This research assessed how the performance and team skills of three-person teams working with an Intelligent Team Tutoring System on a virtual military surveillance task were affected by feedback privacy, participant role, task experience, prior team experience, and teammate familiarity. Previous work in Intelligent Tutoring Systems has focused on outcomes for task skill training for individual learners. As research extends into intelligent tutoring for teams, both task skills and team skills are necessary for good team performance. This work includes a (...) brief review of previous research on ITTSs, feedback, teams, and teamwork, including the recounting of two categories of a framework of teamwork performance, Communication and Cognition, which are relevant to the present study. This research examines the effects of an intelligent agent, as well as features of the team, its members, and the task being undertaken, on team communication and team situation awareness. Thirty-seven teams of three participants, each at their own computer running a multiplayer surveillance simulation, were given just-in-time private or public performance feedback during four 5-min trials. In the fourth trial, two of the three participants switched roles. Feedback type, teamwork experience, and teammate familiarity had no statistically significant effect on communication or team situation awareness. However, higher levels of role experience and task experience showed significant and medium-sized effects on communication performance. Results, based on performance data and structured interview responses, also revealed areas of improvement in future feedback design and a potential benchmark for feedback frequency in an action-oriented serious game-based ITTS. Among the conclusions are six design objectives for future ITTSs, establishing a foundation for future research on designing effective ITTSs that train interpersonal skills to nascent teams. (shrink)

Volume 17, the first volume of _The Annual _published by The Analytic Press, includes John Gedo's examination of the "epistemology of transference" and Edwin Wallace's outline of a "phenomenological and minimally theoretical psychoanalysis." Studies in applied psychoanalysis focus on the art of Edvard Munch ; George Eliot's _Romolo _; and psychoanalysis and music.

Volume 20 of _The Annual of Psychoanalysis_ ably traverses the analytic canvas with sections on "Theoretical Studies," "Clinical Studies," "Applied Psychoanalysis," and "Psychoanalysis and Philosophy." The first section begins with Arnold Modell's probing consideration of the paradoxical nature of the self, provocatively discussed with John Gedo. Modell focuses on the fact that the self is simultaneously public and private, dependent and autonomous. Alice Rosen Soref next explores innate motivation and self-protective regulatory processes from the standpoint of recent infancy research; her (...) notion of a lifelong two-track model of self and relatedness helps establish a normative baseline that can anchor psychoanalytic theory. George Mahl makes an interesting contribution to Freud studies in the form of a new chronology of Freud's works and the number of pages they contain in the _Standard Edition_. The section ends with Robert Galatzer-Levy and Mayer Gruber's "quasi-experiment about disgust." They test and disconfirm the hypothesis that disgust is an affective response to an abstract sense of disorder rather than a transformation of a concrete, bodily experience by systematically exploring references to concepts of disgust in the Old Testament. Section II, on "Clinical Studies," opens with Henry Smith's fascinating elaboration of Freud's notion of "screen memories" into a theory of screening that denotes the general process by which mental content is organized. He illustrates his thesis by invoking the "screen language" employed by a patient throughout her analysis. Ernest Wolf next explores the tension between being a "scientist" and a "healer" in Freud and his followers to illuminate struggles within the psychoanalytic movement and to help account for current attitudes toward abstinence, neutrality, and gratification. Kenneth Newman focuses on this same triptych of technical precepts. He argues, in the spirit of Winnicott and Kohut, that analysts can only alter the hostile internal environments of their patients by becoming "usable" objects and cultivating an optimally responsive analytic environment. A particularly rich collection of applied analytic studies forms Section III of the volume. Individual chapters focus on the childhood of Vincent van Gogh ; the psychological healing process depicted in George Eliot's _Silas Marner_ ; the self-psychological meaning of "blood brotherhood" in D. H. Lawrence's _Women in Love_ ; ecstatic mysticism in the 19th-century Indian saint Sri Ramakrishna ; the disintegration of the Tyrone family in Eugene O'Neill's _Long Day's Journey into Night_ ; and the nature and analytic significance of Freud's aesthetic response to Michelangelo's _Moses_. Finally, in Section IV, George Brook examines the commonsense psychological knowledge of everyday life, that is, the nonpsychoanalytic knowledge on which much of clinical psychoanalysis ultimately depends. Taken together, the four sections of Volume 20 of _The Annual_ offer an exciting overview of contemporary psychoanalysis. Section I highlights recent trends in psychoanalytic theorizing and the testing of psychoanalytic propositions; Section II explores the relevance of new theoretical perspectives to clinical work; Section III demonstrates the applicability of these new perspectives to psychobiographical and literary analysis; and Section IV provocatively explores the points of connection between everyday ideas and attitudes and the tenets of psychoanalytic practice. (shrink)

