen Varianten des Falles und ihre Lösungen, die sich in den Quellen finden, ausführlich auf ihre philosophischen Prämissen hin analysiert, woraus ihre letztliche Fundierung in dem auf einer empiristischen Erkenntnistheorie gegründeten Begriff des Naturrechts der Alten und Mittleren Stoa hervorgeht. Der abschließende dritte Teil erörtert das kritische Potential des Beispieles, indem er seine zersetzende Wirkung auf alle zu seiner Lösung in Anschlag gebrachten Lehrstücke des stoischen Philosophie aufzeigt und so vor Augen führt, daß mit dem Brett des Karneades wenigstens eine empirische Begründung einer möglichen Naturrechtslehre schon aus epistemologischen Gründen zum Scheitern verurteilt ist. The "Plank of Carneades" is the name that has gone down in the Occidental history of law and legal philosophy to characterize the case of two shipwrecked persons who have one plank that can rescue only one of them. The case can be characterized as the paradigm of the European theory of necessity. This study considers the philosophically historical meaning and systemic content this case had at the time of its construction, namely during the Hellenistic epoch. The first part of the study is based on a philosophically historical evaluation of the sources of this case, Cicero's De officiis and Laktanz' Institutiones Divinae, and their historical context. It shows the plausibility of imputing authorship of this case to the academic skeptic Carneades. The second part exhaustively analyzes the various case constellations and the solutions these sources proffer to them. It considers the philosophical premises underlying these solutions and indicates that their ultimate foundation lies in the concept of natural law as based on the empirical epistemology of the ancient and middle-aged Stoics. The third and final part considers the case's critical potential by demonstrating its undermining effect on all of the teachings of Stoic philosophy proffered to solve it. The study thus shows that for the Plank of Carneades any empirical foundation of a possible theory of natural law is condemned to failure for epistemological reasons. (shrink)

Through a ‘micro’ and ‘macro’ level analysis, this study focuses on elements of questioning and question design in the Senate Judiciary hearing conducted for Supreme Court nominee Brett Kavanaugh. Specifically, two lines of questioning are analyzed: that of Kamala Harris, D. California, and that of Ted Cruz, R. Texas. Through an analysis that builds heavily on prior research that uses Conversation Analysis to understand the news interview, this study attempts to expand such research to institutional talk done by politicians (...) in Congress. The analysis portion of the paper investigates, on a ‘micro’ level, the linguistic elements at play in each line of questioning. In the discussion section, a ‘macro’ level analysis situates the findings of this paper within the broader US political climate among the public and in terms of the growing conservatism of the Supreme Court. (shrink)

Annabel Brett and James Tully, ed., Rethinking the Foundations of Modern Political Thought, and D. N. DeLuna, ed., The Political Imagination in History: Essays Concerning J. G. A. Pocock.

Revisiting African philosophy’s classic questions, D. A. Masolo advances understandings of what it means to be human—whether of African or other origin. Masolo reframes indigenous knowledge as diversity: How are we to understand the place and structure of consciousness? How does the everyday color the world we know? Where are the boundaries between self and other, universal and particular, and individual and community? From here, he takes a dramatic turn toward Africa’s current political situation and considers why individual rights and (...) freedoms have not been recognized, respected, demanded, or enforced. Masolo offers solutions for containing socially destructive conduct and antisocial tendencies by engaging community. His unique thinking about community and the role of the individual extends African philosophy in new, global directions. (shrink)

Recent years have been blessed with an abundance of logical systems, arising from a multitude of applications. A logic can be characterised in many different ways. Traditionally, a logic is presented via the following three components: 1. an intuitive non-formal motivation, perhaps tie it in to some application area 2. a semantical interpretation 3. a proof theoretical formulation. There are several types of proof theoretical methodologies, Hilbert style, Gentzen style, goal directed style, labelled deductive system style, and so on. The (...) tableau methodology, invented in the 1950s by Beth and Hintikka and later per fected by Smullyan and Fitting, is today one of the most popular, since it appears to bring together the proof-theoretical and the semantical approaches to the pre of a logical system and is also very intuitive. In many universities it is sentation the style first taught to students. Recently interest in tableaux has become more widespread and a community crystallised around the subject. An annual tableaux conference is being held and proceedings are published. The present volume is a Handbook a/Tableaux pre senting to the community a wide coverage of tableaux systems for a variety of logics. It is written by active members of the community and brings the reader up to frontline research. It will be of interest to any formal logician from any area. (shrink)

