A study was conducted to investigate the perceptions of academic dishonesty in fifth-grade students. Two methods were used to gather data: a sorting task, which was used to indirectly assess the students' perceptions, and a rating scale task, which was used to externally validate the results of the sorting task. Results of the multidimensional scaling analysis yielded two dimensions, the first being tests/homework and papers, and the second, more ambiguous appearing to differentiate based on seriousness.

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

This chapter reviews the literature on experimental political philosophy. Much of the literature considers individuals’ intuitions about distributive justice, retributive justice, and key concepts such as the doing/allowing distinction. The chapter argues that although there is relatively little experimental political philosophy proper, there are many avenues for future research. It presumes some familiarity with political philosophy, but its main aim is not to explain the relevance of studies to particular debates. The chapter provides an overview of interesting empirical results that (...) may be of some broad interest and suggests that there is reason for those interested in experimental political philosophy to do new kinds of empirical work and employ new methods from many disciplines. Experimental philosophy need not model itself primarily on the discipline of psychology. There are many useful methods available for answering important questions experimental philosophers might want to address in these other disciplines. (shrink)

Darwin the writer -- Learning to see : Darwin's prophetic apprenticeship on the Beagle voyage -- The prose of On the origin of species -- Surprise and paradox : Darwin's artful legacy -- Darwinian mind and Wildean paradox -- Hardy's Woodlanders and the Darwinian grotesque -- Coda : the comic Darwin.

David Levine and Mathew Bowker explore cultural and political trends organized around the conviction that the world we live in is a dangerous place to be, that it is dominated by hate and destruction, and that in it our primary task is to survive by carrying on a life-long struggle against hostile forces. Their method involves the analysis of public fantasies to reveal their hidden meanings. The central fantasy explored is the fantasy of a destroyed world, which appears most (...) commonly in the form of post-apocalyptic and dystopian narratives. Their special concern in the book is with defenses against the painful consequences of the dominance of this fantasy in the inner world, especially defenses involving the use of guilt to assure that something can be done to repair the destroyed world. Topics explored include: the formation of internal fortresses and their projection into the world outside, forms of guilt including bystander guilt and survivor guilt, the loss of and search for home, and manic forms of reparation. (shrink)

This paper explores how phenomenological notions of rhythm might accommodate a richer description of preverbal infant-caregiver dialogue. Developmental psychologists have theorized a crucial link between rhythm and intercorporeality in the emergence of intersubjectivity and self. Drawing on the descriptions of rhythm in the phenomenology of Maurice Merleau-Ponty, Erwin Straus, Henri Maldiney and Maxine Sheets-Johnstone, the paper emphasizes the role of art and aesthetic processes proposing that they not only be considered as metaphorical or representational aspects of rhythm but as primary (...) resources that can enrich and deepen our understanding of self-emergence and intercorporeality in preverbal infant-caregiver dialogue. (shrink)

The 'ethics of deconstruction'? -- Ethical (im)possibilities -- Ethics under erasure -- Ethical experience : a cinematic example.

Introduction: sustainable critique and the lost vocation of international relations -- "For we born after:" the challenge of sustainable critique -- Sustainable critique and critical IR theory: against emancipation -- The realist dilemma: politics and the limits of theory -- Communitarian IR theory -- Individualist IR theory: disharmonious cooperation -- Conclusion: toward sustainably critical international theory.

According to transhumanists who urge the radical enhancement of human beings, humanity’s top priority should be engineering “posthumans,” whose features would include agelessness. Increasingly, transhumanism is critiqued on foundational grounds rather than based largely on anticipated results of its implementation, such as rising social inequality. This expansion is crucial but insufficient because, despite its radical aim, transhumanism reflects beliefs and attitudes that are evident in the broader culture. With a focus on the yearning to eliminate aging, I consider four of (...) these: a disproportionate reliance on science and technology to address major human challenges; the conceptualization of human beings in terms of binaries like “young-old”; a repudiation of vulnerability; and intensifying perfectionism. Illuminating these interlocked commitments both deepens an existing critique of transhumanism and draws our attention to deleterious cultural views that must be vigorously contested if our commitment to human flourishing is to be deep and unwavering. (shrink)

This article argues that we could improve the design of research protocols by developing an awareness of and a responsiveness to the social contexts of all the actors in the research enterprise, including subjects, investigators, sponsors, and members of the community in which the research will be conducted. ?Social context? refers to the settings in which the actors are situated, including, but not limited to, their social, economic, political, cultural, and technological features. The utility of thinking about social contexts is (...) introduced and exemplified by the presentation of a hypothetical case in which one central issue is limitation of the probability of injury to subjects by selection of individuals who are not expected to live long enough for the known risks of the study to become manifest as harms. Benefits of such considerations may include enhanced subject satisfaction and cooperation, community acceptance, and improved data quality, among other desirable consequences. (shrink)

From Dr. Nicole LePera, creator of "the holistic psychologist"-the online phenomenon with more than 2M followers on Instagram-comes a revolutionary approach to self-improvement, integrating the tools of various modalities and disciplines with traditional psychology to offer a practical program that guides readers to create radical change.