There are some names which cannot be spoken and others which cannot be written, at least on certain very natural ways of conceiving of them. Interestingly, this observation proves to be in tension with a wide range of views about what names are. Prima facie, this looks like a problem for predicativists. Ultima facie, it turns out to be equally problematic for Millians. For either sort of theorist, resolving this tension requires embracing a revisionary account of the metaphysics of names. (...) Revisionary Millianism, I argue, offers some important advantages over its predicativist competitor. (shrink)

According to what is perhaps the dominant picture of reference, what a referential term refers to in a context is determined by what the speaker intends for her audience to identify as the referent. I argue that this sort of broadly Gricean view entails, counterintuitively, that it is impossible to knowingly use referential terms in ways that one expects or intends to be misunderstood. Then I sketch an alternative which can better account for such opaque uses of language, or what (...) I call “sneaky reference.” I close by reflecting on the ramifications of these arguments for the theory of meaning more broadly. (shrink)

Glitch composition is a meta-discursive practice: rather than writing new music inspired by older recordings, it constructs new music inspired by the technological conditions and limitations in which those recordings emerged. For those listeners who aren’t particularly interested in technology theories, such music is particularly alienating—an in-joke that one doesn’t get. When glitch becomes pop, it loses its theoretical savvy, replacing the “synth pad” in a contemporary pop song. Glitch’s subversion of the bad value judgment placed on damaged media is (...) only a partial one—as scratched CDs (whether they be glitch ones or not) remain economically worthless commodities. (shrink)

Freud proposes that in unconscious processing, logical connections are also (heavily) based upon phonological similarities. Repressed concerns, for example, would also be expressed by way of phonologic ambiguity. In order to investigate a possible unconscious influence of phonological similarity, 31 participants were submitted to a tachistoscopic subliminal priming experiment, with prime and target presented at 1ms. In the experimental condition, the prime and one of the 2 targets were phonological reversed forms of each other, though graphemically dissimilar (e.g., “nice” and (...) “sign”); in the control condition the targets were pseudo-randomly attributed to primes to which they don’t belong. The experimental task was to “blindly” pick the choice most similar to the prime. ERPs were measured with a focus on the N320, which is known to react selectively to phonological mismatch in supraliminal visual word presentations. The N320 amplitude-effects at the electrodes on the midline and at the left of the brain significantly predicted the participants’ net behavioral choices more than half a second later, while their subjective experience is one of arbitrariness. Moreover, the social desirability score (SDS) significantly correlates with both the behavioral and the N320 brain responses of the participants. It is proposed that in participants with low SDS the phonological target induces an expected reduction of N320 and this increases their probability to pick this target. In contrast, high defensive participants have a perplexed brain reaction upon the phonological target, with a negatively peaking N320 as compared to control and this leads them to avoid this target more often. Social desirability, which is understood as reflecting defensiveness, might also manifest itself as a defense against the (energy-consuming) ambiguity of language. The specificity of this study is that all of this is happening totally out of awareness and at the level of very elementary linguistic distinctions. (shrink)

ABSTRACTFear of positive evaluation is experiencing dread during real or potential praise. FPE is associated with social anxiety, but its relation to depressive symptoms is unclear. Anhedonia is a core symptom of depression related to symptoms of anxiety in cross-sectional research. The current study investigated the indirect effect of FPE on depressive symptoms via anhedonia over time. One-hundred ninety-six participants completed three waves of questionnaires over a total timespan of approximately four months via Amazon’s Mechanical Turk, including measures of FPE, (...) depressive symptoms, and anticipatory and consummatory anhedonia. Findings indicated that anticipatory anhedonia at Time 2 mediated the relationship between FPE at Time 1 and depressive symptoms at Time 3. Consummatory anhedonia, however, did not. Each model was contextualised by accounting for prospective covarying relationships, such as depressive symptoms predicting the same symptoms at later waves. The constellation of findings is c... (shrink)

Despite a predominantly digital, 21st century music production landscape, analogue hardware professional audio technologies persist. In the discoursal throes of the leading online audio technology message forum Gearslutz, such technologies are routinely objectified, sexualized, fetishized and socialized into gear. Situated in a contemporary critical, interdisciplinary framework of fetish, masculinity and sexuality studies, this research interrogates how audio technologies manufactured and intended for music production contexts become sexy. Applying a mixed-mode methodology, including an intensive discourse, image and material-semiotic analysis of an (...) ‘epic’ sexy gear thread, we collated extensive data about technological fetishization. Sexy gear discourse articulates themes of voyeurism, acquisition, control and animation – linking the fetish value of technological objects and their connoisseurship with the erotic potential of sexualized objects. Such discourses ultimately serve to maintain social order, and become sites for performing the maintenance work of hegemonic masculine formations. This research provides new insights into how hegemonic masculinities depend upon the organization of online and offline sociability around fetishized material objects. Furthermore, our findings align with those of current scholarship focused on representational politics of technoculture. (shrink)

