Upon entering the White House in 1933, President Franklin D. Roosevelt faced an ailing economy in the throes of the Great Depression and rushed to transform the country through recovery programs and legislative reform. By 1934, he began to send professional photographers to the state of West Virginia to document living conditions and the effects of his New Deal programs. The photographs from the Farm Security Administration Project not only introduced “America to Americans,” exposing a continued need for government intervention, (...) but also captured powerful images of life in rural and small town America.New Deal Photographs of West Virginia, 1934-1943 presents images of the state's northern and southern coalfields, the subsistence homestead projects of Arthurdale, Eleanor, and Tygart Valley, and various communities from Charleston to Clarksburg and Parkersburg to Elkins. With over one hundred and fifty images by ten FSA photographers, including Walker Evans, Marion Post Wolcott, Arthur Rothstein, and Ben Shahn, this collection is a remarkable proclamation of hardship, hope, endurance, and, above all, community. These photographs provide a glimpse into the everyday lives of West Virginians during the Great Depression and beyond. (shrink)

During the last two decades the role of quantitative genetics in evolutionary theory has expanded considerably. Quantitative genetic-based models addressing long term phenotypic evolution, evolution in multiple environments (phenotypic plasticity) and evolution of ontogenies (developmental trajectories) have been proposed. Yet, the mathematical foundations of quantitative genetics were laid with a very different set of problems in mind (mostly the prediction of short term responses to artificial selection), and at a time in which any details of the genetic machinery were virtually (...) unknown. In this paper we discuss what a model is in population biology, and what kind of model we need in order to address the complexities of phenotypic evolution. We review the assumptions of quantitative genetics and its most recent accomplishments, together with the limitations that such assumptions impose on the modelling of some aspects of phenotypic evolution. We also discuss three alternative appr oaches to the theoretical description of evolutionary trajectories (nonlinear dynamics, complexity theory and optimization theory), and their respective advantages and limitations. We conclude by calling for a new theoretical synthesis, including quantitative genetics and not necessarily limited to the other approaches here discussed. (shrink)

American agricultural history, literature, and thought reveal historical circumstances that have often been unfavorable to the development of a sustainable agriculture in the United States. Further critical examination of these historical and cultural roots reveals that sustainable agriculture is an evolving concept that can be traced to the tradition of agrarian idealism, scientific and organic agriculture, and the recent history of ecological ideas, beginning with the “Dust Bowl” and extending to the present.

In his Art and Knowledge, the distinguished Canadian philosopher of art, James O. Young, takes on the daunting task of defending his opening claim that ‘every item properly classified as a work of art can contribute to human knowledge’. His assertion is a general one, intended to apply to any and every prospective artwork, not merely to sub-genres like the moral novel or the ‘Shock-Headed Peter’ school of didactic bedtime terror-fest. Thus, according to Young, works such as The Well-Tempered Clavier (...) and Vermeer’s Officer and Laughing Girl do not qualify as art unless they can provide knowledge about topics that are important to us as human beings. A work does not become artworthy by inspiring us to meditate, ruminate, or reflect unless the work also leads us to true beliefs that are, in some sense, justified. Furthermore, it’s not enough for a work to provide knowledge about, say, abstruse issues in eighteenth-century counterpoint or the cult of painterly flatness; to count as art, a work must, in some way, supply answers to questions that are important to us as human beings living in the world. Young also argues that artworks have their own method of conveying knowledge. Hence, he buttresses his cognitive definition of art with an epistemology of art. (shrink)

Objectives—To evaluate a departmental computer system.Design—a. Direct comparison of the time taken to use a manual system with the time taken to use a computer system for lung function evaluation, loan of equipment and production of correspondence. b. Analysis of the accuracy of data capture before and after the introduction of the computer system. c. Analysis of the comparative running costs of the manual and computer systems.Setting—Within a department of respiratory medicine serving a hospital of 1323 beds.Main Outcome Measures—a. Time (...) taken to perform functions with the assistance of computerised methods, in comparison to the manual method used alone. b. Accuracy of data capture. c. Relative running costs.Results—a. The computer system (CS) was significantly faster than the manual system (MS) for lung function evaluation (CS=7.63 min/test, MS=12.25 min/test), loan of equipment (CS=0.40 min/loan, MS=2.07 min/loan), and checking for overdue equipment (CS=0.49 s/record, MS=9 s/record). The production of correspondence was slightly slower with the computer (CS=9.30 min/letter, MS=8.54 min/letter). b. All outpatient episodes, but only 43 of 65 (66%) of inpatient episodes, were captured. Lung function and managerial report data were accurate using both manual and computerised methods. The manual system for equipment loans was inefficient, and use of the computer resulted in the recovery of 221 nebulisers. c. Development costs for 1988–1990 were high (£72 178). Only £1200 to £1845 per year was recovered directly from staff time saved by the computer but larger savings resulted from changes in work practice (£4049–4765). After 10 years the projected deficit is £10 000 per annum in running costs.Conclusions—In comparison with the manual methods, the computer system has shown significant advantages which provide accurate information, with significant favourable effects on working practices. In evaluating computer systems used in clinical practice it is essential to ensure that the projected work practice benefits are achieved without unacceptable costs in staff time, inaccurate data and high financial outlay. (shrink)

