The main narratives of prevailing ideas of the Fourth Estate were articulated in the era of traditional mass media, and these traditional narratives are challenged by the changing media landscapes. This raises the question whether traditional narratives of the Fourth Estate should be maintained. We will argue – through a close reading of Derrida’s reflections on the relationship between communicative significance and silence, combined with a deliberative ideal for democracy – that the new structures of communication (...) call for a Fourth Estate that focuses on creating spaces for flexible structures of silence in the public sphere. The Fourth Estate has an obvious assignment of counteracting problematic structures of silence. In this article, we will, however, bring out assignments of creating spaces of silence in the public sphere: by silencing certain dominant voices, making room for an increased lack of answers and creating an awareness of the insufficiencies of the public spheres. (shrink)

This article assesses some major democratic norms commonly invoked in relation to means of communication or 'media', especially in the context of 'media policy'. The paper argues that freedom of communication provides the most appropriate normative discourse in which to re-articulate the case for the European policy practice of 'regulated pluralism' outside Europe. Recent developments in Australia provide a brief case-study of this thesis.

Due to the development of transnational communicative and economic structures, nation states are increasingly unable to be the starting point for journalistic regulation. In this chapter, therefore, I raise the question whether it is possible – and desirable – to have transnational rules for ethically good journalism. I argue that ethical evaluations should focus upon the meeting between normative ideals and factual realities. This meeting is always open because ideals can challenge reality, just as reality can challenge ideals. Ethical questions (...) are thus always raising a fundamental “maybe”. Traditionally the ideals of journalists have been articulated in close affiliation with ideas of the Fourth Estate. However, due to our globalised communicative structure, this articulation is in need of revision. I argue that the ethical requests change because the structure of Internet-based publics changes. Departing from this situation I suggest that journalistic products are ethically urgent insofar as they both bring communities together and give voice to the inarticulate or voiceless. I argue that in order to substantiate this approach it is important to articulate rules, because rules further the possibility of deliberating disagreements. The notion of deliberating disagreement is at the core of ethical discussions. I suggest that Habermas’ discourse ethics account may serve as a starting point for articulating a robust body of journalistic ethics. However, two moderations are important: On one hand, the rules and codes should be articulated against a “globalised we”, rather than against the nation state. On the other hand, it is important to realise that the rules do not robustly prescribe what to do. They should serve as a starting point for articulating and discussing disagreements. The openness of the global “maybe” does not call for global agreement but rather for the possibility of discussing disagreements. (shrink)

Recently, William H. Dutton has argued that a new form of public space is emerging in what he calling the Fifth Estate. For his, Internet could be as important – if not more so – to the 21st century as the Fourth Estate has been since the 18th. Well, according to Dutton, this paper analyzes and critically reviews Habermas’s conception of the emergency and modern transformation of the public sphere. Finally, it proposes the institutionalization of the (...) Virtual Parliamentary Group. (shrink)

