Historically, scientific and engineering expertise has been key in shaping research and innovation policies, with benefits presumed to accrue to society more broadly over time. But there is persistent and growing concern about whether and how ethical and societal values are integrated into R&I policies and governance, as we confront public disbelief in science and political suspicion toward evidence-based policy-making. Erosion of such a social contract with science limits the ability of democratic societies to deal with challenges presented by new, (...) disruptive technologies, such as synthetic biology, nanotechnology, genetic engineering, automation and robotics, and artificial intelligence. Many policy efforts have emerged in response to such concerns, one prominent example being Europe's Eighth Framework Programme, Horizon 2020, whose focus on “Responsible Research and Innovation” provides a case study for the translation of such normative perspectives into concrete policy action and implementation. Our analysis of this H2020 RRI approach suggests a lack of consistent integration of elements such as ethics, open access, open innovation, and public engagement. On the basis of our evaluation, we suggest possible pathways for strengthening efforts to deliver R&I policies that deepen mutually beneficial science and society relationships. (shrink)

McCradden and colleagues' argues that machine learning in health care poses new challenges to appropriate evaluation for safe use in clinical care. It also claims that “the longstanding syst...

Various approaches have emerged over the last several decades to meet the challenges and complexities of anticipating and responding to the potential impacts of emerging technologies. Although many of the existing approaches share similarities, they each have shortfalls. This paper takes as the object of its study Anticipatory Ethics for Emerging Technologies (ATE) to technology assessment, given that it was formatted to address many of the privations characterising parallel approaches. The ATE approach, also in practice, presents certain areas for retooling, (...) such as how it characterises levels and objects of analysis. This paper results from the work done with the TechEthos Horizon 2020 project in evaluating the ethical, legal, and social impacts of climate engineering, digital extended reality, and neurotechnologies. To meet the challenges these technology families present, this paper aims to enhance the ATE framework to encompass the variety of human processes and material forms, functions, and applications that comprise the socio-technical systems in which these technologies are embedded. (shrink)

We are continually trying to make sense of our world through the stories we tell and are told, but in our search for coherence, we often sacrifice our freedom and the rich randomness of life. In this passionate and lucid book, Michael André Bernstein challenges our practice of "foreshadowing," in which we see our lives as moving toward a predetermined goal or as controlled by fate. Foreshadowing, he argues, demeans the variety and openness that exist in even the most ordinary (...) moments of life. And it is precisely ordinary life, with its random, haphazard, and contradictory choices, that Bernstein celebrates in his call for "sideshadowing"—an alternative practice that reminds us that every present is dense with possible futures. Bernstein sees the Holocaust as the prime example of how our tendency to "foreshadow" and "backshadow" misrepresents history. He argues eloquently against politicians and theologians who posit the Holocaust as foreordained and who depict its victims as somehow complicit with a fate that they should have been able to foresee. Instead, Bernstein proposes a radically new understanding of the relationship between the Holocaust and earlier Jewish experience, transforming how we read and write both individual and communal history. Foregone Conclusions is an extraordinarily wide-ranging book, both in its scope and in its broader intellectual and moral implications. From the latest biographies of Kafka to the peace accords between Israel and the PLO, from the role of cultural diversity in universities to the Crown Heights riots, Bernstein warns us against passively accepting our identities as being shaped primarily by historical or personal victimization. His book liberates us from stereotyped patterns of understanding the relationship between our lives as individuals and as members of racial, sexual, and historic/ethnic communities. Berstein ultimately opens a powerful new way to understand the principles governing how we read and write narratives--whether historical, personal, or literary. In striking original juxtapositions and critical evaluations of Marcel Proust, Robert Musil, and Aharon Appelfeld, Bernstein sugests the need for a new literary model based on the prosaics of daily life. Bernstein speaks directly and persuasively to many of the most pressing issues in Jewish history, Holocaust studies, literary criticism, and cultural history. Foregone Conclusions is a provocative and poignant attempt to find coherence in our world without accepting either ineluctable destiny of pure coincidence. (shrink)

In this paper, we introduce the Societal Readiness Thinking Tool to aid researchers and innovators in developing research projects with greater responsiveness to societal values, needs, and expectations. The need for societally-focused approaches to research and innovation—complementary to Technology Readiness frameworks—is presented. Insights from responsible research and innovation concepts and practice, organized across critical stages of project-life cycles are discussed with reference to the development of the SR Thinking Tool. The tool is designed to complement not only shortfalls in TR (...) approaches, but also improve upon other efforts to integrate RRI, sustainability, and design thinking in research and innovation cycles. Operationalization and early-stage user tests of the Tool are reported, along with discussion of potential future iterations and applications. (shrink)

McCradden and colleagues' (2022) argues that machine learning in health care poses new challenges to appropriate evaluation for safe use in clinical care. It also claims that “the longstanding syst...

