Research on the nature of science and science education enjoys a longhistory, with its origins in Ernst Mach's work in the late nineteenthcentury and John Dewey's at the beginning of the twentieth century.As early as 1909 the Central Association for Science and MathematicsTeachers published an article – ‘A Consideration of the Principles thatShould Determine the Courses in Biology in Secondary Schools’ – inSchool Science and Mathematics that reflected foundational concernsabout science and how school curricula should be informed by them. Sincethen (...) a large body of literature has developed related to the teaching andlearning about nature of science – see, for example, the Lederman and Meichtry reviews cited below. As well there has been intensephilosophical, historical and philosophical debate about the nature of scienceitself, culminating in the much-publicised ‘Science Wars’ of recent time. Thereferences listed here primarily focus on the empirical research related to thenature of science as an educational goal; along with a few influential philosophicalworks by such authors as Kuhn, Popper, Laudan, Lakatos, and others. Whilenot exhaustive, the list should prove useful to educators, and scholars in otherfields, interested in the nature of science and how its understanding can berealised as a goal of science instruction. The authors welcome correspondenceregarding omissions from the list, and on-going additions that can be made to it. (shrink)

This issue of SubStance is the first since 2010 not dedicated to a specific theme or author; it features ten eclectic essays submitted from different disciplines and countries by well-established as well as emerging scholars. We wish to take this opportunity to emphasize the importance of these varia, which illustrate the range of our speculative and critical interests, and to signal directions we anticipate the journal moving in the near future. Beyond its interest in French literature and theory, SubStance has (...) always promoted a dialogue between contemporary theory and a multifaceted outside, an outside where contemporary theory may be used to investigate literary, philosophical, and artistic traditions.. (shrink)

In March 2012, Joshua Foer presented a TED Talk to a mesmerized audience. As he began, Foer asked the audience members to close their eyes, and he proceeded to describe a scenario in which a series of striking images appeared as he talked his spectators through various architectural spaces in a house they were to imagine as their own. First, a group of nude bicyclists materialized at the front door, crashing before the very eyes of the bemused beholders, sending bicycle (...) pieces flying in all directions. An encounter with Sesame Street’s Cookie Monster in the entrance foyer ensued, during which salient details of the Muppet’s appearance were described down to the smell of his... (shrink)