La division du travail physiologique est un concept tombé en désuétude en biologie. Quand l’expression est employée, c’est sans égard pour sa fonction nomologique importante dans la biologie du second xixe. Nous analyserons l’importation de la division du travail de l’économie à la biologie, malgré les difficultés de validation que posait son transfert d’une science à l’autre. La notion a ainsi continué sa carrière dans une biologie gagnée à la théorie cellulaire, cependant que ses déterminations économiques perdaient leur pertinence. Nous (...) terminerons en interrogeant sa disparition au début du xxe. La division du travail physiologique, une fois purifiée de son économicité primitive, ne pouvait sans doute que retourner à un stade métaphorique. (shrink)

Susan Schneider (2019) has proposed two new tests for consciousness in AI (artificial intelligence) systems, the AI Consciousness Test and the Chip Test. On their face, the two tests seem to have the virtue of proving satisfactory to a wide range of consciousness theorists holding divergent theoretical positions, rather than narrowly relying on the truth of any particular theory of consciousness. Unfortunately, both tests are undermined in having an ‘audience problem’: Those theorists with the kind of architectural worries that motivate (...) the need for such tests should, on similar grounds, doubt that the tests establish the existence of genuine consciousness in the AI in question. Nonetheless, the proposed tests constitute progress, as they could find use by some theorists holding fitting views about consciousness and perhaps in conjunction with other tests for AI consciousness. (shrink)

“Do Anthropocene narratives confuse an important distinction between the natural and the historical past?” asks Giuseppina D’Oro. D’Oro defends the view that the concept of the historical past is sui generis and distinct from that of the geological past against a new, Anthropocene-inspired challenge to the possibility of a humanistically oriented historiography. She argues that the historical past is not a short segment of geological time, the time of the human species on Earth, but the past investigated from the perspective (...) of a distinctive kind of interest, that of uncovering the norms which governed historical agents in different periods of time. The past for the Egyptologist, or for the Roman historian, is not the same past studied by the palaeontologist or the geologist, not because it is infinitesimal short in comparison to geological time, but because the questions asked by historians concerned with the Egyptian or Roman civilization are not the same kind of questions asked by empirically minded scientists. She argues that the accusation that the distinction between the historical and the natural/geological past, rests on unacceptable form of human exceptionalism is based on the conflation of the concept of the historical past with that of the human past and that keeping alive the nature/culture distinction has important implications for praxis. If the distinction between nature and culture is collapsed, and the corollary that historical agents are not distinct in kind from natural agents (such as yeast and microbes) is accepted, then “the anticipation of the future would become a mere spectator’s sport analogous to the activity of predicting the weather”: collapsing the nature culture distinction, D’Oro argues, undermines the possibility of political action against the very threat (climate change) that motivates Anthropocene narratives in the first instance. (shrink)

A legacy of Enlightenment thought was to see the human as separate from nature. Human history was neatly distinguished from natural history. The age of Anthropocene has now put all that into question. This human exceptionalism is seen by some as responsible for the devastating impact humans have had on the planet. But if we give up on the nature / culture distinction and see human activity as just another type of natural process, we risk losing our ability to attribute (...) moral agency and responsibility to humanity for the environmental crisis, argues Giuseppina D’Oro. (shrink)

Vendler’s :161–173, 1979) puzzle about imagination is that the sentences ‘Imagine swimming in that water’ and ‘Imagine yourself swimming in that water’ seem at once semantically different and semantically the same. They seem semantically different, since the first requires you to imagine ’from the inside’, while the second allows you to imagine ’from the outside.’ They seem semantically the same, since despite superficial dissimilarity, there is good reason to think that they are syntactically and lexically identical. This paper sets out (...) the puzzle and offers a novel solution. Our proposal is that, just as there is knowledge-wh, there is also imagining-wh and that the inside/outside distinction Vendler points to is properly understood as a distinction within imagining-wh. In particular, to imagine swimming from the inside is to imagine what it feels like to swim, while to imagine swimming from the outside is to imagine what it looks like to swim. We show that this proposal is well grounded in both the semantics and syntax of ‘imagine.’ We also argue it makes better sense than its rivals of the data Vendler found so puzzling. (shrink)