In this paper, which brings together aging research and media research, we will contribute to the mapping of the complicated cartography of anti-aging by analyzing the press coverage of anti-aging medicine. The mass media decisively shape societal impacts of the expert scientific discourse on anti-aging. While sensitivity towards the heterogeneity of the field of anti-aging is increasing to some degree in the social-gerontological discussion, the role of the media in transmitting the various anti-aging messages to the general public has so (...) far not been systematically scrutinized. Current opinions on the press coverage of anti-aging medicine range from proponents’ complaints of a media witch-hunt against them to opponents’ reproaches about uncritical reporting of this complex topic. This paper discusses whether the media act accordingly to the ideal of the fourth estate, controlling the increased power of science in the 20th century. Our areas of investigation are two Western countries: the USA and Germany. Both countries have experienced an apparent increase in the average age of their populations, which has led to increasingly vigorous public debate since the late 20th century. The subjects of our study are three organizations that represent different approaches to anti-aging medicine: the American Academy of Anti-Aging Medicine, the German Society of Anti-Aging Medicine, and the Methuselah Foundation. The article discusses the programs, goals, and media strategies of these organizations and compares them with the anti-aging messages that actually make their way to the reader in the media “interdiscourse.” The article asks whether transatlantic learning processes within the anti-aging medicine movement as well as in the media can be identified. The paper’s methods and sources are those of contemporary history and ethnography. The three approaches to anti-aging medicine are drawn from publications of spokespersons from the three presented anti-aging medicine organizations and from participant observation of anti-aging medicine conferences in Germany and Europe during the period from 2005 to 2008. The media analysis is based on the study of about 300 articles that appeared between 1990 and 2009 in US and German dailies and weeklies such as Newsweek, The New York Times, Der Spiegel, and Die Welt. Our analysis shows that, against the backdrop of pessimistic demographic apprehensions, the leitmotiv of both nations’ medical journalism between 1990 and 2009 was overwhelmingly pro anti-aging medicine. It is criticized that medical journalism on anti-aging medicine refrains from own investigations on potential risks. Scrutinizing activities of the media in terms of a fourth estate require stimulation from science itself. Hence, we argue for sensitization of medical journalism regarding ageism. (shrink)

How should we understand the familiar demand that journalists ‘be objective’? One possibility is that journalists are under an obligation to report only the facts of the matter. However, facts need to be interpreted, selected, and communicated. How can this be done objectively? This paper aims to explain the concept of journalistic objectivity in methodological terms. Specifically, I will argue that the ideal of journalistic objectivity should be recast as a commitment to John Rawls’s conception of public reason. Journalism plays (...) a vital role in the operation of all modern liberal democracies, functioning as the public watchdog, the fourth estate, or the conduit through which vital information flows to the citizenry. Journalism is, therefore, an institution that is best understood as part of the basic structure of society. In Political Liberalism, Rawls explicitly excludes media of any kind from the demands of public reason because he doesn’t think that they play a political role that is important enough to bring them under the official auspices of public reason. I will argue that overlooking the political significance of journalism is a mistake, but one that can be corrected while keeping within the spirit and most important elements of his theory. This revision will widen the scope for what counts as journalism beyond traditional outlets and forms of media but will impose the demands of public reason on anyone who intends to participate in the institution. (shrink)

In _Plato's_ Timaeus _and the Missing Fourth Guest_, Donna M. Altimari Adler offers an original account of Plato's Timaeus from 35a-36d, yielding a new interpretation of the _Timaeus_ scale and cosmic harmony imbedded in the text.

I argue that the standard counterexamples to the identity of indiscernibles fail because they involve a commitment to a certain kind of primitive or brute identity that has certain very unpalatable consequences involving the possibility of objects of the same kind completely overlapping and sharing all the same proper parts. The only way to avoid these consequences is to reject brute identity and thus to accept the identity of indiscernibles. I also show how the rejection of the identity of indiscernibles (...) derives some of its support from its affinity with a Kripkean account of trans-world identity and theories of direct reference. (shrink)

With the exception of what they seized or inherited from eastern kings, the Roman emperors gathered and administered their estates like private individuals. Imperial estates differed only in being bigger. For just this reason, however, more is known of them, and it is the purpose of these notes to shed light on large private holdings, and on the range of their economic potential, by looking at three unusual kinds of activity on crown lands: the raising of herds, the exploitation of (...) forests, and the making of bricks. (shrink)

This paper aims to systematically explore and provide answers to the following key questions: When is government secrecy justified? In a conflict between government secrecy and the public's right to be informed on matters of public interest, which ought to take priority? Is Julian Assange a journalist and what justifies his role as a journalist? Even if Julian Assange is a journalist of the new media, was he justified in disseminating classified information to the public? Who decides what is in (...) "the public interest"? Is it only journalists of the Fourth Estate who decide that or also journalists of the Fifth Estate ? This paper will answer the aforementioned questions by arguing that the media in the form of both the Fourth and Fifth Estates should inform the public on matters of public interest truthfully and ethically, even if sometimes they have to breach government secrecy. (shrink)

Members of licensed occupations benefit from legal standards that limit entry into their professions. Is it ethical for these professionals to give political support to these standards? I examined the case of real estate brokers and found that their educational requirements raise average commissions by one quarter of a percentage point, costing consumers $5.4 billion per year without improving the quality of brokerage services. The case raises interesting ethical issues which are difficult to resolve.