Objectives—To evaluate a departmental computer system.Design—a. Direct comparison of the time taken to use a manual system with the time taken to use a computer system for lung function evaluation, loan of equipment and production of correspondence. b. Analysis of the accuracy of data capture before and after the introduction of the computer system. c. Analysis of the comparative running costs of the manual and computer systems.Setting—Within a department of respiratory medicine serving a hospital of 1323 beds.Main Outcome Measures—a. Time (...) taken to perform functions with the assistance of computerised methods, in comparison to the manual method used alone. b. Accuracy of data capture. c. Relative running costs.Results—a. The computer system was significantly faster than the manual system for lung function evaluation, loan of equipment, and checking for overdue equipment. The production of correspondence was slightly slower with the computer. b. All outpatient episodes, but only 43 of 65 of inpatient episodes, were captured. Lung function and managerial report data were accurate using both manual and computerised methods. The manual system for equipment loans was inefficient, and use of the computer resulted in the recovery of 221 nebulisers. c. Development costs for 1988–1990 were high. Only £1200 to £1845 per year was recovered directly from staff time saved by the computer but larger savings resulted from changes in work practice. After 10 years the projected deficit is £10 000 per annum in running costs.Conclusions—In comparison with the manual methods, the computer system has shown significant advantages which provide accurate information, with significant favourable effects on working practices. In evaluating computer systems used in clinical practice it is essential to ensure that the projected work practice benefits are achieved without unacceptable costs in staff time, inaccurate data and high financial outlay. (shrink)

In his Art and Knowledge, the distinguished Canadian philosopher of art, James O. Young, takes on the daunting task of defending his opening claim that ‘every item properly classified as a work of art can contribute to human knowledge’. His assertion is a general one, intended to apply to any and every prospective artwork, not merely to sub-genres like the moral novel or the ‘Shock-Headed Peter’ school of didactic bedtime terror-fest. Thus, according to Young, works such as The Well-Tempered Clavier (...) and Vermeer’s Officer and Laughing Girl do not qualify as art unless they can provide knowledge about topics that are important to us as human beings. A work does not become artworthy by inspiring us to meditate, ruminate, or reflect unless the work also leads us to true beliefs that are, in some sense, justified. Furthermore, it’s not enough for a work to provide knowledge about, say, abstruse issues in eighteenth-century counterpoint or the cult of painterly flatness; to count as art, a work must, in some way, supply answers to questions that are important to us as human beings living in the world. Young also argues that artworks have their own method of conveying knowledge. Hence, he buttresses his cognitive definition of art with an epistemology of art. (shrink)

In his Art and Knowledge, the distinguished Canadian philosopher of art, James O. Young, takes on the daunting task of defending his opening claim that ‘every item properly classified as a work of art can contribute to human knowledge’. His assertion is a general one, intended to apply to any and every prospective artwork, not merely to sub-genres like the moral novel or the ‘Shock-Headed Peter’ school of didactic bedtime terror-fest. Thus, according to Young, works such as The Well-Tempered Clavier (...) and Vermeer’s Officer and Laughing Girl do not qualify as art unless they can provide knowledge about topics that are important to us as human beings. A work does not become artworthy by inspiring us to meditate, ruminate, or reflect unless the work also leads us to true beliefs that are, in some sense, justified. Furthermore, it’s not enough for a work to provide knowledge about, say, abstruse issues in eighteenth-century counterpoint or the cult of painterly flatness; to count as art, a work must, in some way, supply answers to questions that are important to us as human beings living in the world. Young also argues that artworks have their own method of conveying knowledge. Hence, he buttresses his cognitive definition of art with an epistemology of art. (shrink)

An exploration of the nexus between ecology, evolutionary biology and molecular biology, via the concept of phenotypic plasticity.