Let V be the cumulative set theoretic hierarchy, generated from the empty set by taking powers at successor stages and unions at limit stages and, following [2], let the primitive language of set theory be the first order language which contains binary symbols for equality and membership only. Despite the existence of ∀∀-formulae in the primitive language, with two free variables, which are satisfiable in V but not by finite sets ([5]), and therefore of ƎƎ∀∀ sentences of the same language, (...) which are undecidable in ZFC without the Axiom of Infinity, truth in V for Ǝ*∀∀-sentences of the primitive language, is decidable ([1]). Completeness of ZF with respect to such sentences follows. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the NoseDavid F. Bell (bio)I recently underwent a COVID test. As the technician inserted the rather ominous cotton-tipped probe into my nostril, she told me that it was going to feel as if she were tickling my brain. Indeed… This experience, shared by many during the past three years, and likely multiple times, prompted me to think about my nose. Not since cocaine reentered American mainstream culture (...) in the 1970s and '80s—and found its way into countless movies that reflect the trend—has the nose been so central to a certain state of public life. It's difficult to find a film dealing with American culture from that period and beyond, from Scarface to The Wolf of Wall Street, in which there is not a scene depicting characters snorting the obligatory line or spoon of cocaine. Yes, snorting, sniffing, sneezing, ingesting the line through the nose and finishing leftover dust by collecting it with a moist finger, rubbing it lovingly against the front gum of the mouth. Freud's "Über Coca" looms ominously in the background, the work of a phase in Freud's professional career complicated by his obscure relationships with Parke-Davis (now a subsidiary of Pfizer) and Merck, pharmaceutical companies that supplied him with early samples to tickle his nose (Freud; Merkel). The Sacklers of the moment. In our day, Pfizer wants to transform our noses into defenses against the virus rather than conduits toward mind-altering dreams. In the wake of the Freud and William Halsted cocaine addictions chronicled by Howard Merkel, the irony of the contemporary link between Pfizer and the nose is patent.The nose: that orifice through which the virus creeps, the first stage in breathing, the first filter for air-borne pollutants. Recently, important immunological analyses of COVID have focused on the question of viral load, how much virus is necessary to overcome the nose's filtering function and reach the deeper airways leading to the lungs. The processes triggered by any of the major vaccines prepare antibody blueprints and actual antibodies that can be dispatched to the linings of the nose to counter the virus as soon as the body detects its presence. The Delta, Omicron, and subsequent variants remind us that the virus has mechanisms to challenge this response, namely, increased viral load that intensifies transmissibility and the potential to overwhelm antibodies. It seems, however, that [End Page 231] so-called breakthrough infections are still well controlled by the body's vaccinated immune system. Hysteria about the dangers of such incursions is partially a product of biased and often incorrect or incomplete media coverage of the COVID vaccine, which has terrified the vaccinated and fueled the skepticism of the unvaccinated.The virus tries to overpower and confuse the filtering nose in another way, more immediately apparent to our conscious selves. As many as eighty-five percent of COVID infections result in the loss of smell, generally recovered in about two to three weeks in sickened people who overcome the infection. About five percent of COVID victims, however, have not recovered their sense of smell six months or more after they have shed the virus.1 What might it mean to lose one's sense of smell? In our vision-oriented culture, both sound (the ear) and smell (the nose) have been less recognized as primary defense mechanisms than in other cultures. When one hears a sound, the first reaction is to prepare for a threat, before the sonic source is seen or understood. Orientation in the world, knowing from which direction the sound emanates, is key to preparing the body for an encounter with an unknown phenomenon: "To sound (an alarm) means to warn. Isn't any emerging sound understood as a warning? Any unexpected sonic occurrence is seen as an indication of something that is to come and that must be clarified rapidly" (Deshays 34). By the same token, to sample surroundings by sniffing what is in the air signals whether one should inhale or somehow try to hold one's breath in search of cleaner, more palatable air. Without olfaction, we are at potentially heightened risk of asphyxiation. We are more likely to... (shrink)