Herman Dooyeweerd ( 1985 ) argued that among the modalities making up the fabric of reality a specifically economic one is to be found. The aim of the present paper is to discuss the texture of such a modality and how it both differentiates and intertwines with others. For an updated brief, albeit cogent and analytically lucid presentation of the Law Framework ontology, see Clouser ( 2009 ). Dooyeweerd’s view entails that the proper object of economics is irreducible to that (...) of other disciplines, but a non-reductionist view of the object of economics presupposes that the nuclear meaning of that discipline has been clearly delimited: this is required in order to determine its nature and separate identity as a scientific discipline. By ‘the nuclear meaning of a discipline’ I understand a pre-theoretical delimitation of its field of research, such as that of the field of physics, characterized by the laws governing force and energy. Within one and the same field there may be many theories, theories competing to explain the same phenomena, or dealing with phenomena so different that it is nearly impossible to trace conceptual connections among them. This last situation calls for a unified-field theory. In the second section of this paper I will attempt to defend a rather commonly accepted definition of the field of economics that sees this discipline as a science of choice. In the third I will show how the analytical conception it involves can be naturally complemented with a classificatory one. According to a classificatory conception, the aggregated social-level phenomena, patterns and regularities economic theories usually deal with, are economic in that sense, even though they are not prima facie cases of individual behavior, or are unintended consequences of aggregated individual choices. In the fourth I will discuss the meaning of the most general, supra-arbitrary economic laws—the modal laws of economics. In the final section I will offer a non-reductionist view of economics that nevertheless takes into account its intertwining with other spheres. (shrink)

This article contains reflections on the further structural transformation of the public sphere, building on the author’s widely-discussed social-historical study, The Structural Transformation of the Public Sphere, which originally appeared in German in 1962 (English translation 1989). The first three sections contain preliminary theoretical reflections on the relationship between normative and empirical theory, the deliberative understanding of democracy, and the demanding preconditions of the stability of democratic societies under conditions of capitalism. The fourth section turns to the (...) implications of digitalisation for the account of the role of the media in the public sphere developed in the original work, specifically to how it is leading to the expansion and fragmentation of the public sphere and is turning all participants into potential authors. The following section presents empirical data from German studies which shows that the rapid expansion of digital media is leading to a marked diminution of the role of the classical print media. The article concludes with observations on the threats that these developments pose for the traditional role of the public sphere in discursive opinion and will formation in democracies. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This article argues that the term isonomia is best understood as a specific type of balance of forces closely connected with the classical concept of demokratia. The article proceeds by placing isonomia within the context of fifth/fourth century Athenian political discourse, and by explicating the relationship between isonomia and eunomia through attention to the usages of these terms in Greek philosophy, poetry, oratory, history and medicine. This analysis demonstrates how the concept of isonomia, understood as a balance of forces (...) created specifically through the establishment of political equality, could be used to respond to criticisms of demokratia as exemplifying bad order/disorder. The conclusion suggests avenues for further research and some potential connections with contemporary democratic theorizing. (shrink)

Analyses of care work typically speak of three necessary roles of care: the care worker, the care recipient, and an economic provider who makes care materially possible. This model provides no place for addressing the difficult political questions care poses for liberal representative democracy. I propose to fill this space with a new caring role to connect the care unit to the political sphere, as the economic provider connects the care unit to the economic sphere. I call this (...) role that of the “care claimant.” The labor of claiming care consists in the development, expression, and advancement of the interests of the care unit. The argument for employing this fourth care role begins by comparing Nel Noddings's phenomenological care unit to Sara Ruddick's family-based analysis. It then moves to discuss the way Eva Kittay emphasizes the dependency of the charge and its political ramifications to illustrate the need for a care claimant. After distinguishing the care claimant from the other roles of care, I examine the power relationships in the care unit and the position of the care claimant in the public sphere. (shrink)