As an empirical inquiry into the nature of meaning, semantics must rely on data. Unfortunately, the primary data to which philosophers and linguists have traditionally appealed—judgments on the truth and falsity of sentences—have long been known to vary widely between competent speakers in a number of interesting cases. The present article constitutes an experiment in how to obtain some more consistent data for the enterprise of semantics. Specifically, it argues from some widely accepted Gricean premises to the conclusion that judgments (...) on lying are semantically relevant. It then endeavors to show how, assuming the relevance of such judgments, we can use them to generate a useful, widely acceptable test for semantic content. (shrink)

Frege famously claimed that variations in the sense of a proper name can sometimes be ‘tolerated’. In this paper, we offer a novel explanation of this puzzling claim. Frege, we argue, follows Trendelenburg in holding that we think in language—sometimes individually and sometimes together. Variations in sense can be tolerated in just those cases where we are using language to coordinate our actions but are not engaged in thinking together about an issue.

Describes Bradley's doctrine of 'immediate experience' as a starting point of knowledge, then traces the development of the of subject and object out of immediate experience, with the question of independence, and with the precise meaning of the term 'objectivity.'.

In “Demonstratives”, David Kaplan introduced a simple and remarkably robust semantics for indexicals. Unfortunately, Kaplan’s semantics is open to a number of apparent counterexamples, many of which involve recording devices. The classic case is the sentence “I am not here now” as recorded and played back on an answering machine. In this essay, I argue that the best way to accommodate these data is to conceive of recording technologies as introducing special, non-basic sorts of contexts, accompanied by non-basic conventions governing (...) the use of indexicals in those contexts. The idea is that recording devices allow us to use indexicals in new and innovative ways to coordinate on objects. And, given sufficient regularity in the use of indexicals on such devices, linguistic conventions will, over time, come to reflect this innovation. I consider several alternatives to this ‘character-shifting’ theory, but none is able to account for the data as well as the present proposal. Many face additional theoretical difficulties as well. I conclude by explaining how the character-shifting theory not only retains many of the virtues of Kaplan’s original semantics, but also coheres with a plausible view on the nature of semantic theorizing more generally. (shrink)

Biases towards negative information, as well as away from positive information, are associated with psychopathology. Examining biases in multiple processes has been theorised to be more predictive than examining bias in any process alone. Anhedonia is a core symptom of psychopathology and predictive of future psychopathological symptoms. Finding that combined biases are associated with anhedonia would advance knowledge of the nature of emotional processing biases and the value of objective performance-based measures for identifying early risk markers. Participants completed tasks that (...) assess latency bias and biased recognition of emotional information, as well as an anhedonia measure. An index was computed for each task’s performance reflecting biased processing of positive and negative words. Only combined biases on both tasks were associated with anhedonia. Attentional bias was positively associated with anhedonia, but only when recognition bias for emotional words was high. Thus, assessing biases in multiple domains increased sensitivity to uncover relationships between emotional processing biases and anhedonic symptoms. (shrink)

This dissertation sets out to answer the question ''What fixes the semantic values of context-sensitive referential terms—like names, demonstratives, and pronouns—in context?'' I argue that it is the speaker's intentions that play this role, as constrained by the conventions governing the use of particular sorts of referential terms. These conventions serve to filter the speaker's intentions for just those which meet these constraints on use, leaving only these filtered-for intentions as semantically relevant. By considering a wide range of cases, including (...) many involving confused and deceptive speakers, I argue that this 'constraint theory' provides a better account of linguistic reference than does any extant alternative, whether intentionalist or non-intentionalist. Along the way, I argue that semantics cannot depend on the reactions of idealized listeners, that speaker meaning is far less clear, and helpful, a notion than it is standardly taken to be, and that speakers needn't aim to be cooperative in order to fix the meaning of their terms in context. (shrink)

T. S. Eliot left Harvard during his third year of study in the department of philosophy and went to England. Forty-six years later he authorized the publication of his doctoral dissertation. Here we have a reprint of his sympathetic but not entirely uncritical study of the English idealist philosopher F. H. Bradley.