Periodically, we take stock of SubStance and provide a brief statement regarding initiatives and priorities in the journal's interests. Three years ago, we announced that "Exploring hybrid writing with theoretical impact is at the center of our current preoccupations."1 Since that time, the journal has made significant changes. This issue marks our fourth issue of publishing with Johns Hopkins University Press in a transition that recognizes our new publisher as a leader among university presses.Our plan also expressed our intent to (...) move toward publishing digital work that exemplifies theoretical thinking in nonlinear, experimental forms. In 2018, we launched Digital SubStance, a platform for "hybrid work that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Haiti Can't BreatheNéhémy Pierre-Dahomey (bio)Translated by David F. BellI'm not particularly familiar with recent politics in Haiti. Nor, as it were, with the contemporary history of the country. In some sense, the difference between recent politics and contemporary history is rather delicate. History would be the most profound social, political, and economic points of contention behind the daily lives of a population under siege. Not simply those talked about (...) while people travel in public transportation (Haitians talk a lot while in public transportation), but also the interpretive matrices mobilized to speak about these problems. As for current events, they are the province of newspaper headlines, those front pages and editorial pages most often read and shared, the public opinion machine.Of course, a few snippets of news come to me: the rise of kidnapping, political instability, the opposition declaring that the presidential mandate has ended, a government sponsored referendum to change the constitution, upcoming elections. As I write this piece (summer 2021), armed banditry is rife in many working-class neighborhoods. There are victims by the dozens nearly every day.As I was asking myself how best to express the bicentennial dyspnea of the Haitian people, I learned about the assassination of the president of the Republic in his private residence.Haiti could not breathe. Now it is suffocating.I recently published a novel entitled Combats (March 2021) in which the characters live in a nineteenth-century rural setting. They experience the full force of the first consequences provoked by the infamous independence debt, well understood by Haitians and analyzed by international specialists such as David Graeber and Thomas Piketty.After its independence in 1804, Haiti was not accepted into the concert of nations. The country, founded by hordes of previously enslaved Blacks and by freed Mulattos, was a bad example, a model not to be emulated so geographically near a slave society, the United States, and the Antilles belonging to France. No economic power, that is, no white country defining itself as such, recognized the independence of the new Black, abolitionist, and egalitarian population. The isolation of Haiti thus began at the very moment of its foundation. [End Page 165]In a vain attempt to escape the embargo and to construct a collective destiny at the international level, Haiti accepted a colossal debt imposed on it by France. Charles X, king of France and Navarre, forced Jean-Pierre Boyer, supreme leader of the Haitian nation, to assume the responsibility for a ransom of 120 million francs. The economist Thomas Piketty calculates that this was equivalent to 28 billion euros in today's currency. David Graeber, in his Debt: The First 500 Years, considers it to be the most egregious debt in history. In truth, for Haitians, this strange transaction consisted in buying lands they had already conquered in their independence struggle, having taken them from the previous colonial settlers representing the French state.Since the previously emancipated ancestors were considered the colonial settlers' property, Haitians, under threat from the French army, assumed the weight of this debt, which really consisted in purchasing—from their previous torturers—their very persons and those of their grandparents. In other words, after the war of independence, begun by Black Maroons as soon as they arrived on the island of Haiti, pursued by Toussaint Louverture against slavery, brought successfully to a conclusion by Jean Jacques Dessalines through victorious military battles (November 1803 at Vertières, for example), after this long road toward emancipation, France, supported by all the foreign powers of the period, extracted from Haiti recognition of the debt in 1826, that is, during the first half of the nineteenth century, at the very moment when the independent countries of the world were beginning to undergo a massive industrialization.Haiti clearly missed out on this entrance into the industrial age of the steam engine. It remained an "essentially agricultural" country because every year it had to pay debt service—including interest—every year until the second half of the 20th century!Like many others I saw the images of the white man, Derek Chauvin, resting his knee on George Floyd's neck for eight... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pairing breaths:Rabah Ameur-Zaïmech's Terminal Sud (2019)Marion Froger (bio)Translated by David F. BellAsphyxiaNever had I felt such a sense of suffocation watching a film by Rabah Ameur-Zaïmeche.1 The poisoned atmosphere of Terminal Sud (2019) recalls the atmosphere of the Algerian War (1955-1962) and that of the decade of darkness (1991-2002) in that country. The filmmaker chose not to make a historical film, however, but rather a dystopia that fuses together (...) periods and places. The story appears to be contemporary, in a country bathed in the colors of southern France, apparently in the grip of all the violence that French and Algerian memories are nowhere near forgetting.2 Bandits wearing combat uniforms, policemen wearing outfits sporting an acronym that strangely resembles one used by Islamist Algerian groups,3 and generals evoking the French putschists of 1961 all fight against each other—ransoming, threatening, kidnapping, killing, and torturing the local population. Meanwhile, out in the countryside, guerrillas (maquisards4) try to care for their dying leader, like North African freedom fighters (fellagas) were doing before them, and this in turn evokes French Resistance fighters in the 1940s. The film's work on confused memories, which, according to Thierry Kuntzel, is related to the condensation, overdetermination, and displacement of dreamwork, transforms being out of breath into a symptom that hounds the doctor, played by Ramzy Bédia ("Inhale…Exhale…Inhale again…Hold your breath…Exhale"), a state of the world in the form of a trap that threatens to suffocate him—and launches the quest for a filmic poetics of calm through the pairing of breaths.Peeling façades with tightly closed doors, lowered metal shop shutters, narrow and tense streets: the doctor, his wife Hazia, and their family slip outside in fear of kidnapping and gunfire, climb up stairs breathing heavily, anxiously await by the window, their bodies obscured in starkly contrasting shadows cast by glaring light, hug each other with endless sighs. As they share their grief, they have barely enough breath left to sing to the memory of someone who has disappeared,5 as if after an argument, [End Page 244] when everything has been said and all that remains is a strangled sob serving as last farewell.The film opens with an attack on a minivan used for public transportation: bandits, who could be soldiers, steal everything from the passengers and driver. The doctor sees his patients in a rundown hospital, treats a woman whose breathing is raucous, her voice taut with anxiety, and who speaks about the disappearance of her husband. Back home, he finds anonymous letters containing death threats and, to calm down, he searches for his breath by taking a deep drag from a cigarette and a swig of whiskey. "I can't take it any longer, I can't even stand up, I can't do anything, I'm at the end of my rope, I'm tired […] Is that what our country has become?" he confides to a friend several hours before losing, in the emergency room, his wife's brother, a journalist assassinated in front of his house. "Stay with me," he says as he runs beside the stretcher calling for help, "Breathe, breathe."The spasmodic breathing of Ramzy Bédia, provoked by the fear, effort, and pain that define his character, intensifies as the film progresses. He barely breathes in the car taking him to treat the rebel leader; he is running out of breath beside the leader's bed as we hear the death rattle and as Bédia shouts to the leader's comrades, "Give him some air, everyone get out!" Later, one of the policemen standing guard at the entrance to the hospital will be mortally wounded by a kamikaze attack and will die on the operating table despite the doctor's exhausting reparatory manipulations. Asphyxia will ultimately directly threaten the doctor after his arrest. Tied to an old bedspring, he will be tortured by electroshock,6 will attempt one last time to justify himself to a soldier who wants to know everything about the rebel leader the doctor has treated, and will nearly suffocate in his... (shrink)

