Santa Julia, en la Ciudad de México, surgió a principios del siglo XX como un fraccionamiento dirigido a la población de escasos recursos económicos. En el pasado adquirió fama por ser el lugar donde vivió y fue aprehendido uno de los bandidos más renombrados del porfiriato: “El Tigre de Santa Julia”. Este hecho lo llevó a ser considerado como “barrio bravo”. En contrapartida, el fervor religioso de la población que ahí habita, los lleva a manifestarse a través de altares callejeros (...) que en la actualidad son tradición, así como referentes urbano-arquitectónicos importantes del paisaje identitario de esta zona. (shrink)

From 1897 through about 1912, film producers would shoot their footage and then make a contact print of the entire film on a roll of photographic paper. Mailed to the Library of Congress, these rolls of paper established copyright. The films document a very busy world indeed. They show people thronging streets, working, shopping; they show crowds shuffling through gates at Ellis Island or welcoming returning war heroes. More than just documentary, the films include satire ad commentary on the nature (...) of life at the turn of the last century. In these early films, which almost never run much longer than two or three minutes, the camera almost never moves—no zooms, pans, or fast cuts or clever editing. But the screens are never still, full of action and movement. They document great disasters and everyday events, the dynamic world of the turn of the last century. These very early films played almost entirely to a working class audience. Indeed, when middle class observers began noticing this new phenomenon, the “movies,” sweeping working class neighborhoods they saw it as both fast paced, as a “get thrills quick” medium that played magical games with time and space, and also as a dangerous soporific. They show a busy world, but they show confusion about what “busy” means. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Sharing God’s Company: A Theology of the Communion of Saints by David Matzko McCarthyMark RyanSharing God’s Company: A Theology of the Communion of Saints By David Matzko McCarthy GRAND RAPIDS: WILLIAM B. EERDMANS, 2012. 182 PP. $28.00What is the meaning of “communion” as it occurs in Christian references to the “Communion of Saints”? It clearly implies a particular social bond, but of what sort? David Matzko McCarthy observes (...) that recent attempts to account [End Page 192] for the saints and Christians’ relations with them tend to thin out the meaning of communion. Modern approaches turn saints into exemplars intended to inspire us as we live within egalitarian, leveled societies, whereas postmodern approaches turn the lives of the saints into texts, subject to interpretive play. In both approaches the possibility of real relationship is left behind as the saints become subservient to our modern sensibilities. What McCarthy seeks to revive is substantial, real relationships with saints that can draw us out of ourselves.In chapters 1 and 2 McCarthy uses the family to indicate the strong bonds signified by the Communion of Saints (COS)—bonds that respond to our “social desire.” The COS extends such kinship across time and space, without banishing ordinary time and particular places. Yet the kind of social tie embodied in the COS has been rendered a problem by our modern biases with regard to knowledge, representation, and social life—in short, our sense of reality. If we are to enrich our participation in the COS, McCarthy implies, we must work the metaphysical ground to make it a little more hospitable to the lives of the saints. The remaining chapters consider how the reality embodied in the COS challenges modern sensibilities with regard to what is real. They do so by allowing literary and visual representations of the saints—in hagiography, scripture, statues, and painting—to interrogate modern forms of representation and the assumptions about reality and time that underlie these forms.McCarthy uses Beverly Donofrio’s Looking for Mary to exemplify the trajectory of his book. Donofrio weaves together her own life and her pilgrimage to Medjugorge with the story of Mary from the Annunciation to the present day. Of particular importance, she narrates a transformation whereby her personal stories are engrafted into the life of Mary, rather than the other way around. In this, her story illustrates how Mary becomes the key agent in de-centering the author’s life as an autonomous agent, and resituating it in the COS with Mary as her patron and route. It shows the difference between an approach to the saints that domesticates them for use in our world and one where we surrender and become part of theirs.McCarthy’s previous work is notable for its concern with family and neighborhood as the practical context, or “home,” for the Christian life. In this book, “the question of home goes deeper. Does our life together here and now have any connection to the course of things and to life as a whole?” (8) In his introduction to the inaugural issue of the Journal of Moral Theology, which he edits, he mapped out the terrain of moral theology between “hyper-enchantment,” which seeks a magic bullet for modern ills, and impersonal mechanism, which posits a “nature” abstracted from human meanings. In this book, he begins to present a fuller vision of this terrain in the form of a kinship that stretches across time and place. As he writes, “The saints and their lives embody an [End Page 193] incarnational reality; they populate the borderlands between the future and now, there and here, and heaven and earth. … They bring ordinary life and people into a real experience of communitas” (53).The book is relevant to Christian ethics, then, because of its account of what we want most, and the moral ecology in which such desire could be at home. It is tempting to treat the COS as an optional “extra” to be added to the “factory model” of moral goodness in the Christian life. McCarthy’s exceptional gift is displayed in showing us how ordinary and basic is our desire to be part... (shrink)