Evans (1973)’s Madagascar case and other cases like it have long been taken to represent a serious challenge for the Causal Theory of Names. The present essay answers this challenge on behalf of the causal theorist. The key is to treat acts of uttering names as events. Like other events, utterances of names sometimes turn out to have features which only become clear in retrospect.

We consider a range of cases—both hypothetical and actual—in which agents apparently know how to \ but fail to believe that the way in which they in fact \ is a way for them to \. These “no-belief” cases present a prima facie problem for Intellectualism about knowledge-how. The problem is this: if knowledge-that entails belief, and if knowing how to \ just is knowing that some w is a way for one to \, then an agent cannot both know (...) how to \ and fail to believe that w, the way that she \s, is a way for her to \. We discuss a variety of ways in which Intellectualists might respond to this challenge and argue that, ultimately, this debate converges with another, seemingly distinct debate in contemporary epistemology: how to attribute belief in cases of conflict between an agent’s avowals and her behavior. No-belief cases, we argue, reveal how Intellectualism depends on the plausibility of positing something like “implicit beliefs”—which conflict with an agent’s avowed beliefs—in many cases of apparent knowledge-how. While there may be good reason to posit implicit beliefs elsewhere, we suggest that there are at least some grounds for thinking that these reasons fail to carry over to no-belief cases, thus applying new pressure to Intellectualism. (shrink)

The title of this article has been chosen deliberately, for we find interesting parallels in the careers and outlooks of Alexis de Tocqueville and the great Prussian theorist of war, Carl von Clausewitz whose master work, On War, remains sui generis. They overlapped in time, but, more importantly, their major theoretical works dealt in large measure with the same problem – the democratic revolution and its impact on politics. As Clausewitz argued, the warfare of the new era was caused by (...) the new political conditions which die French Revolution created both in France and in Europe as a whole, conditions that set in motion new means and new forces, and have thus made possible a degree of energy in war diat odierwise would have been inconceivable. It follows that the transformation of the art of war resulted from the transformation of politics. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

Access can either be first-order or second-order. First order access concerns whether contents achieve representation in phenomenal consciousness at all; second-order access concerns whether phenomenally conscious contents are selected for metacognitive, higher order processing by reflective consciousness. When the optional and flexible nature of second-order access is kept in mind, there remain strong reasons to believe that exclusion failure can indeed isolate phenomenally conscious stimuli that are not so accessed. Irvine’s [Irvine, E. . Signal detection theory, the exclusion failure paradigm (...) and weak consciousness—Evidence for the access/phenomenal distinction? Consciousness and Cognition.] partial access argument fails because exclusion failure is indeed due to lack of second-order access, not insufficient phenomenally conscious information. Further, the enable account conforms with both qualitative differences and subjective report, and is simpler than the endow account. Finally, although first-order access may be a distinct and important process, second-order access arguably reflects the core meaning of access generally. (shrink)

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, (...) revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production. (shrink)

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced in (...) twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? -/- In Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Traditions sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library. (shrink)

In addition to ordinary conversations among relatively small numbers of individuals, human societies have public conversations. These are diffuse, ongoing discussions about various topics, which are largely sustained by journalistic activities. They are conversations about news – what is happening now – that members of various groups (such as the residents of a certain country, a certain town, or practitioners of a certain profession) need to know about in their capacity as members of those groups, and about how to react (...) to the news. Our topic in this chapter is a type of resistance to evidence that can arise at the level of these public conversations, rather than at the level of individual agents. We call it “relevance-based resistance to evidence”. A public conversation exhibits this kind of evidence resistance when it becomes overly focused on topics that members of the group that the conversation concerns do not in fact need to know about qua members of the group – topics which are, in a word, irrelevant. We argue that the risks of such relevance-based knowledge resistance are significantly amplified by certain structural features of online discourse. (shrink)

Jessica Keiser’s Non-Ideal Foundations of Language is a serious, sustained attempt to engage in systematic philosophy of language while leaving aside some of th.

