In lieu of an abstract, here is a brief excerpt of the content:Hypermediated Art CriticismPamela G. Taylor (bio) and B. Stephen Carpenter II (bio)Technological media catapults our perception into what Marshall McLuhan called "new transforming vision and awareness."1 As our lives become more and more immersed in such technologies as television, film, and interactive computers, we find ourselves inundated with a heightened sense of mindfulness—an aesthetic experience made possible through such computer technological characteristics as hyperlinks, hypermedia, and hyperreality. In (...) these terms, the prefix "hyper" represents various linking devices inherent to computer technology that allure and transport us between, above, below, and toward vast areas of information, places, and peoples. Hypermediacy, according to Bob Cotton and Richard Oliver, is "an entirely new kind of media experience born from the marriage of TV and computer technologies. Its raw ingredients can be brought together in any combination. It is a medium that offers random access; it has no physical beginning, middle, or end."2 In other words, there is no set or static structure inherent in technological media. It is not so much an "anything goes" apparatus as it is an "anything is possible" system. The seemingly vast possibilities inherent to technological media offer us many and alternate views of the world.Just as technological media encourage multiple means of viewing the world, no single approach to art criticism can be considered dominant, as several methods, methodologies, and approaches exist for responding to [End Page 1] works of art. We conceive of art criticism as a complex means of making meanings about works of art and communicating those meanings to other people. Following the lead of art educator Terry Barrett,3 art criticism hinges on the four activities of describing, interpreting, judging, and theorizing about art. Barrett suggests that, although all four overlap, interpretation is the most important and most likely the most complex aspect of art criticism. Although interwoven with description, analysis, and judgment, interpretation of the meanings of individual works of art is of foremost concern in contemporary art criticism. Similarly, we situate hypermediated art criticism as a synthesis of our descriptions, interpretations, judgments, and theories—both verbal and visual—with the various ways in which computer technology facilitates the simultaneous existence, representation, storage, and presentation of these and other forms of meaning making about works of art.Hypermediated art criticism is built upon our own technological abilities to both create and follow divergent paths, ideas, and beliefs according to our choices. Hypermediated art criticism is inclusive of the ways that our choices change daily depending upon our situation, role, and purpose, or simply as a result of what we witness or experience in a moment. In the hypermediated criticism process, our ways of seeing and knowing change from a linear to multilinear perspective, from single to multilayered, and from static to mutable perception. Indeed, the disparate ways of seeing and knowing made possible through technological media and hypermedia provide us with an expansive and personally reflective approach to art criticism.Personal Reflection and Art CriticismMichael Joyce, known for his poetic approach to computer hypertext theory and fictional writing, says, "We are who we are. Layered and overlaid, we make a world within our bodies."4 Possibly now more than ever that world within our bodies can be represented, re-presented, and re-invented right before our eyes through technological media. Digital ethnographer Ricki Goldman-Segall refers to this technological world as a learning constellation in which "we are each composed of many selves, all of which interact with each other as we learn.... With the use of new computer technologies, we extend not only our technological abilities, but also our various personae—the societies of our minds—in the form of new objects for others to think with."5 In the classroom, hypermediated art criticism generated through computer technology functions just this way—as new objects that we, and our students, use to help us extend the ways in which we think about works of art.Contrary to the antihumanist approach so often associated with computer technology theory,6 our discussion of hypermediated art criticism—the symbiotic relationship of art criticism and technology—begins with the [End Page 2] basic assumption that a primary purpose of... (shrink)

Working at The Hastings Center has been a tremendous professional stepping stone for me. I have long wanted to work in publishing, and I'm leaving the Center to work for America's oldest publisher, John Wiley and Sons. But I feel that my time here has been more than that‐that it has truly continued my education in ways I could not have anticipated. Thank you for letting me be part of your intellectual lives.

Watch a three-year-old play. As she enacts Ariel and Barbie’s judo match over which will marry Prince, or trudges through the living room scolding a pink polka-dotted bunny in a stroller, or explains to you that four-foot-tall Dora is in time out because she’s been hitting the other kids with a hammer—well, you may be laughing, but chances are she’s not. When you’re three, play is a serious, cathartic process aimed at sorting out and bringing under tenuous control the often (...) overwhelming emotional cues thrown at you each day. Children tease out what scares them—say, jealousy, or blame, or violent anger—and nail it down in particular scenarios that allow them to follow a feeling to its natural conclusions .. (shrink)

A tribute to vision boards evaluates their creative, motivational, and inspirational role in providing visual life and career maps for famous and everyday ...