Helping scientists and engineers challenge received assumptions about how science, engineering, and society relate is a critical cornerstone for macroethics education. Scientific and engineering research are frequently framed as first steps of a value-free linear model that inexorably leads to societal benefit. Social studies of science and assessments of scientific and engineering research speak to the need for a more critical approach to the noble intentions underlying these assumptions. “Science Outside the Lab” is a program designed to help early-career scientists (...) and engineers understand the complexities of science and engineering policy. Assessment of the program entailed a pre-, post-, and 1 year follow up survey to gauge student perspectives on relationships between science and society, as well as a pre–post concept map exercise to elicit student conceptualizations of science policy. Students leave Science Outside the Lab with greater humility about the role of scientific expertise in science and engineering policy; greater skepticism toward linear notions of scientific advances benefiting society; a deeper, more nuanced understanding of the actors involved in shaping science policy; and a continued appreciation of the contributions of science and engineering to society. The study presents an efficacious program that helps scientists and engineers make inroads into macroethical debates, reframe the ways in which they think about values of science and engineering in society, and more thoughtfully engage with critical mediators of science and society relationships: policy makers and policy processes. (shrink)

Physical environmental factors – or ‘artifacts’ – are linked to healthcare outcomes in the field of social psychology. However, the role of artifacts remains rarely examined in the burgeoning discipline of placebo studies. In this paper, we argue that a careful consideration of artifacts – such as provider clothing and office décor – may carry significant potential in eliciting placebo effects in clinical settings. We discuss three potential mechanisms by which artifacts may enhance or diminish placebo (or nocebo) effects: classical (...) conditioning, response expectancy, and mindsets. We propose testable hypotheses and conclude by providing innovative research designs that might help to better advance this novel research agendum. (shrink)

Randomised placebo-controlled trials (RPCTs) are the gold standard for evaluating novel treatments. However, this design is rarely used in the context of orthopaedic interventions where participants are assigned to a real or placebo surgery. The present study examines attitudes towards RPCTs for orthopaedic surgery among 687 orthopaedic surgeons across the USA. When presented with a vignette describing an RPCT for orthopaedic surgery, 52.3% of participants viewed it as ‘completely’ or ‘mostly’ unethical. Participants were also asked to rank-order the value of (...) five different types of evidence supporting the efficacy of a surgery, ranging from RPCT to an anecdotal report. Responses regarding RPCTs were polarised with 26.4% viewing it as the least valuable (even less valuable than an anecdote) and 35.7.% viewing it as the most valuable. Where equipoise exists, if we want to subject orthopaedic surgeries to the highest standard of evidence (RPCTs) before they are implemented in clinical practice, it will be necessary to educate physicians on the value and ethics of placebo surgery control conditions. Otherwise, invasive procedures may be performed without any benefits beyond possible placebo effects. (shrink)

1. To list Pound’s triumphs of recognition in the realm of art, music, or literature is by itself no more enlightening than to catalog his oversights. Thus, for example, his instant and almost uncanny responsiveness to the work of Henri Gaudier-Brzeska is not more informative than his bizarre ranking of Francis Picabia’s paintings above those of Picasso or Matisse. Clearly it is essential to know, with as much specificity as possible, exactly what Pound said about a particular work of art (...) or literature and, equally important, given the frequent shifts of emphasis and interest throughout his long career, just when these opinions were first formulated. Like every reader of the The Cantos, I am conscious of the enormous service rendered by Pound scholars whose research is giving us a more complete inventory of the poet’s various statements and positions, and it would be foolish to take my point here as a derogation of such efforts. But a list, no matter how complete, is not an argument, and an inventory, no matter how scrupulously assembled, is not an explanation; a recurrent problem in Pound studies is that too often the compoilation of discrete items of information is seen as a sufficient answer to problems of interpretation and understanding. In other words, I think it essential that discussions of pound and the Visual Arts move beyond the quagmire resulting from still another frain-storm of “factual atoms” chronicling his various passions and dislikes.2. Far from implying, however, that we must therefore simply accept Pound’s brilliant discoveries and pass over his “howling blunders,” my position would emphasize the need to take his ideas seriously enough to confront them, to test them against the material to which they are a response and for which they often seek to provide an explanatory account. There are times, as I have argued in an analogous context, when it is less demeaning to give a man credit for his worst errors than to remove from him the capacity to err.3. What we require, I believe, is less a catalog of all of Pound’s specific statements about various artists, with each utterance assigned a positive or negative prefix depending upon our own personal and currently sanctioned hierarchy of values, than a careful study of the place of those statements in the logic and texture of Pound’s own work. The attempt to focus attention on The Cantos’ network of artistic references—its invocation of masterpieces and privileged moments of cultural achievement—will yield only trivial results unless the inner dynamic linking Pound’s various exampla and the actual role these play in the poem’s argument become clearer in the process. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a study of the Abject Hero and literary genealogy. His previous contribution to. (shrink)