Volume 19 of _The Annual of Psychoanalysis_ turns to the ever-intriguing relationship between "Psychoanalysis and Art." This introductory section begins with Donald Kuspit's scholarly reflections on the role of analysis in visual art and art criticism, and then proceeds to a series of topical studies on Freud and art introduced by Harry Trosman. Egyptologist Lorelei Corcoran explores the Egypt of Freud's imagination, thereby illuminating our understanding of the archaeological metaphor. Marion Tolpin offers new insights into Freud's analysis of the American (...) writer Hilda Doolittle by focusing on the meaning of the Goddess Athene - whose statue rested on Freud's desk - to both analyst and analysand. Stephen Toulmin examines Freud's artistic sensibility - and places the historical significance of Freud's art collection in bold relief - by looking at the many contemporary art objects Freud chose _not_ to collect. Danielle Knafo identifies key events in the early life of Austrian Expressionist Egon Schiele that were "primary determinants" of the content and form of his self-portraits. And Barbara Almond examines the spontaneous healing process depicted in Margaret Drabble's novel _The Needle's Eye _as an analogue to the kind of growth and development mobilized by the psychoanalytic process. Section II, "Psychoanalysis and Development," begins with Barbara Fajardo's appreciation of the contribution of biology to analyzability; she reviews findings from both infant research and biogenetic research that tend toward an understanding of "constitution" as resilience in development and, subsequently, in treatment. Benjamin Garber adds to the psychoanalytic understanding of childhood learning disabilities by presenting the three-and-a-half-year analysis of a learning-disabled child. In a fascinating two-part contribution, "Bridging the Chasm Between Developmental Theory and Clinical Theory," Joseph Palombo sheds light on some of the knottiest problems in contemporary analysis, including the relationship between childhood events and the reconstruction of those events in treatment. In Section III, "Psychoanalysis and Empathy," Mary Newsome presents case material in support of her claim that the analyst's empathic understanding catalyzes the coalescence of the patient's affect and aim, that is, the patient's capacity to believe in and then realize his ambitions. The acquisition of the capacity, she contends, not only betokens a specific kind of structure formation, but is the bedrock of emerging self-cohesion. Her challenging paper is thoughtfully discussed by David Terman and Jerome Winer. Section IV of _The Annual_ offers Jerome Kavka's appreciation of the work of N. Lionel Blitzsten. Blitzsten, the first Chicago psychoanalyst and one of America's most gifted clinicians and teachers, anticipated modern concepts of narcissism in identifying "narcissistic neuroses" with special treatment requirements. Morris Sklansky furthers our understanding of Blitzsten in his discussion of Kavka's essay. Ranging across the analytic canvas with presentations as edifying as they are provocative, volume 19 of _The Annual of Psychoanalysis_ challenges readers to wrestle with issues at the cutting edge of the discipline. It takes a well-deserved place in the preeminent continuing series in the field. (shrink)

In 1958 William L. Langer, in a well-known presidential address to the American Historical Association, declared the informed use of psychoanalytic depth psychology as "the next assignment" for professional historians. _Psychoanalysis and History_, volume 31 of _The Annual of Psychoanalysis_, examines the degree to which Langer's directive has been realized in the intervening 45 years. Section I makes the case for psychobiography in the lives of historical figures and exemplifies this perspective with analytically informed studies of the art of Wassily (...) Kandinsky; the films of Stanley Kubrick; and the anti-Semitism of Adolf Hitler. Section II reviews Freud's own psychohistorical contributions and then considers the relevance to historical inquiry of the more recent perspectives of Winnicott, Kernberg, and Kohut. Section III explores an intriguing tributary of psychobiographical inquiry: the impact of the biographer's own subjectivity on his or her work. Section IV turns to a topic of perennial interest: the psychobiographical study of American presidents. Section V turns to the special challenges of applying psychoanalysis to topics of religious history and includes topical studies of religious figures as disparate as the 15th century Asian Drukpa Kunley and Osama bin Laden. Section VI focuses on the recent extension of psychohistorical inquiry to groups of people and to cultural phenomena more generally: an investigation of the youth movement in pre-Nazi Germany; consideration of how societies, no less than individuals, reenact and work through traumas over time; and an outline of the role of analysis in constructing a depth-psychological "social psychology" of use to historians. These papers, no less than those that precede them, are compelling testimony to the claim with which editors James William Anderson and Jerome A. Winer begin the volume, to wit, that "Psychoanalysis would seem to be a resource indispensable to the study of history.". (shrink)

Understanding how recorded and amplified stage musics contribute towards producing the Anthropocene necessitates attending to complex transnational flows of material, capital and labor, and how they coalesce into technological objects. This is complicated by the wide array of sites, practices and knowledges involved during various stages of the production process, from initial resource extraction, to smelting, component manufacturing, technology assembly, and distribution. To develop a suitable technological ethics, and to understand what happens to environments and to human, animal and plant (...) lifeworlds, requires one to resist abstraction and undertake a global accounting of resource ecologies with recourse to planetary-scale political economy. Towards this goal, I provide a partial account of an early 2000s mic preamp, a mundane but nonetheless fetishised recording studio technological object. I focus on two metals, tin and tantalum, that are primarily extracted for electronics manufacturing, and two building blocks of electronics, solder and capacitors, which are essential for making contemporary electronics. (shrink)

