Hard-nosed physicists are content with elementary quantum mechanics as it is. Deep searchers desire a deeper comprehension of the theory or rather of reality. Observable internal correlations in micro-systems and external correlations between widely separated parts can be calculated at the office. But how can for that purpose indispensable information be observed, coded and stored and transmitted in the real systems?A spectacular example is Einstein-Podolsky-Rosen entanglement. How can one part know what has been or will be happening at the other (...) distant part? (shrink)

This is the first book-length project to examine the relationship between blackness, queerness, and hip hop. Using aesthetics as its organizing lens, Hip Hop Heresies attends to the ways that hip hop cultural production in New York City from the 1970s through the first fifteen years of the 21st century produced hip hop cultural products (film, visual art, and music) that offer "queer articulations" of race, gender, and sexuality that are contrary to hegemonic ideas and representations of those categories in (...) hip hop production, as well as in writing about hip hop culture. (shrink)

In Hip-Hop in Africa, Msia Kibona Clark examines some of Africa's biggest hip-hop scenes and shows how hip-hop helps us understand specifically African narratives of social, political, and economic realities. Clark looks at the use of hip-hop in protest, both as a means of articulating social problems and as a tool for mobilizing listeners around those problems. She also details the spread of hip-hop culture in Africa following its emergence in the United States, assessing the impact of urbanization and demographics (...) on the spread of hip-hop culture. Hip-Hop in Africa is a tribute to a genre and its artists as well as a timely examination that pushes the study of music and diaspora in critical new directions. (shrink)

This book puts forth the concept and practice of hip-hop mindfulness as a way for minoritized communities to take creative risks in the face of cultural oppression within educational institutions. Written for students of social justice and diversity education, foundations of education, and ethnic studies, this book introduces the hip-hop mindset as a professional practice that holds relevance for ambitious leaders in any profession who seek to innovate, trailblaze, and create so much professional magic, that they appear to walk on (...) air. (shrink)

Revolution of a next kind : building black London from the bottom -- On the bus my oyster card goes ding de diing de ding ding : transforming the space of London's public transport -- I see the glow in you : summoning the aura in London's post hip-hop culture -- That there kind of sumthin' sounds strange to me : social representation and the recorded soundscape -- From a junior spesh to the keys to the Bentley : the routes (...) of grimey London -- Conclusion. Take back the scene. (shrink)

El artículo analiza el proceso de organización de un grupo de hip-hop, basado en el análisis central de los significados del “lazer” para sus participantes, en la búsqueda de una nueva perspectiva de inserción social. Ha sido realizado mediante la combinación de investigación bibliográfica, documental y de campo. El método utilizado ha sido el estudio de caso, en la Organização dos Novos Quilombos (ONQUI), “posse” de hip-hop, teniendo la observación participante como principal técnica de recolección de datos. Entre los resultados (...) es posible afirmar que el “lazer” desarrollado por medio de las actividades relacionadas al movimiento hip-hop contribuye a la conquista de la ciudadanía para las personas de la periferia de la ciudad. Organizaciones como la ONQUI, basadas en la relación y movilización en actividades culturales conectadas al hip-hop, desarrollan políticas públicas sociales, de forma no-gubernamental, acciones que son fruto de procesos formales e informales de asociacionismo, entendidas como un contrapunto, una respuesta a las acciones del poder público municipal. (shrink)

El siguiente artículo propone una presentación del Hip Hop en Chile, comprendido como un movimiento plural que puede ser pensado en términos de tácticas y estrategias de resistencia. Para ello se comienza por una caracterización general de esta práctica considerando sus diversos componentes -música, danza y grafiti- seguida de una descripción de sus orígenes históricos y de su contexto social de emergencia asociado a la segregación y a la estigmatización urbanas. Luego, a partir de la revisión de diversas investigaciones provenientes (...) de la historia y de la sociología se aborda su desarrollo en nuestro país, lo que permite indagar sus singularidades y su poder de contestación en nuestra historia reciente. Posteriormente se trata la cuestión del como un arte popular teniendo en cuenta diversas dimensiones en las que se expresa la capacidad creativa de sus autores y de su comunidad de públicos. Por último se aborda el potencial político del Hip Hop explorando sus posibilidades para ser comprendido como un arte de resistencia que opera tácticamente. (shrink)

This book argues that Hip Hop’s early history in the South Bronx charts a course remarkably similar to the conceptual history of artistic creation presented in Hegel’s Lectures on Aesthetics. It contends that the resonances between Hegel’s account of the trajectory of art in general, and the historical shifts in the particular culture of Hip Hop, are both numerous and substantial enough to make us re-think not only the nature and import of Hegel’s philosophy of art, but the origin, essence (...) and lesson of Hip Hop. As a result, the book articulates and defends a unique reading of Hegel’s Aesthetics, as well as providing a philosophical explanation of the Hip Hop community’s transition from total social abandonment to some limited form of social inclusion, via the specific mediation of an artistic culture grounded in novel forms of sensible expression. Thus, the fundamental thesis of this book is that Hegel and Hip Hop are mutually illuminating, and when considered in tandem each helps to clarify and reinforce the validity and power of the other. (shrink)

all the violence in hip hop? Does po-po wield legit authority in the hood? Where does the real Kimberly Jones end and the persona Lil' Kim begin? Is hip-hop culture a "black" thang?