• An adequate conceptual framework is still needed to account for phenomena that (i) have a first-person, subjective-experiential or phenomenal character; (ii) are (usually) reportable and describable (in humans); and (iii) are neurobiologically realized.2 • The conscious subject plays an unavoidable epistemological role in characterizing the explanadum of consciousness through first-person descriptive reports. The experimentalist is then able to link first-person data and third-person data. Yet the generation of first-person data raises difficult epistemological issues about the relation of second-order awareness (...) or meta-awareness to first-order experience (e.g. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Chaos and LiteratureCarl Matheson and Evan KirchhoffIChaos theory was the intellectual darling of pop-science writers of the late 1980s. 1 In their eyes, it would provide a new paradigm by which to describe the world, one that liberated scientists from clockwork determinism—or, alternatively, from incomprehensible randomness. In an introductory textbook of the period, Robert Devaney called chaos theory “the third great scientific revolution of the 20th century, along with (...) relativity and quantum mechanics.” Similar attitudes propagated into philosophy; for example, Stephen Kellert argued that an acceptance of chaos theory would involve a reconfiguration of scientific methodology. 2It was in the domain of literary theory, however, that chaos found its most enthusiastic reception in the humanities, and the enthusiasm lives on. Many literary theorists display no hesitation in touting the supposedly revolutionary implications of chaos science. Katherine Hayles, the chief among them, argues that because the concept of order has undergone a “radical reevaluation” in recent decades, “textuality is conceived in new ways within critical theory and literature, and new kinds of phenomena are coming to the fore within an emerging field known as the science of chaos” (CO, p. 1). She infers that the new “paradigm of orderly disorder” (CB, p. xiii) represented by chaos theory signifies a conceptual revolution in modern culture as a whole. 3 She attempts to establish a parallel between chaos theory and various poststructuralist philosophical positions, including those of Derrida and Foucault, claiming that this new paradigm “may well prove to be as important to the second half of the century as the field concept was to [End Page 28] the first half” (CB, p. xiii), and that chaos may soon be “on a par with evolution, relativity, and quantum mechanics in its impact on the culture” (CO, p. 4). Other theorists make claims for the interpretive power of chaos; according to William Demastes, “chaos theory can help in comprehending several paths that the theatre has followed since the inception of postmodernism” (p. 242). 4 By a conservative estimate, over fifty papers have been published which link chaos theory to literature or literary theory. Clearly, the idea that chaos theory has application outside of science is not restricted to one or two over-eager humanists.In this essay, we wish to address some of the claims which concern the relationship between chaos science and the study of literature. Three such claims are:a. There are significant similarities between the science of chaos, contemporary literary theory, and/or philosophy.b. We can trace a common etiology for chaos theory and poststructuralist criticism. The two are so intimately related that they are really different formulations of a common claim, as filtered through two different fields.c. The science of chaos can help us interpret and understand specific literary works, and perhaps contemporary literature in general.However, before assessing the relationship between chaos and literature, we will briefly introduce chaos theory itself and demonstrate that even a minimal understanding is sufficient to undercut the supposed revolutionary significance of chaos theory. 5IIChaotic systems are deterministic: an exact description of a system at any given time, together with the laws of nature that apply to it, will entail the entire future behavior of the system. In this sense, chaotic systems form a subclass of classical systems (and are to be distinguished from quantum systems, which are indeterministic). However, chaotic systems differ from the systems studied throughout most of the history of science in two major ways. First, the differential equations used to model them are nonlinear, while the history of mathematical physics is largely devoted to a treatment of linear differential equations. Technical issues aside, the ramifications of nonlinearity are: (i) equations which are impossible to solve using the general strategies designed for [End Page 29] linear equations; and consequently (ii) the need for solutions by methods of numerical approximation, generally performed on a computer. Second, chaotic systems exhibit a feature known as “sensitive dependence”—or, more colorfully, as “the butterfly effect,” a figure of speech intended to evoke the worry that our long-term forecasts of the weather can be hopelessly disrupted by the atmospheric fluctuations due to a single butterfly... (shrink)

Pregnant people are often listed among groups that have been excluded from research on the basis of perceived vulnerability, to the detriment of the entire class. Lack of research among pregnant pe...

Philosophers of technology are not playing the public role that our own theoretical perspectives motivate us to take. A great variety of theories and perspectives within philosophy of technology, including those of Marcuse, Feenberg, Borgmann, Ihde, Michelfelder, Bush, Winner, Latour, and Verbeek, either support or directly call for various sorts of intervention—a call that we have failed to heed adequately. Barriers to such intervention are discussed, and three proposals for reform are advanced: post-publication peer-reviewed reprinting of public philosophy, increased emphasis (...) on true open access publication, and increased efforts to publicize and adapt traditional academic research. (shrink)

Introductions to the theory of knowledge are plentiful, but none introduce students to the most recent debates that exercise contemporary philosophers. Ian Evans and Nicholas D. Smith aim to change that. Their book guides the reader through the standard theories of knowledge while simultaneously using these as a springboard to introduce current debates. Each chapter concludes with a “Current Trends” section pointing the reader to the best literature dominating current philosophical discussion. These include: the puzzle of reasonable disagreement; the (...) so-called “problem of easy knowledge”; the intellectual virtues; and new theories in the philosophy of language relating to knowledge. Chapters include discussions of skepticism, the truth condition, belief and acceptance, justification, internalism versus externalism, epistemic evaluation, and epistemic contextualism. Evans and Smith do not merely offer a review of existing theories and debates; they also offer a novel theory that takes seriously the claim that knowledge is not unique to humans. Surveying current scientific literature in animal ethology, they discover surprising sophistication and diversity in non-human cognition. In their final analysis the authors provide a unified account of knowledge that manages to respect and explain this diversity. They argue that animals know when they make appropriate use of the cognitive processes available to animals of that kind, in environments within which those processes are veridically well-adapted. _Knowledge_ is a lively and accessible volume, ideal for undergraduate and post-graduate students. It is also set to spark debate among scholars for its novel approaches to traditional topics and its thoroughgoing commitment to naturalism. (shrink)