In Holding and Psychoanalysis: A Relational Perspective, Joyce Slochower brings a contemporary relational framework to bear on Winnicott's notion of the analytic holding environment. She presents a fresh, thought-provoking, and clinically useful integration of Winnicott's seminal insights with contemporary relational and feminist/psychoanalytic contributions. Seeking to broaden the concept of holding beyond work with severely regressed patients, she addresses holding in a variety of clinical contexts and focuses especially on holding processes in relation to issues of dependence, self-involvement, and hate. (...) She also considers clinical work with patients "on the edge" - patients who seem deperately to need a holding experience that remains paradoxically elusive. Slochower begins her study by questioning the therapeutic limitations of an interactive style. There are times, she proposes, when certain patients simply cannot tolerate evidence of the analyst's separate subjective presence and instead need a holding experience. Though this holding function is essential to work with difficult patients, it enters into the treatment of all patients, whether as figure or ground. Slochower's relational understanding of holding leads her to consider the impact of holding on patient and analyst alike. Throughout, she emphasizes the analyst's and the patient's co-construction, during moments of holding, of an essential illusion of analytic attunement; this illusion serves to protect the patient from potentially disruptive aspects of the analyst's subjective presence. Slochower's case vignettes helpfully illuminate the intersubjective aspects of the holding process, including the clinical picture when a holding frame fails. She elaborates her thesis by considering the therapeutic function of holding in mourning. And she concludes her study with a cogent examination of the theoretical and clinical limitations of working with a holding process. A welcome reprise on an essential Winnicottian theme, Holding and Psychoanalysis broadens and deepens our understanding of the therapeutic role of the analyst's holding function. (shrink)

Researchers and practitioners have devoted considerable attention to firms'' policies regarding discretionary disclosures. Prior studies argue that firms increase demand for their debt and equity issues and, thus, lower their cost of capital, by providing more informative disclosures. However, empirical research has generally not been able to document significant benefits from increased disclosure.This paper proposes an alternative explanation – firms disclose because it is the socially responsible thing to do. We argue that companies have incentives to engage in stakeholder management (...) by undertaking socially responsible activities and that providing extensive and informative disclosures is one such practice.We examine the relationship between firms'' disclosures and measures of social responsibility. We use ratings provided by the Council on Economic Priorities as proxies for the degree of social responsibility adopted by the sample firms. Disclosure rankings provided by the annual Association for Investment Management and Research Corporate Information Committee Reports (AIMR Reports) are used to measure disclosure level.Our results indicate that there is a positive relationship between disclosure level and corporate social responsibility. That is, firms that engage in socially responsive activities provide more informative and/or extensive disclosures than do companies that are less focused on advancing social goals. In addition, we find that socially responsible firms are more likely to provide this increased disclosure through better investor relations practices. These results support our contention that increased disclosure is a form of socially responsible behavior. (shrink)

High-spin states in the odd-odd N = Z nucleus Co-54 have been investigated by the fusion-evaporation reaction Si-28(S-32,1 alpha 1p1n)Co-54. Gamma-ray information gathered with the Ge detector array Gammasphere was correlated with evaporated particles detected in the charged particle detector system Microball and a 1 pi neutron detector array. A significantly extended excitation scheme of Co-54 is presented, which includes a candidate for the isospin T = 1, 6(+) state of the 1f(7/2)(-2) multiplet. The results are compared to large-scale shell-model (...) calculations in the fp shell. Effective interactions with and without isospin-breaking terms have been used to probe isospin symmetry and isospin mixing. A quest for deformed high-spin rotational cascades proved negative. This feature is discussed by means of cranking calculations. (shrink)

Two rotational bands have been identified and characterized in the proton-magic N = Z + 1 nucleus Ni-57. These bands complete the systematics of well-and superdeformed rotational bands in the light nickel isotopes starting from doubly magic Ni-56 to Ni-60. High-spin states in Ni-57 have been produced in the fusion-evaporation reaction Si-28(S-32, 2p1n)Ni-57 and studied with the gamma-ray detection array GAMMASPHERE operated in conjunction with detectors for evaporated light charged particles and neutrons. The features of the rotational bands in Ni-57 (...) are compared to those of neighbouring isotopes and interpreted by means of configuration-dependent cranked Nilsson-Strutinsky calculations. The two observed high-spin bands are considered signature partners and assigned to configurations with one 1g(9/2) proton and one 1g(9/2) neutron, resulting in an unambiguous understanding of the energetically favoured signature alpha = -1/2 band but a somewhat less satisfactory description of the signature alpha = +1/2 band. (shrink)

Describes 100 real-life ethical dilemmas faced by school administrators.