My office is in a medical building in suburban Washington, D.C. —in Bethesda, named for the Biblical healing pool. All of the offices of my building are occupied by medical specialists, representing the most sophisticated training in the application of the scientific method. Downstairs and of service to all of us is a pharmacy, looking for all the world like a research laboratory with its gleaming surface, meticulous cleanliness, micro-balances, records, reference books, and cash register. It is neatly stocked with (...) modern, physiologically-defined preparations of active, predictable drugs. Among the enzymes, hormones, antibiotics, and chemo therapeutics for neoplasm, are a few newly hatched, unfledged remedies, but most are dependable and thoroughly assayed. The intently busy, white-coated, unsentimental pharmacists serve a hard-headed group of practitioners and a neighborhood of upper-class, well-educated patients. It is disconcerting, then, to see the undersurface of this sophistication, the irrational shadows beneath the science. On the front counter of the pharmacy are displayed attractive colored advertisements and pleasantly seductive inducements to self-improvement through diet cults and foods, tranquilizers, energizers, protein supplements, happiness promisers, preparations to enhance sexuality, vitamins artfully combined, and many packeted stuffs of no rational or pretended use whatsoever. “Why,” I ask the gimlet-eyed pharmacist, “do you have this large display of ‘Il Wah Genuine Chinese Ginseng, the Miraculous Herb of Life’? Doesn't it violate your university training? Your integrity as a modernist?” “Oh,” says he, “ginseng makes you feel better! You have more energy. You can do more! Lots of athletes use it, and people who work too hard and feel exhausted. It's only $3.45 a package. The prescriptions you give me once in a while yield no profit, but I sell a lot of ginseng. I use it myself!” Bemused, I walk back to my office, wondering about the easy abandonment of rationality, and pull down a box of medicinals collected the year before at an open-air pharmacy in the riverside markets of Brazil. The box gives forth deliciously rich forest smells. The packets within contain barks, roots, seeds, all of purported medical value. Other packets have amulets, charms, and protectives. The colorful labels on some of the patent medicines invoke ancient saints and healers, and promise happiness, health, prosperity and power. The essential rationale for their use in indigenous medicine was illusive to me despite many conversations with indigenous healers, and many times I have gone through the hundreds of items trying to find the key to what Brazilian and North American people fundamentally want from a pharmacy. In both cultures, where does magic stop and science begin? Do shops in both countries vend talismans in the search for the enhanced life, and fetishes against death? How much of all drug use is ritual and inchoate expectation? How can we reduce the mystification and incrementally increase the rationality of our pharmacopeia? (shrink)

Global interests in bioethics have increased drastically since the end of 20th century. The reason for this should be ascribed to a broad application of molecular-genetic methods introduced in human bio-medicine. This has, in turn, produced an involvement and development of numerous inter-disciplines, which have started to apply bioethics as a part of their own subject of interest. This article presents more than a decade of experience of teaching bioethics in our country, particularly under the auspices of the National Com?mittee (...) for Bioethics of UNESCO-commission of Serbia. Globalni interes za bioetiku drasticno se povecao krajem dvadesetog stoleca, sto treba pripisati sirokoj primeni molekularno-genetickih metoda uvedenih u oblasti humane biomedicine. Ovo je dovelo do prikljucenja i razvitka brojnih interdisciplinarnih oblasti koje su bioetiku prihvatile kao deo svog opsega interesa. U ovom se clanku iznosi iskustvo dugo preko deset godina o primeni edukacije bioetike u nasoj zemlji, posebno u organizaciji i pod okriljem Nacionalnog komiteta za bioetiku UNESCO-ve komisije R. Srbije. (shrink)

In his penetrating and thought-provoking article “What Is Logic?” Ian Hacking flags an issue that he leaves undiscussed.