Part of the debate on cost containment in healthcare systems may be characterized as applied political philosophy One might say that the current debate between competing theories of justice that started with Rawls' A Theory of Justice in 1971 has acquired a small sister debate in healthcare philosophy Major participants in the debate on social justice have become an important source of inspiration for bioethicists interested in a just distribution of healthcare resources. Thus Rawls' A Theory of Justice has been (...) remodeled for healthcare philosophy by Norman Daniels. Nozick's libertarian manifesto Anarchy, State, and Utopia has been used for bioethical purposes by H.T. Engelhardt. The books of Daniel Callahan evidently belong to a family of communitarian theories, though Callahan cannot be said to follow one or another communitarian thinker in particular. In the next two sections of this article I will give a very brief sketch of the debate on social justice in political philosophy and then discuss the sister debate on social justice in healthcare. (shrink)

This article critically evaluates what we call the ‘popular narrative’ about the state of the public sphere. We identify three elements of this popular narrative (the post-truth element, the polarisation element and the new technology element), and draw on philosophical work on hinge epistemology and social roles to challenge each one. We propose, instead, that public debate has always depended on non-evidential commitments, that it has always been home to significant, deep division, and that social media, rather than causing (...) these phenomena, has just made them more visible. Finally, we recommend some changes to traditional and social media which we believe would help foster a healthier, more inclusive, public sphere. (shrink)

This article offers a distinctive way of grounding the regulative duties held by social media companies (SMCs). One function of the democratic state is to provide what we term the right to democratic epistemic participation within the public sphere. But social media has transformed our public sphere, such that SMCs now facilitate citizens’ right to democratic epistemic participation and do so on a scale that was previously impossible. We argue that this role of SMCs in expanding the scope (...) of what counts as fair democratic epistemic participation, and in becoming the providers of access to the digital public sphere, brings with it duties of regulation. (shrink)

Part of the debate on cost containment in healthcare systems may be characterized as applied political philosophy One might say that the current debate between competing theories of justice that started with Rawls'A Theory of Justicein 1971 has acquired a small sister debate in healthcare philosophy Major participants in the debate on social justice have become an important source of inspiration for bioethicists interested in a just distribution of healthcare resources. Thus Rawls'A Theory of Justicehas been remodeled for healthcare philosophy (...) by Norman Daniels. Nozick's libertarian manifestoAnarchy, State, and Utopiahas been used for bioethical purposes by H.T. Engelhardt. The books of Daniel Callahan evidently belong to a family of communitarian theories, though Callahan cannot be said to follow one or another communitarian thinker (be it Christopher Lasch, Alisdair Maclntyre, or Amitai Etzioni) in particular. In the next two sections of this article I will give a very brief sketch of the debate on social justice in political philosophy and then discuss the sister debate on social justice in healthcare. (shrink)

The article introduces to the issue of religion, rights and the public sphere. It analyzes 4 challenges that the conception of the public sphere currently faces: Does there exists a trade-off between the public sphere and a legal regime of civil rights? Does the public sphere really require us to keep the good and religious questions outside of it? To what extent is the public sphere neutral and not rather itself the outcome of a particular (...) and contingent conception of the good? Whatever might be our answers to the questions 1 to 3, does not Islam constitute a special challenge for any conception of the public sphere? The article draws following prudent conclusions: First, rights are somewhat fundamental for a democratic public sphere. Second, a democratic public sphere cannot exclude religion. Third, little indicates that the public sphere is only a western concept. On the contrary, the public sphere has a universal character. Fourth, Islam does not pose any specific challenge to the public sphere, at least no more than the other religions. (shrink)