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Although ever-increasing numbers of women in the United States have been choosing small-business ownership in an apparent attempt to escape their well-documented inequality in the labor market, in this country, small businesses owned by women tend to be less successful than those owned by men. This article brings together the scattered pieces of data available in order to shed light on women's inability to gain greater parity with men in the small-business arena in the United States. Analysis suggests that U.S. (...) women's influx into small capitalism results from their movement into expanding, but highly competitive, industrial niches that are relatively unattractive to men. The authors find that these woman-owned businesses are concentrated within traditionally female-typed fields with lower average business receipts than male-typed fields. Moreover, even within the same industrial subcategories, women owners achieve less economic success than men owners. Although some of the immediate barriers faced by U.S. women in the small-business arena-such as lack of access to capital and government contracts-differ from those that confront women employees, the underlying causes are similar. The authors' discussion suggests that women in the United States carry their labor market disadvantage with them to the small-business sphere, where it is compounded by new manifestations of the same institutional barriers. (shrink)

It might be expected that it would suffice for the entry for “moral anti-realism” to contain only some links to other entries in this encyclopedia. It could contain a link to “moral realism” and stipulate the negation of the view there described. Alternatively, it could have links to the entries “anti-realism” and “morality” and could stipulate the conjunction of the materials contained therein. The fact that neither of these approaches would be adequate—and, more strikingly, that following the two procedures would (...) yield substantively non-equivalent results—reveals the contentious and unsettled nature of the topic. -/- “Anti-realism,” “non-realism,” and “irrealism” may for most purposes be treated as synonymous. Occasionally, distinctions have been suggested for local pedagogic reasons (see, e.g., Wright 1988a; Dreier 2004), but no such distinction has generally taken hold. (“Quasi-realism” denotes something very different, to be discussed in the supplement Projectivism and quasi-realism below.) All three terms are to be defined in opposition to realism, but since there is no consensus on how “realism” is to be understood, “anti-realism” fares no better. Crispin Wright (1992: 1) comments that “if there ever was a consensus of understanding about ‘realism’, as a philosophical term of art, it has undoubtedly been fragmented by the pressures exerted by the various debates—so much so that a philosopher who asserts that she is a realist about theoretical science, for example, or ethics, has probably, for most philosophical audiences, accomplished little more than to clear her throat.” This entry doesn't purport to do justice to the intricacy and subtlety of the topic of realism; it should be acknowledged at the outset that the fragmentation of which Wright speaks renders it unlikely that the label “moral anti-realism” even succeeds in picking out a definite position. Yet perhaps we can at least make an advance on clearing our throats. (shrink)

Once described as hermaphrodites and later as intersex people, individuals born with intersex variations are routinely subject to so-called “normalizing” medical interventions, often in childhood. Opposition to such practices has been met by attempts to discredit critics and reasserted clinical authority over the bodies of women and men with “disorders of sex development.” However, claims of clinical consensus have been selectively constructed and applied and lack evidence. Limited transparency and lack of access to justice have helped to perpetuate forced interventions. (...) At the same time, associated with the diffusion of distinct concepts of sex and gender, intersex has been constructed as a third legal sex classification, accompanied by pious hopes and unwarranted expectations of consequences. The existence of intersex has also been instrumentalized for the benefit of other, intersecting, populations. The creation of gender categories associated with intersex bodies has created profound risks: a paradoxically narrowed and normative gender binary, maintenance of medical authority over the bodies of “disordered” females and males, and claims that transgressions of social roles ascribed to a third gender are deceptive. Claims that medicalization saves intersex people from “othering,” or that legal othering saves intersex people from medicalization, are contradictory and empty rhetoric. In practice, intersex bodies remain “normalized” or eliminated by medicine, while society and the law “others” intersex identities. That is, medicine constructs intersex bodies as either female or male, while law and society construct intersex identities as neither female nor male. Australian attempts at reforms to recognize the rights of intersex people have either failed to adequately comprehend the population affected or lacked implementation. An emerging human rights consensus demands an end to social prejudice, stigma, and forced medical interventions, focusing on the right to bodily integrity and principles of self-determination. (shrink)