This book offers a state-of-the-art introduction to the basic techniques and results of neighborhood semantics for modal logic. In addition to presenting the relevant technical background, it highlights both the pitfalls and potential uses of neighborhood models – an interesting class of mathematical structures that were originally introduced to provide a semantics for weak systems of modal logic. In addition, the book discusses a broad range of topics, including standard modal logic results ; bisimulations for neighborhood models (...) and other model-theoretic constructions; comparisons with other semantics for modal logic ; neighborhood semantics for first-order modal logic, applications in game theory ; applications in epistemic logic ; and non-normal modal logics with dynamic modalities. The book can be used as the primary text for seminars on philosophical logic focused on non-normal modal logics; as a supplemental text for courses on modal logic, logic in AI, or philosophical logic ; or as the primary source for researchers interested in learning about the uses of neighborhood semantics in philosophical logic and game theory. (shrink)

Gumbrecht’s Heidegger-inspired book, Production of Presence, provides valuable tools for resolving issues in everyday aesthetics. Gumbrecht distinguishes between “presence cultures” and “interpretation cultures.” We live in an interpretation culture, and yet even in our culture there are presence effects. Gumbrecht understands aesthetic experience in terms of the idea of presence. His paradigms are great works of art and great athletic events, all of which take us away from the everyday. I argue that his theory can be adapted, ironically, to everyday (...) aesthetics, in particular to the experience of taking a walk. Much of what we experience aesthetically while taking a walk is experienced in the mode of silence. But, as Gumbrecht observes, there is an oscillation between presence effects and interpretation effects in aesthetic experience. I see that oscillation as something more like a dialectic. I also bring Plato’s theory of beauty and Danto’s theory of the artworld into this discussion. (shrink)

The Law Most Beautiful and Best is a thoughtful and creative examination of the role irrational rhetoric ought to play in persuading citizens to voluntarily obey laws. Author Randall Baldwin Clark explores the figure of the physician in Plato's Laws to address this question, identifying the subtle ways in which Plato uses the physician's role in healing as a metaphor for the task of governance and arguing that Plato hints that rational discourse may ultimately be inadequate as a persuasive technique.

The question about the relation between spacetime structure and the symmetries of laws has received renewed attention in a recent discussion about the status of Minkowski spacetime in Special Relativity. In that context we find two extreme positions (either spacetime explains symmetries of laws or vice-versa) and a general assumption about the debate being mainly about explanation. The aim of this paper is twofold: first, to argue that the ontological dimension of the debate cannot be ignored; second, to claim that (...) taking ontology into account involves considering a third perspective on the relation between spacetime and symmetries of laws; one in which both terms would be somehow derived from common assumptions on the formulation of a given physical theory. (shrink)

A key feature of unregulated mHealth research is the diversity of participants in this space. Applying an approach drawn from user experience design, we describe a set of archetypal unregulated mHealth researcher “personas,” which range from individuals who seek empowerment or have philanthropic objectives to those who are primarily motivated by financial gain or have misanthropic objectives. These descriptions are useful for evaluating policies applicable to mHealth to understand how they will impact various stakeholders.

The Law Most Beautiful and Best is a thoughtful and creative examination of the role irrational rhetoric ought to play in persuading citizens to voluntarily obey laws. Author Randall Baldwin Clark explores the figure of the physician in Plato's Laws to address this question, identifying the subtle ways in which Plato uses the physician's role in healing as a metaphor for the task of governance and arguing that Plato hints that rational discourse may ultimately be inadequate as a persuasive technique.

The nature of the Peircean sign is considered in light of a nonlinear, complemented, context dependent lattice, with particular focus on how the lattice: (1) reveals the function of distinctions between signs, (2) supports Peirce’s triadic notion of semiosis, (3) models the notion of signs incessantly becoming other signs, (4) takes its leave of classical logical principles, and (5) accounts for the emergenceof novelty — spontaneous, fresh, unique signs.