In international literature of the last decade, few genres have been as widely read or as intensely discussed as autofiction. Writers of autofiction use a variety of literary means to do what the novel has always done: to illuminate the private sphere. Yet, as this article argues, the idea of the private sphere underlying autofiction structurally differs from that of the fictional novel. Starting from a reading of Sheila Heti’s 2018 novel Motherhood and an analysis of its reception (...) in various YouTube formats, this article shows that the private sphere to which autofiction grants access is no longer framed as a refuge for the individual from the public. Instead, autofiction stages and reflects a model of privacy in which intense self-observation directly serves the creation of new social ties. Autofiction aesthetically reflects on interpersonal networking. Moreover, in dramatizing the crossing of boundaries between the fictional and non-fictional, and in breaking »the fourth wall,« it aesthetically recreates the forging of new network connections. The continued success of contemporary autofiction therefore needs to be understood against the backdrop of the structural transformation of the private sphere within the network society. (shrink)

If indeed aestheticization and enchantment are perennial traits of state discourses and practices in China, it is perhaps unsurprising that a countertradition in modern literature should emphasize disenchantment. Cultural productions that originate from outside the sphere of the state have often questioned its authority. Where the state seeks to enchant, literature has sometimes sought to kindle doubt, to arouse debate. Although such debates have often been curtailed or suppressed, it is worth reexamining the connections between literary production and political (...) debates in different historical contexts throughout twentieth-century China. Drawing on theories that stress the intentionality of literature and the speech act value of the literary text, the present essay attempts to characterize the communicational dynamics both within the text and in the context of its reception. In this perspective, it revisits some of the literary debates that took place in China in the May Fourth and Republican periods (represented by Lu Xun), the early postwar years and the ROC—PRC transition (Lao She), in certain works written during the Cultural Revolution (Jin Fan/liu Qingfeng), as well as post-1979 literature on the mainland (Yan Lianke). It does so by selecting texts that seem to have been produced with the intention of challenging the aesthetics of enchantment, using literary devices to interrupt readers’ enjoyment and thus open a space for public discussion of both aesthetics and politics. (shrink)

The case of highland Yemen up to around the middle of the twentieth century involves a history different from most Muslim societies in that, from 1919, the Yemeni state was independent. The problem I address concerns the utility of thinking about the highland property regime in this era in relation to the categories of "private" and "public." What sort of antecedents existed, at the level of property relations, for later commercial transformations that would culminate in such things as Pizza Hut (...) franchises? In Yemen, the polity of the period was a type of Islamic state, one based on the shari`a in ideology and in application and headed by a classical form of jurist-leader, a figure known as an imam. Prior to the twentieth century, this Yemeni form of a shari`a-based Islamic polity had a thousand year history in the highlands. Shari`a courts had exclusive competence as state tribunals, and judges, trained on old-style law books, heard the full gamut of litigation. By contrast, colonial changes in other Muslim societies typically entailed a sharp alteration and restriction of the sphere of the shari`a, often limiting application to the domain of "family law" alone. At the same time, the highlands had yet to commence the other great and, elsewhere, ongoing modern transformation of the shari`a, codification and legislation, which would not begin in Yemen until after the Revolution of 1962.Highland society at mid-century was agrarian, based primarily on settled plow cultivation, and the associated property regime was almost exclusively "private." In Yemen, the "private" property regime centered conceptually on milk, a category of individual ownership of immoveable property, and on the concept of mal, a commercial commodity. As a form of private, landed property, milk involved rights that could be acquired, alienated and inherited, and the associated agricultural production was based on lease contracts between landlords and sharecroppers. Pious endowments were the basis for one of the great Muslim "public" institutions, which supported mosques, schools, water systems, etc. Another fundamental "public" institution was an extension of the "private" commercial notion of mal into the state institution of the 'House of Mal,' or Treasury. Other key "public" institutions were the imamate itself, a form of Islamic state, and the shari`a court. This shari`a system can be thought of in terms of three levels of legal texts. At the highest level, shari`a doctrine, the jurisprudence of the period, constituted an ideology of the property regime. The doctrine provided models for both the range of substantive undertakings and for court processes, but the relationship of these models to the property relations and to litigation on the ground is a key question. At the lowest level, the routine documents of ongoing, uncontested practice proliferated. These included ordinary sale documents, leases, marriage contracts, endowment instruments, wills and estate inheritance instruments. Between high doctrine and low instruments were the records of shari`a court judgments, records in which the conflicts and contradictions of the property system were expressed, argued and ruled upon. In certain problem areas of the law, the ruling imams's personal doctrinal "choices" were designed to guide court judges in their rulings. (shrink)