ABSTRACTThis article introduces the Hyperbole Identification Procedure, a first systematic method for identifying linguistic hyperbole in discourse. We start by comparing existing definitions of linguistic hyperbole. Based on the commonalities shared by these definitions, we provide our operational definition of hyperbole as “an expression that is more extreme than justified given its ontological referent.” The next section argues why it is useful to identify hyperbole, as with metaphor in Metaphor Identification Procedure Vrije Universiteit, at the level of lexical units, and (...) subsequently introduces the steps of HIP. We follow up with two sample analyses of HIP in practice. First, we show how to unitize and analyze one complete sample sentence. Second, we present sample analyses of a number of selected cases. Then we present data showing that HIP can be reliably applied to a sample corpus of Dutch news texts. We end with discussing applications and implications of using HIP in corpus research. (shrink)

The author defends the philosophical value of underground hip-hop through illustrating how the culture significantly contributes to debates in multiple academic fields. She also examines the exclusion of hip-hop from discourses on knowledge, racism, genocide, and trauma as a reflection of the neoliberal sensibility that hip-hop exposes and opposes.

Hip hop has grown into a worldwide genre in recent decades, often being associated with issues of race and class. However, as research on ‘hip hop feminism’ in the US context demonstrates, the categories of gender and sexuality are no less fundamental. In the growing body of international hip hop research, though, questions about gender have been relatively absent, and relatively little is known about how gender norms are negotiated and challenged in hip hop in Europe. This article seeks to (...) contribute to filling this gap in the literature by exploring how women negotiate the gender norms of hip hop in the case of Sweden. To this end, rap lyrics by 12 female rap artists are analysed through poststructuralist discourse analysis. The analysis focuses on intersectionality, feminism within and beyond hip hop, as well as the possibilities and limitations of female masculinity. It is shown how the masculine norms of the genre are simultaneously resisted and resignified as many female rappers incorporate some elements commonly associated with masculinity but mobilize them in their challenging of masculine norms. In this way, complying with the genre interestingly produces a hard and explicit feminism in which ‘all sexist pigs will be slaughtered”. (shrink)

Cross-cultural understanding stands as one of the great pillars of multicultural education and yet rarely do multiculturalists provide a full account of what it is and how it takes place. This paper will serve as an initial investigation into the complex nature of cross-cultrual understanding. Drawing on the philosophical hermeneutics of Hans-Georg Gadamer, I will layout the framework for a theory of understanding and provide a concept of culture that avoids the pitfalls of essentialism and instrumentalism. I will then raise, (...) as the backdrop for my examination, the issue of authenticity in the hip hop world. This will allow me to put these hermeneutic theories to work by illuminating the interpretive process through which a hypothetical middle-aged teacher might go about gaining an apprecitaion for rap music to better understand his suburban students who, for him, embody hip hop culture. This phenomenological account of cross-cultural understanding will in turn raise thought-provoking questions about human agency, translation, and the various implications of cross-cultural understanding in the classroom. (shrink)

Asynchronous discussion boards are a common pedagogical tool used by history faculty to promote engaged learning, content comprehension, and historical thinking, writing, and research skills in online courses. Although many higher education institutions are increasing their online history course offerings, there is a gap in the literature about the effectiveness of online teaching on student learning. As initiatives aimed at promoting HIPs at colleges and universities continue to grow, there is a need to examine whether the implementation of the asynchronous (...) discussion board can be considered a HIP, especially when promoting writing intensity and undergraduate research in online history courses. Therefore, the purpose of this study is to examine whether the facilitation of asynchronous discussion boards serves as a HIP. The researcher conducted this study with a total of 167 undergraduate students enrolled in three sections of an online survey United States history course where she taught at a large four-year university in a metropolitan region of the Southeast. (shrink)

This paper draws attention to gendered dimensions of surgical device failure, focusing on two case studies—hernia repair mesh for pelvic organ prolapse, and metal-on-metal hip implants. We explore possible reasons for higher rates of harms to women, including systematic biases in health research and device regulation. Given that these factors are readily identifiable, we look to feminist scholarship to understand what might maintain them, including the role of cultural factors within surgery, such as gendered communication patterns and sexism. We then (...) canvas potential measures to mitigate the increased risk of harms faced by women who use implanted devices. (shrink)