Leddington (2016) remains the leading contemporary philosophical account of magic, one that has been relatively unchallenged. In this discussion piece, I have three aims; namely, to (i) criticise Leddington’s attempt to explain the experience of magic in terms of belief-discordant alief; (ii) explore the possibility that much, if not all, of the experience of magic can be explained by mundane belief-discordant perception; and (iii) argue that make-believe is crucial to successful performances of magic in ways Leddington at best overlooks and (...) at worst denies. (shrink)

This paper presents a neighborhood semantics for logics of entailment. It begins with a minimal system Min that expresses the most fundamental assumptions about the entailment relation, and continues by examining various extensions that reflect further assumptions that might be made about entailment. This leads first to the logic B that is the basic relevant logic, and then to more powerful systems. All of these logics are proved to be sound and strongly complete. With B the neighborhood semantics (...) meets the Routley-Meyer relational semantics for relevant logic; these connections are examined. The minimal and basic entailment logics are shown to have the finite model property, and hence to be decidable. (shrink)

Gumbrecht’s Heidegger-inspired book, _Production of Presence_, provides valuable tools for resolving issues in everyday aesthetics. Gumbrecht distinguishes between “presence cultures” and “interpretation cultures.” (Gumbrecht 2004) We live in an interpretation culture, and yet even in our culture there are presence effects. Gumbrecht understands aesthetic experience in terms of the idea of presence. His paradigms are great works of art and great athletic events, all of which take us away from the everyday. I argue that his theory can be adapted, ironically, (...) to everyday aesthetics, in particular to the experience of taking a walk. Much of what we experience aesthetically while taking a walk is experienced in the mode of silence. But, as Gumbrecht observes, there is an oscillation between presence effects and interpretation effects in aesthetic experience. I see that oscillation as something more like a dialectic. I also bring Plato’s theory of beauty and Danto’s theory of the artworld into this discussion. (shrink)

Stem cells and their malignant counterparts require the support of a specific microenvironment or “niche”. While various anti‐cancer therapies have been broadly successful, there are growing opportunities to target the environment in which these cells reside to further improve therapeutic efficacy and outcome. This is particularly true when the aim is to target normal or malignant stem cells. The field aiming to target or use the niches that harbor, protect, and support stem cells could be designated as “nichotherapy”. In this (...) essay, we provide a few examples of nichotherapies. Some have been employed for decades, such as hematopoietic stem cell mobilization, whereas others are emerging, such as chemosensitization of leukemia stem cells by targeting their niche. (shrink)

Stem cells and their malignant counterparts require the support of a specific microenvironment or “niche”. While various anti‐cancer therapies have been broadly successful, there are growing opportunities to target the environment in which these cells reside to further improve therapeutic efficacy and outcome. This is particularly true when the aim is to target normal or malignant stem cells. The field aiming to target or use the niches that harbor, protect, and support stem cells could be designated as “nichotherapy”. In this (...) essay, we provide a few examples of nichotherapies. Some have been employed for decades, such as hematopoietic stem cell mobilization, whereas others are emerging, such as chemosensitization of leukemia stem cells by targeting their niche. (shrink)

Collects personal essays about simple moments that illuminate life.

The story of the beliefs and practices called 'magic' starts in ancient Iran, Greece, and Rome, before entering its crucial Christian phase in the Middle Ages. Centering on the Renaissance and Marsilio Ficino - whose work on magic was the most influential account written in premodern times - this groundbreaking book treats magic as a classical tradition with foundations that were distinctly philosophical. Besides Ficino, the premodern story of magic also features Plotinus, Iamblichus, Proclus, Aquinas, Agrippa, Pomponazzi, Porta, Bruno, Campanella, (...) Descartes, Boyle, Leibniz, and Newton, to name only a few of the prominent thinkers discussed in this book. Because pictures play a key role in the story of magic, this book is richly illustrated. (shrink)

Plato's chora as developed in the Timaeus is a creative matrix in which things arise and stand out in response to the lure of the Good. Chora is paired with the Good, its polar opposite; both are "beyond being" and the metaphors hitherto thought to disclose the transcendent. They underlie Plato's distinction of a procreative gap between being and becoming. The chiasmus between the Good and chora makes possible their mutual participation in one another. This gap makes possible both phenomenological (...) and cosmological interpretations of Plato. Metaphor is restricted to beings as they appear in this gap through the crossing of metaphor's terms, terms that dwell with, rather than subulate, one another. Hermeneutically, through its "is" we can see something being engendered or determined by that crossing. Bigger's larger goal is to align the primacy of the Good in Plato and Christian Neoplatonism with the creator God of Genesis and the God of love in the New Testament. (shrink)