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...) engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts,in contrast to parlak has no relation to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.Parlak and büyük ses became widespread after 2000,accompanying the paradigm shift of Istanbul studios from analog to digital workflows. Parlak and büyük ses are of interest for reasons that transcend music-aesthetics. The successful creation of mixes with parlak and büyük ses necessitates a palpable change in the performance practice of folk music instruments, as well a fundamental reconfiguration of the social structure of music-making, which in turn involves new musical competences and conceptualizations of musical practice. Parlak and büyük ses are not just a result of using a particular set of technologies (i.e., microphones or effects plugins), but instead arise from arduous and detailed arrangement and nonlinear editing work that is made feasible through DAW (digital audio workstation) systems. Although parlak and büyük ses index the transformation of traditional music aesthetics in the context of digital audio recording production, and their production is at the forefront of concerns of the professionals working in the recording studio environment, the terms are never mentioned in published music criticism, and only usually uttered in the studio context at the inception of a project and at the completion of a mix. Considerable preemptive work is done by studio musicians, engineers, and arrangers to avoid the need for the terms to be mentioned at all. (shrink)

While ethnomusicologists often write about musical instruments and engage with social theories, these two predilections are typically distinct, and rarely are instruments theorized let alone considered in social terms. Drawing on recent work in Science and Technology Studies, I argue for a study of the social where musical objects (including instruments) and people are actors within patterned heterogeneous networks. I begin with literary examples of instruments framed as having agency, then move to the treatment of instrument-agency within organology. As an (...) exemplar for this methodology, I consider the social life of the saz, an ubiquitous lute from Turkey. (shrink)

Why would anyone purchase expensive, natural resource-intensive, and seemingly obsolete material carriers of music when streaming providers provide unlimited access to over 40 million songs for a small monthly fee? As I will show, we can no longer assume that contemporary interest is driven solely by a collector’s market or because of the audible qualities of the vinyl listening experience, and must attend to the many ways people engage with record objects today – and by extension, the vinyl record as (...) an ontological multiple. Through an analysis of Record Store Day 2015 and affiliated phenomena including YouTube unboxing videos, other social media activity and the Discogs resale market, I will demonstrate that the vinyl record gains value when the lived experience of materiality becomes an event and enables the performance of self in social contexts. As I will show, while certain types of actors have appreciably benefitted from the recent revival of interest in vinyl (e.g. brick and mortar stores, mastering engineers, manufacturing plants, and ancillary service industries), others have not to the same extent (e.g. musicians, independent record labels). (shrink)

In recent years there has been an increasing awareness that a comprehensive understanding of language, cognitive and affective processes, and social and interpersonal phenomena cannot be achieved without understanding the ways these processes are grounded in bodily states. The term ‘embodiment’ captures the common denominator of these developments, which come from several disciplinary perspectives ranging from neuroscience, cognitive science, social psychology, and affective sciences. For the first time, this volume brings together these varied developments under one umbrella and furnishes a (...) comprehensive overview of this intellectual movement in the cognitive-behavioral sciences. (shrink)

Annotation. "This trim publication satisfies a much-felt need among teachers of Indian philosophy, who badly want introductions to the several systems of classical Indian thought such as Professor Deutsch provides."--Journal of Asian Studies.

Volume 21 of _The Annual of Psychoanalysis_ is especially welcome for bringing to English-language readers timely contributions from abroad in an opening section on "Psychoanalysis in Europe." The section begins with a translation of Helmut Thomae's substantial critique of the current state of psychoanalytic education; Thomae's proposal for comprehensive reform revolves around a redefinition of the status of the training analysis in analytic training. Diane L'Heureux-Le Beuf's clinical diary of an analysis focusing on the narcissistic elements of oedipal conflict probes (...) the degree to which the analytic method can be applied to "nonstructured" analysands. And Nella Guidi shows the clinical value of supplementing Freud's notion of unobjectionable positive transference with the complementary notion of unobjectionable negative transference. Section II, on "Psychoanalysis and Hysteria," offers original contributions to Freud scholarship in the form of Jules Glenn's reconsideration of Dora's "Dynamics, Diagnosis, and Treatment"; William McGrath's analysis of the way Freud's hostility to religious superstition gained expression in his early work on hysteria; and Marian Tolpin's self-psychological reprise on the case of Anne O. The section concludes with Elisabeth Young-Bruehl and Sarah Cummin's provocative "What Happened to 'Anorexie Hysterique'?" which questions the contemporary separation of anorexia from hysteria and explore the sociohistorical reasons the separation came about. Section III, "Clinical and Theoretical Studies," begins with Nancy Kobrin's discussion of Freud's ideas about autonomy, including the terms Freud used and the way Strachey translated them into English. Her goal is to deepen our understanding of how Freud spoke and thought about an individual's sense of self. Frank Summers shows how object relations principles, which are shared by various object relations theories, can inform the conduct of analysis at all levels of pathology, including neurosis. And Henry Smith examines the meaning and value of the "analytic surface," a metaphor that highlights the relationship between the analyst's attention and the patient's attention. A final section on "Applied Psychoanalysis" offers contemporary examples of applied analytic inquiry in anthropology, art, and literature. Roy Grinker, III and Roy Grinker, Jr., in a methodological contribution to psychoanalytic anthropology, examine what is revealed when a native people are asked to retell a story introduced by them by their Western observers. Danielle Knafo explores the art and life of the Mexican surrealist Frida Kahlo through the concepts of the mirror, the mask, and the masquerade. And David Werman closes the volume with a comparative study of Edgar Allan Poe's and James Ensor's obsession with revenge, and the role it played in Poe's writing and Ensor's etchings, respectively. Bringing readers the influential reform proposals of Thomae, a rich sampling of recent Freud scholarship, applied contributions traversing three disciplines, and original clinical contributions reflecting American and European sensibilities, Volume 21 of _The Annual_ is true to the spirit of this distinguished series. It testifies to the scope of analytic inquiry, and it exemplifies the yield of such inquiry in the hands of gifted scholars and clinicians. (shrink)