Analyse van de aan de wetenschap ontleende terminologie die de Amerikaanse dichter (1885-1972) in zijn literair-kritisch werk gebruikte.

Let HF be the collection of the hereditarily finite well-founded sets and let the primitive language of set theory be the first-order language which contains binary symbols for equality and membership only. As announced in a previous paper by the authors, "Truth in V for ∃*∀∀-sentences is decidable," truth in HF for ∃*∀∀-sentences of the primitive language is decidable. The paper provides the proof of that claim.

Dear Jacques Derrider,Today is my birthday. I received a considerable number of messages, almost all written and sent by computer programs. Because most of my contacts have died, or else they are too busy to write me.I'm not bothered by the fact that these letters were written by programs. I am troubled, however, when they remind me of all of those who have died. And especially when I am no longer able to distinguish between the programs that speak for the (...) living and those that speak for the dead.These digital mummies are called necrobots. The archive of conversations of the deceased person serves as a training database for a neural network. Once it is deployed in the email and social network accounts of the... (shrink)

How is it possible for sounds to be sound? The evanescence of sounds seems to provide us with no more than a fragile foundation, even if echo and resonance offer fleeting extensions of sonic moments. Historians of the senses have told us that despite the importance of audition and orality in antiquity and the Middle Ages, modernity has privileged vision, and this predilection has accompanied and buttressed modern attempts in science and philosophy to provide a firm foundation for knowledge. The (...) development of sound studies in the last two or three decades has subtly—and progressively more explicitly—begun to propose a shift in how a foundation, a ground, could be conceived. What is the nature of this shift?We need... (shrink)

“I don’t believe what people say to me, I believe the way they say it,” Christian Bobin said. “This is where the sonic is located, in the manner of speaking, in the way in which bodies move and silences occur.”It would be hard to argue that sound is something the public or professionals, whose work is to create sound, actually think about carefully and consciously, as strange as this might seem. Sound in film is rarely addressed from a theoretical perspective. (...) Few books are dedicated to it beyond purely technical works, and those do not often consider the aesthetic conditions of sound production. The question of the existence of sound is abandoned in favor of normalizing procedures for producing it, absent any... (shrink)