To pose the question of evaluating political poetry is, of course, itself already a polemical move, since it insists on distinctions that command neither general critical consent nor methodological specificity. Repudiating the pertinence of such concerns to poetry has been, after all, the principal thrust of some of the most influential texts in modern literary theory. Indeed, considered historically, the struggle to separate aesthetic from both moral and political considerations can be seen as constituting the inaugural, grounding act of poetics (...) as a distinct discipline. In such a view, the words of a poem, by their very nature, are radically divorced from their usage in the quotidian world of shared human activities, so that although a text may contain political themes among its material poetica, insofar as it succeeds as a work of art these must function purely as internal and autonomous elements in the structure of the piece, not as arguments seeking to participate in a wider discourse. Because the language of poetry is unique and self-sufficient, thematic considerations are strictly irrelevant, and the issue of evaluation is identical regardless of the ostensible subject matter of the poem. Political poetry, in other words, is a meaningless term: a work is either a poem or it is not, and any attempt to include political concerns in its creation or evaluation is simply to abandon the domain of art for what Mallarmé dismissed as the debased idiom of “les journaux.”1Yet the very need to keep insisting on so categorical a distinction reveals that contamination is always possible, that the chasm may prove only a threshold habitually traversed by the words of any poem. And in fact, for every instance of a Mallarméan insistence upon the autonomy of the poem, there exists a counterpolemic stressing the link between word and world and, more pertinently still, between the language of verse and a search for values applicable to the communal experiences of both author and readers.2 But as I remarked earlier, the very heterogeneity of these arguments tends to deprive them of any methodological specificity, and all too often discussions of political poetry have done little more than catalog judgments about the ideological stance of a given work according to a critic’s fixed conception of which attitudes merit approval and which deserve censure. There is a crucial distinction between reading political poetry and reading poetry politically. In the latter case, the concern is less with the characteristics, let alone the evaluation, of political poetry per se than which judging how effectively the poem either champions or contests positions whose independent authority is always already guaranteed and which, in principle, are only to be illustrated, not questioned or modified, by literary texts. 1. Mallarmé’s formulation here is both categorical can powerful: “cette donnée exacte, quíl faut, si l’on fait de la literature, parler autrement que les journaux” . Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a book on the Abject Hero and a study, Talent and the Individual Tradition in Modern Poetry. His previous contributions to Critical Inquiry are “When the Carnival Turns Bitter: Preliminary Reflections upon the Abject Hero” and “image, Word, and Sign: The Visual Arts as Evidence in Ezra Pound’s Cantos”. (shrink)

In what is probably the most arresting of all the textual developments of the Saturnalian dialogues, the reader’s emotional identification with the voice of rage and thwarted rebellion is ever more thoroughly compelled by the structure and tone of succeeding works, at the same time that the dangers of that role, both for its bearer and for others, are ever more explicitly argued. Readers of Le Neveau de Rameau are not forced by the inner logic of the text to choose (...) between Moi and Lui, and they can find in each a welcome counterbalance to and relief from the demands of the other. But in Notes from Underground the “gentlemen-readers” have nothing left to offer us, and the novel makes it impossible to feel anything less than the same contempt for their platitudes that the Underground Man himself flaunts. The clearest index of the development I am tracing is the formal shift from Diderot’s dialogue proper to Dostoyevski’s first-person novel, but this mutation is itself already a consequence of a more indirect and disturbing cause. Dostoyevski, in the famous cry of The Possessed, was certain that “‘the fire is in the minds of men and not in the roofs of houses’”;9 he believed that only the prior corruption of Russia’s intelligentsia, their eager surrender to the lure of conspiracy and violence, could have led so many of them to the acts of senseless catastrophe, fueled by ressentiment, false pride, and incoherent utopian fantasies, marks all of his most important post-Siberia political and cultural writings.10 9. Dostoyevski, The Possessed, trans. Garnett , p. 533.10. In The Brothers Karamazov, Dostoyevski explicitly states that the future revolution will be made by the Smerdyakovs. In the chapter “Over the Brandy,” for example, Ivan tells his father that Smerdyakov is “a prime candidate” to initiate a revolutionary uprising . Michael André Bernstein is professor of English and comparative literature at the University of California, Berkeley. He is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and a book of poetry. His most recent contribution to Critical Inquiry is “‘O Totiens Servus’: Saturnalia and Servitude in Augustan Rome”. (shrink)

