This volume addresses the impact of human movement on the aesthetic practices that make up the fabric of culture. The essays explore the ways in which cultural activities—ranging from the habitual gestures of the body to the production of specific artworks—register the impact of migration, from the forced transportation of slaves to the New World and of Jews to the death camps to the economic migration of peoples between the West and its erstwhile colonies; from the internal and external exile (...) of Palestinians to the free movement of cosmopolitan intellectuals. Rather than focusing exclusively on art produced by those identified as migrant subjects, this collection opens up the question of how aesthetics itself migrates, transforming not only its own practices and traditions, but also the very nature of our being in the world, as subjects producing, as well as produced by, the cultures in which we live. The transformative potential of cultures on the move is both affirmed and critiqued throughout the collection, as part of an exploration of the ways in which globalisation implicates us ever more tightly in the unequal relations of production that characterise late modernity. This collection brings academic scholars from a variety of disciplines into conversation with practising visual and verbal artists; indeed, many of the essays break down the distinction between artist and academic, suggesting a dynamic interchange between critical reflection and creativity. (shrink)

IntroductionAutism spectrum disorder is a highly heterogeneous diagnosis. When a child is referred to autism services or receives a diagnosis of autism spectrum disorder it is not known what their potential adult outcomes could be. We consider the challenge of making predictions of an individual child’s long-term multi-facetted adult outcome, focussing on which aspects are predictable and which are not.MethodsWe used data from 123 adults participating in the Autism Early Diagnosis Cohort. Participants were recruited from age 2 and followed up (...) repeatedly through childhood and adolescence to adulthood. We predicted 14 adult outcome measures including cognitive, behavioral and well-being measures. Continuous outcomes were modeled using lasso regression and ordinal outcomes were modeled using proportional odds regression. Optimism corrected predictive performance was calculated using cross-validation or bootstrap. We also illustrated the prediction of an overall composite formed by weighting outcome measures by priorities elicited from parents.ResultsWe found good predictive performance from age 9 for verbal and non-verbal IQ, and daily living skills. Predictions for symptom severity, hyperactivity and irritability improved with inclusion of behavioral data collected in adolescence but remained modest. For other outcomes covering well-being, depression, and positive and negative affect we found no ability to predict adult outcomes at any age. Predictions of composites based on parental priorities differed in magnitude and precision depending on which parts of the adult outcome were given more weight.ConclusionVerbal and non-verbal IQ, and daily living skills can be predicted well from assessments made in childhood. For other adult outcomes, it is challenging to make meaningful predictions from assessments made in childhood and adolescence using the measures employed in this study. Future work should replicate and validate the present findings in different samples, investigate whether the availability of different measures in childhood and adolescence can improve predictions, and consider systematic differences in priorities. (shrink)

Terrence Malick’s The Thin Red Line is an anti-war film which can be read as an Orphic narrative meditating on the relationship between humans and “nature.” Many scholarly readings of the film have been attracted by analyzes that explore the influences of Cavell and Heidegger on Malick. Kaja Silverman’s recent opus, Flesh of My Flesh, contains a chapter titled “All Things Shining.” She elegantly examines how Malick’s film explores the theme of “finitude.” She argues that, ontologically speaking, human existence gains (...) a more intense “glow” when humans are made aware of their mortality. The present becomes paramount. But like Orpheus, the present seeks to make amends with the past. Taking Silverman’s analysis one step further involves exploring finitude through the film’s many animal, arboreal and geological images. Nature can be read as a “margin” that more fully enhances the film’s exploration of connection and finitude. To this end, the opening chapter of Jacques Derrida’s Margins of Philosophy is invaluable. Entitled “Tympan,” Derrida’s introductory essay introduces a wealth of ecological metaphors. These stimulate an interaction between Silverman’s model of finitude, Derrida’s surprising ecologies at the margin and Malick’s quest for what shines in all beings. (shrink)

This book provides an accessible account of Kant's aesthetic theory, classifying the epistemological status and scope of Kant's justification of the validity of aesthetic judgments. The latter, the book shows, led Kant to investigate the relationship between beautiful objects, subjects, and morality. The book pursues these and related issues, linking Kant's work to contemporary commentaries,including those by Crawford, Crowther, Derrida, Guyer, Makkreel, and Rogeson.