Volume 22 of _The Annual of Psychoanalysis_ begins with the provocative reflections of Jane Flax and Robert Michels on the current status and future prospects of psychoanalysis a century after Freud. Flax believes that analysis will not survive in the postmodern West if analysts cling to the medical model and the notion of analysis as a clinical science; Michels believes analysis will be revivified in the next century by reorganizing its training institutes within universities. A section on "Psychoanalysis and the (...) Visual Arts" includes John Gedo's probing examination of the inner world of Paul Gauguin and William Meissner's reflections on Vincent van Gogh as artist. Johann Michael Rotmann's examination of the transferential meanings of third-party payment within Germany's health insurance system is a timely consideration of issues that are increasingly salient for American analysts and therapists. A rich harvest of theoretical and clinical papers rounds out this volume of _The Annual_. In "A Time of Questioning," Leon Wurmser responds to the inner and outer challenges before analysis in a closely reasoned defense of the applicability of classical analytic technique to severely disturbed patients. Michael Hoit examines the noninterpretive, interactive aspects of the analytic relationship, arguing that the analyst's noninterpretive activities are intrinsic to treatment and must be incorporated into the theory of therapeutic action. In "Fables as Psychoanalytic Metaphors," Elaine Caruth describes some psychoanalytic metaphors contained within the lessons of the Aesopian fables, proposing that the fables address interpersonal and group conflicts that often involve moral issues. Wilma Bucci offers her "multiple code theory" as a new model of emotion and mind, based on current theory and research in cognitive science, that can account for clinical concepts and provide coherent framework for empirical research. And Ralph Roughton uses the case history of Laura to underscore the central role of repetition and interaction in the analytic process. Volume 22 will not disappoint readers of this distinguished continuing series. Like its predecessors, it is a thoroughly assembled collection responsive to the conceptual, clinical, and institutional challenges now before the field. (shrink)

Volume 23 of _The Annual of Psychoanalysis _departs from its predecessors in offering three lengthy studies of unususal interest. Fred Levin's three-part examination of psychoanalysis and knowledge is a simulating, timely effort to relate "a psychoanalyst's thinking about knowledge" to both the clinical situation and what is now known about learning, memory, and knowledge formation in the neurosciences. The late Roy R. Grinker, Sr.'s history of analysis in Chicago was solicited by _The Annual_ in 1975 but declined for publication at (...) the time as too abrasive in tone and too critical in content. It is published here in unexpurgated form, and emerges as both a provocative historical document and a valuable commentary on the state of psychoanalytic education 20 years ago. Finally, in a fascinating contribution to applied analysis, Carol M. Ravenal reexamines Matisse's artwork in the context of the painter's arrested development and subsequent adult conflicts in "Henri Matisse: Love as Art - A Psychobiographical Study." These major contributions are supplemented by clinical and theoretical papers of characteristic excellence. John Gedo's probing evaluation of the "pragmatics of empathy" highlights how empathic responsiveness obliges analysts "to tailor our manner of discourse to the specific requirements of the analysand's current state." Michael Hoit argues that the hermeneutic point of view is an important addition to clinical theory, allowing analysts to understand phenomena outside the boundaries of specific schools and theories. Otto Kernberg examines the psychoanalytic psychotherapy of eating-disorder patients with borderline personality organization. Alice Rosen Soref proffers a revised understanding of the etiology and treatment of narcissistic pathology on the basis of three decades of infant research. And Samuel Weiss discusses the resistance to child analysis of parents who know their children need help but balk at the actual recommendation for treatment. In all, Volume 23 is a worthy response to the ferment of the present time. Encompassing a key period in psychoanalytic history, a scholarly investigation in applied analysis, and a thoughtful assessment of psychoanalysis and brain research, it offers a fine overview of the major tributaries of contemporary analytic scholarship. Supplement these monographic efforts with a careful selection of clinical and theoretical studies and you have an exemplary contribution to the literature. (shrink)