For Bakhtin the “gradual narrowing down” of the carnival’s regenerative power is directly linked to its separation from “folk culture” and its ensuing domestication as “part of the family’s private life.” Nonetheless, Bakhtin’s faith in the inherent indestructibility of “the carnival spirit” compels him to find it preserved, even if in an interiorized and psychological form, in the post-Renaissance literary tradition, and he specifically names Diderot, along with Molière, Voltaire, and Swift, as authors who kept alive the subversive possibilities of (...) a Saturnalian laughter . But, of course, as Bakhtin himself recognizes, much more has changed in both the nature and the effects of that laughter than merely its locus of action. The crucial difference, according to Bakhtin, is a new sense of terror felt at the heart of the post-Renaissance carnival grotesque:The transformation of the principle of laughter which permeates the grotesque, that is the loss of its regenerating power, leads to a series of other essential differences between Romantic grotesque and medieval and Renaissance grotesque…The world of Romantic grotesque is to a certain extent a terrifying word, alien to man…Something frightening is revealed in that which was habitual and secure. [Pp. 38-39]Directly linked to this burden of terror, of laughter as a response to dread, not exuberance, is a change in the literary function of madness:Other specific traits are linked with the disappearance of laughter’s regenerating power…. The theme of madness is inherent to all grotesque forms, because madness makes men look at the world with different eyes, not dimmed by “normal,” that is by commonplace ideas and judgments. In folk grotesque, madness is a gay parody of official reason, of the narrow seriousness of official “truth.” It is a “festive” madness. In Romantic grotesque, on the other hand, madness acquires a somber, tragic aspect of individual isolation. [P. 39]Bakhtin’s typology of laughter, for all its richly textured local insights, is haunted, from its inception, by a wistfully nostalgic longing for a realm of pure and ahistorical spontaneity, a rite of universal participation whose essentially affirmative character is guaranteed by its very universality. The most characteristic feature of such a carnival is, in fact, its abolition of all distinctions between participant and viewer:Carnival does not know footlights, in the sense that it does not acknowledge any distinction between actors and spectators. Footlights would destroy a carnival, as the absence of footlights would destroy a theatrical performance. Carnival is not a spectacle seen by the people; they live in it, and everyone participates because its very idea embraces all the people. While carnival lasts, there is no other life outside it…. It has a universal spirit: it is a special condition of the entire world, of the world’s revival and renewal, in which all take part. [P. 7]Yet as soon as the question of representation arises, whether in Rabelais or in his successors, the “footlights” which separate actor and spectator, reader and character, come into being, introducing the very divisions the work’s themes deny. Belatedness, the knowledge of coming after the festival has already been fragmented, is thus not limited to a post-Rabelaisian, bourgeois culture; it is itself a condition of every Saturnalian text, and what has changed is not the inclusiveness of the carnival per se but the literary consequences of acknowledging that belatedness. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione, a volume of verse. He is currently at work on a book about the Abject Hero and literary genealogy. (shrink)

Social exclusion influences how expressions are perceived and the tendency of the perceiver to mimic them. However, less is known about social exclusion’s effect on one’s own facial expressions. The aim of the present study was to identify the effects of social exclusion on Duchenne smiling behaviour, defined as activity of both zygomaticus major and the orbicularis oculi muscles. Utilising a within-subject’s design, participants took part in the Cyberball Task in which they were both included and excluded while facial electromyography (...) was measured. We found that during the active experience of social exclusion, participants showed greater orbicularis oculi activation when compared to the social inclusion condition. Further, we found that across both conditions, participants showed greater zygomaticus major muscle activation the longer they engaged in the Cyberball Task. Order of condition also mattered, with those who experienced social exclusion before social inclusion showing the greatest overall muscle activation. These results are consistent with an affiliative function of smiling, particularly as social exclusion engaged activation of muscles associated with a Duchenne smile. (shrink)

Contained in the face is a vast body of social information, both fixed and flexible. Across multiple lines of converging evidence it has become increasingly clear that face processing is subject to one of the most potent and best understood of social cognitive phenomena: social categorization. This article reviews this research at the juncture of social psychology and face perception showing the interplay between social categorization and face processing. It lays out evidence indicating that social categories are extracted easily from (...) faces, suggesting that the effects of social categories can occur quickly and unintentionally. Recent evidence that social categories can affect perception of both invariant and variant facial characteristics is discussed. Finally, the article summarizes recent evidence indicating that the motivational consequences of social categories can affect which faces are remembered and how faces are processed. (shrink)