Modern information technologies, beginning with the fax and audiocassettes but now exemplified in satellite television and the Internet, have opened the public discourse of Islam to new voices and, more subtlely, to new practices. While media-savvy militants draw the attention of outside observers, a quieter drama is unfolding. Pious middle classes are extending conventional patterns of seeking out religious guidance into new channels, particularly the Internet; the continuous search for role models and reference groups is meeting increasingly modern ways of (...) providing those - namely, media and increasingly media that target specific needs of growing middle classes. These range from religious instructional material for children to be used by parents to religious advice columnists, both conventional and contemporary to sermons to selections of news. Once 'private' discourses are on public display, and this public world of Islam is decidedly intimate. Where scholars of print note an officialization of discourse that moves into that medium, and programmatic 'islamizers' of knowledge, politics, etc. generally pursue entextualization strategies, electronic communication is moving Islam into the marketplace and aligning its practices, both metaphorically in the sense that the range of public choice and alternatives expands and literally in the rise of businesses to service these demands. (shrink)

The Iranian government is a theocracy—the only one in the world today. The clergy control all three branches of government. The supreme leader or velayat-e-faqu’ih is also a cleric. In such a political system all legislation and policy making are conducted in accordance with the leaders’ interpretation of Islamic law or Shari’a. In this paper I will examine the extent to which these laws and policies allow the government to intrude into the private sphere of life and intervene in (...) the privacy of individual citizens. I will use specific examples to illustrate my point that since citizens have no control over their government and cannot impact the interpretation of Shari’a, their private sphere is always threatened by government action. (shrink)

The radical Islamist regime of the Taliban affords an extensive view of the logic of Muslim fundamentalism regarding the public and private spheres. I argue that the Taliban de-privatized several life-spheres, "publicizing" religion and the body. The Taliban performed power as public spectacle, employing public executions, amputations and whippings. Religion, too, was to be completely public, as Habermas argues it was in Europe before the 18th century. As soon as they took Kabul, the Taliban insisted that all residents had to (...) say their five daily prayers, the men in mosques. Likewise, men were given six weeks to grow out their beards to a hand's length and to trim their moustaches in accordance with a literal reading of sayings about the Prophet Muhammad's appearance. The young female memoirist of life in Taliban Kabul, Latifa, reported that her middle class father complied with the new rule, but insisted, "My beard belongs to the Taliban, not to me!" The rendering public of religion made public property of every religious act. His body had a choice, of being conformed to the movements and shaping of religion, or of being tortured because of lack of compliance. This publicization of the believer's body resulted in an alienation from individuals of parts of themselves. Likewise, the gendered character of the public and private spheres, with women being confined to the private, is as visible in Taliban thinking as it is in Hegel. The expansion of the public realm of religion and morality by the Taliban had the effect of shrinking the private sphere and so constraining women further. Girls' schools were shuttered and many war widows were reduced to begging and risking sanctions for being in the street without a male guardian. Posters of Bollywood actresses were forbidden, and Kate Winslet was condemned to death in absentia for portraying a fornicator in The Titanic. It is argued that the goal of perfectly privatizing the female body lay behind these Draconian measures. (shrink)