This essay undertakes a phenomenological inquiry into the ‘experiential structure of hip-hop’ – a structure that hip-hop artist Jay-Z (Shawn Carter) gestures towards in his text Decoded. In this book, Jay-Z argues that hip-hop has a particular power to act as the vehicle for the communication of a specific type of experience, i.e. contradictory experiences, or those which do not seem possible under the principle of non-contradiction. For instance, Tupac Shakur says of his mom that “…even as a crack fiend, (...) mama / You always was a Black Queen, mama.” The way in which hip-hop is a powerful vehicle for this communication lies, according to Jay-Z, in its very structure, which he describes using two sets of terms: rhythm/flow and music/rhyme. Using Jay-Z’s general outline, this essay attempts to complete a phenomenological analysis of hip-hop, in the effort to (1) isolate the experiential structure of hip-hop and (2) isolate, within this structure, the way in which hip-hop is able to communicate contradictory experiences. In the final analysis, the author isolates the experiential structure of hip-hop and shows how its multiple layers work to draw listeners in and induce them to experience-with the artist. (shrink)

Philosophy and Hip-Hop: Ruminations on Postmodern Cultural Form opens up the philosophical life force that informs the construction of Hip-hop by turning the gaze of the philosopher upon those blind spots that exist within existing scholarship. Traditional Departments of Philosophy will find this book a solid companion in Contemporary Philosophy or Aesthetic Theory. Inside these pages is a project that parallels the themes of existential angst, corporate elitism, social consciousness, male privilege and masculinity. This book illustrates the abundance of philosophical (...) meaning in the textual and graphic elements of Hip-hop, and thus places Hip-hop within the philosophical canon. (shrink)

This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, and philosophy had for (...) me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

Critics of mass culture often identify 1950s-style status competition as one of the central forces driving consumerism. Thomas Frank has challenged this view, arguing that countercultural rebellion now provides the primary source of consumerism in our society, and that ‘cool’ has become its central ideological expression. This paper provides a rearticulation and defense of Frank's thesis, first identifying consumerism as a type of collective action problem, then showing how the ‘hip consumer’ is one who adopts a free-rider strategy in this (...) context. (shrink)

Ojectives Low energy hip fractures are one of the greatest causes of morbidity and mortality in orthopaedics. This study aims to evaluate written consent forms with respect to basic standards as set out in the Good Practice in Consent Initiative. In particular the stated risks and benefits of each procedure were assessed. Methods 100 consecutive consent forms were reviewed prospectively. The stated procedure, side and complications were recorded. Appropriate signature and legibility was assessed. 13 consultant orthopaedic surgeons were surveyed to (...) identify what risks and benefits they thought should be stated. Results Of 100 consent forms, 31 were for patients who are unable to consent. All 100 consent forms were correctly filled in with patient details and signed. 98% were legible. All stated the side of the operation. The number of complications listed per form ranged from 4 to 11. Infection, bleeding and thromboembolic complications were stated in the majority of consent forms. In total, 30 different complications were recorded; some were only stated once. Discussion and Conclusions This work suggests consent forms are completed well with respect to patient identifiers, legibility and procedure. The variability of complications stated is vast. We suggest standard pre-printed consent forms containing risks and benefits should be used as this may improve standards of informed consent. This has also been recently supported by the British Orthopaedic Association. (shrink)

The article is based on lyrics from 2007 to 2017 involving 18 hip-hop artists. All the songs I studied were by male singers apart from one entitled, “Maga no need pay,” which involved seven multiple artists. In all the songs, the glamorization of cybercrime and cybercriminals was one of the most significant themes. The implications are discussed.

Financial and nonfinancial conflicts of interest in medicine and surgery are troubling because they have the capacity to skew decision making in ways that might be detrimental to patient care and well-being. The recent case of the Articular Surface Replacement (ASR) hip provides a vivid illustration of the harmful effects of conflicts of interest in surgery.

Shoot From The Hip - Professional Intuition In Decision-Making -/- Why do eighty percent of decision-makers say that they use intuition often or very often in their decision-making? What is intuition? How does it function? How can we achieve becoming more intuitive? How can we apply it in understanding the world and making more ethical decisions?

_Shusterman’s Somaesthetics_ is a wide-ranging collection of penetrating essays by twelve scholars examining in rich detail the many dimensions of philosopher Richard Shusterman’s pragmatism and somaesthetics, complemented by his own chapter of responses to these scholars.

In the short decade between 1985 and 1995, the dominant cultural movement of our time, hip-hop culture, has become, seemingly overnight, mainstream American popular culture. This centering of hip-hop art, most specifically rap music, in American popular culture has given young African Americans unprecedented national and international visibility, at a historical time when images via the 21st century’s public square of television, film and the internet are more critical to identity than ever. This visibility, and most certainly the often anti-Black (...) and stereo-typical images that accompany it, forces distinctions to be drawn between today’s Black popular culture and traditional ideas of Black culture, including what is art and what’s at stake in cultural commodification. (shrink)