Volume 24 of _The Annual_ opens with a memorial tribute to the late Merton M. Gill, a major voice in American psychoanalysis for half a century. Remembrances of Gill by Robert Holt, Robert Wallerstein, Philip Holzman, and Irwin Hoffman are followed by thoughtful appreciations of Gill's final book, _Psychoanalysis in Transition: A Personal View_, by John Gedo, Jerome Oremland, Arnold Richards and Arthur Lynch, Joseph Schachter, and Bhaskar Sripada and Shara Kronmal. Section II offers four papers from a major conference (...) on "Mind/Brain" held in Osaka, Japan. In addition to publishing two clinical papers by the Chicago analyst John Gedo, _The Annual_ introduces readers to two prominent Japanese neuroscientists whose work is relevant to psychoanalysis. Hiroshi Utena links brain development to the individual's freedom to make optimal adaptive choices, whereas Makoto Iwata outlines the modular organization of vision in the brain and then illustrates each modular potential by examining the paintings of four artists: Mondrian, Duchamp, Seurat, and Rothko. Kenneth Newman's sensitive consideration of analyst self-discourse as the outcome of successful management of the countertransference and Frank Summers' astute assessment of the place of self psychology in the history of psychoanalytic ideas are followed by three engaging and instructive studies in applied analysis: Elaine Caruth and Milton Eber's examination of Woody Allen's _The Purple Rose of Cairo _as a metaphoric depiction of the blurring of boundaries in psychotherapy; Frank and Annette Lachmann's study of the creative process of Henrik Ibsen as a self-transformational response to narcissistic injury; and W. W. Meissner's exploration of the role of shame in Vincent van Gogh's life and art. The volume concludes with a provocative contribution to psychoanalytic history: J. Bos's social-constructivist rereading of the _Minutes of the Vienna Psycho-Analytic Society_ with an eye to illuminating why and how psychoanalysis changed during its early years. True to its distinguished lineage, volume 24 of _The Annual_ continues to broaden the conceptual, clinical, and historical vistas of its readers. Moreover, with its revealing reminiscences and substantive appraisals of Merton Gill, this volume becomes a fascinating marker in the very psychoanalytic history it helps recount. (shrink)

Volume 25 of _The Annual_ is dedicated to the memory of Michael Franz Basch, who achieved distinction as both a psychoanalytic theorist of the first rank and an authority on the nature and conduct of dynamic psychotherapy. A wide range of original contributions bear witness to his theoretical, clinical, and educational interests. A number of papers remind us of Basch's prominence as a self-psychological theorist: Elson's self-psychological reappraisal of self-pity, dependence, and manipulation as self-states; Ornstein's developmental perspective on power, self-esteem, (...) and destructive aggression; Tolpin's review of sexuality from the standpoint of normal self development; and Wolf's discussion of self psychology and the "aging self." Basch's life-long educational concerns gain expression in Goldberg's discussion of clinical teaching, particularly the challenge of leading of case conferences; and Ornstein's and Kay's thoughtful consideration of "enduring difficulties" in American medical education. Additional highlights of the volume include: Fawcett's consideration of the role of pharmacotherapy in psychodynamic treatment; Jaffe's consideration of the applicability of hierarchical models to assessment and intervention in brief psychotherapy; Galatzer-Levy's review of the "witch" metapsychology; Gedo's analysis of mythic themes in the operas _Don Giovanni_ and _Der Rosenkavalier_; Modell's reflections on metaphor and affects; and Kernberg's discussion of a "new psychoanalytic mainstream," which he compares and contrasts with a parallel convergence of Kohutian and interpersonal analytic approaches. Many of these contributions incorporate reflections on Basch as a teacher and colleague, and the entire volume is framed by Goldberg's moving tribute. Analysts and psychotherapists sharing Basch's commitment to academic and clinical excellence and his keen awareness of the pragmatic requirements of doing effective therapy will find in Volume 25 a cornucopia of riches. (shrink)