Quality-of-life policing, responsive to the concerns of urban communities, presents a profound paradox. On the one hand, the collateral effects of drug use, especially in public and in racially fragmented, low-income communities, result in levels of crime and fear of crime that renders the communities almost uninhabitable; on the other, the collateral effects of policing drug crime, for these same communities, destroy the community's human fabric. A "new" generation of legal scholars have embraced and transformed the Broken Windows model of (...) policing urban communities. These theorists share a "social norms"perspective: they suggest that law's direct threat of imposing sanctions is not the sole means of constraining conduct. A variety of other devices, including non-legal, "social" norms, may supplement the law's coercive power. The social norms "take" on the Broken Windows argument is that public low-level crime undermines the social structures of local communities. Inner city blight sends a distinct message: that community members reject or ignore norms supporting law-abiding behavior in favor of norms supporting law-breaking. Accordingly, social norms theorists advocate empowering police and local communities through a variety of traditional and newly minted public order offenses (such as anti-loitering statutes and youth curfews) as means of attacking high crime in urban and predominantly minority neighborhoods. In this article, I take up the challenge of public order policing. My claim is that the sort of preventative policing social norms theorists advocate can and should be separated from reactive "investigative" policing directed at apprehending criminals. Separating preventative and investigative policing means that the police, as currently constituted, are the wrong people to engage in preventative policing. Instead, the appropriate people include municipal officials with no power to engage in investigation but who have the authority to enforce norms of public order. My proposal is to radically restructure the manner in which we think about the legitimacy of various policing practices and the type of authority the police wield. Our current focus on constitutional remedies for low-level police abuses has failed to ameliorate the justified resentment expressed by individuals and local communities subject to heightened amounts of increasingly invasive policing.The attempt to limit police authority through prospective constitutional (and other) norms that control their ability to search, seize, and interrogate suspects is properly confined to the police's investigative role. Limits do not work to constrain their ability to police public order and engage in crime prevention. Yet even at the investigative stage, the Court has already replaced the rule-based due-process model of authority with a series of role-based exceptions to the Fourth, Fifth, and Sixth Amendments' constitutional requirements. Both role- and rule-based concepts of authority concern the proper scope of legitimate authority. Rule-based authority has its basis in adherence to the content of particular rules; role-based authority is based in the powers afforded individuals in particular roles of public authority. Whereas rule-based authority derives its legitimacy primarily from the government's right to promulgate norms, role-based authority gains legitimacy from the degree to which the official's role is matched to the circumstances triggering authority. (shrink)

While Billy Budd's beauty has often been connected to his innocence and his moral goodness, the significance of the musical character of his beauty—what I will argue is the site of a struggle for political expression—has not been remarked upon by commentators of Melville's novella. It has, however, been deeply explored by Britten's opera. Music has often been situated at, or just beyond, the limits of communication; it has served as a medium of the ineffable, of unsaid and unsayable truths (...) (and lies), of an expressive power beyond language and reason. It is this expressive but communicatively problematic role that Billy embodies and that Billy Budd sets into political motion. In this essay, I would like to suggest that Billy's musical beauty can only be fully appreciated, and assumes full significance, when considered within the context of the various conceptions of beauty, and corresponding conceptions of authority, presented in the novella and in the opera. In particular, I will argue that Billy's beauty is a modern one that calls for the active participation of its audience. (shrink)

The major aim of this paper is to present some reflections about the political domain and the common good that may be helpful in answering the following issue: How can religions contribute to the common good? The problematic background of this paper can be summarized by the so-called Dilemma of Böckenförde, which presents the difficulties secular states have in creating social capital, and by the Habermasian notion of a “post-secular society,” an expression used by the German philosopher to summarize the (...) curious situations of Western secularized states, where religions continue to play important public roles. I will first discuss the notion of “neutralization” with the support of Carl Schmitt. Then I will present Chantal Mouffe’s doctrine of “agonistic pluralism” and her partial legitimization of the presence of religions in the political domain. Finally, I will criticize Mouffe’s approach with the help of Alasdair MacIntyre’s phenomenology of social practices in order to stress the importance of public religions in contemporary liberal societies. (shrink)