Darwin in Argentina -- Conflicting Systems -- Francisco Javier Muniz (1795-1871) -- Hermann Burmeister (1807-1891) -- Francisco P. Moreno (1852-1919) -- Domingo F. Sarmiento (1811-1888) -- Eduardo Holmberg (1852-1937) -- Florentino Ameghino (1854-1911) -- Jose Ingenieros (1877-1925) -- Carlos Octavio Bunge (1875-1918).

This chapter identifies some of the unique ways in which uploading relates to transformations in values, as well as to collect, and to some extent integrate, diverse yet overlapping ideas and research relevant to the question of teleology in a transhumanist/posthuman context. The transition to a non‐biological substrate represents a nonpareil transformation of values. Given an unprecedented influx of novelty, it is difficult to anticipate new values and directions; however, the underlying patterns of human teleology, coupled with the fundamental values (...) carried forward to the transition, can suggest invariants in values and which directions might be pursued. Would uploaded persons spend most of their time inside or outside virtual reality? Would there be radical diversity in body shape and form, or a concentration of similar morphologies? While many provocative questions remain regarding a post‐biological future, some answers seem strongly supported. (shrink)

This chapter discusses seven of nine and the doctor experience various ups and downs as they navigate the deepest reaches of social and emotional interactions. Conscious experiences have two basic components: the experience itself and the meaning you derive from it, what it means to you. Husserl used two Greek terms, noesis and noema, to explain these aspects. Noesis gives meaning to an experience, as opposed to simply dismissing everyday occurrence as just “things” that happen without any intention or influence. (...) Husserl goes as far as to say that the noesis becomes the “real content” of the experience. In contrast, the noema is the actual meaning of the experience: its point about something, so that the events that happen to us make sense to us in terms of generating personal significance. Husserl distinguishes between the content of an act, what makes an experience meaningful or intentional from its object. (shrink)

This chapter contains sections titled: Inspiration History Inside the Beauty Question.

This volume offers the first substantial study of Heidegger’s phenomenology of perception, focusing on perception as capacities that can be developed in learning processes, notably in ways befitting ontological mindfulness. The author proposes new interpretations of Heidegger’s five most important key words.

In many spheres, the law takes the legal concept of causation to correspond to the folk concept (the correspondence assumption). Courts, including the US Supreme Court, tend to insist on the "common understanding" and that which is "natural to say" (Burrage v. United States) when it comes to expressions relating to causation, and frequently refuse to clarify the expression to juries. As recent work in psychology and experimental philosophy has uncovered, lay attributions of causation are susceptible to a great number (...) of unexpected factors, some of which seem rather peripheral to causation. One of those is the norm effect (Knobe & Fraser, 2008): Agents who, in acting as they do, break a salient norm, are more likely to be considered as having caused a certain consequence than when they do not violate a norm. According to some (e.g., Alicke, 1992) this constitutes a bias. According to others (e.g., Sytsma, 2020), the folk concept of causation is sensitive to normative factors, and there’s nothing wrong with that. In this paper, we explore the question whether the norm effect should be considered a bias from the legal perspective on the one hand, and from the psychological perspective on the other. To do this, we test whether norms which are nonpertinent to the consequences or outright silly also impact causation judgements. The data from two preregistered experiments (total N=593) clearly show they do. This, we argue, makes the bias interpretation plausible from the psychological perspective, and both plausible and problematic from the legal perspective. It also shows that the law should abstain from unreflectively assuming conceptual correspondence between legal and ordinary language concepts. (shrink)

Philosophical Papers, Volume 41, Issue 1, Page 149-165, March 2012.

What stands out when we blend in? Performing Ground is the first book to explore camouflage as a performance practice, arguing that the act of blending into one's environment is central to the ways we negotiate our identities in and through space. Laura Levin tracks contemporary performances of camouflage through a variety of forms - performative photography; environmental, immersive, and site-specific performance; activist infiltration; and solo artworks - and rejects the conventional dismissal of blending in as an abdication of self. (...) Instead, she contemplates the empowering political possibilities of 'performing ground,' of human bodies intermingling with the material world, while directly engaging with the reality that women and other marginalized persons are often relegated to the background and associated with the properties of space. Performing Ground engages these questions through the works of some of today's most exciting performance artists such as Rebecca Belmore, Liu Bolin, Janieta Eyre, and Violeta Luna, and groups like Gob Squad, Punchdrunk, The Yes Men, and Urban Mimics. (shrink)

Contemporary process metaphysics has achieved a number of important results, most significantly in accounting for emergence, a problem on which substance metaphysics has foundered since Plato. It also faces trenchant problems of its own, among them the related problems of boundaries and individuation. Historically, the quest for ontology may thus have been largely responsible for the persistence of substance metaphysics. But as Plato was well aware, an ontology of substantial things raises serious, perhaps insurmountable problems for any account of our (...) epistemic access to such things. Physical things are subject to change, and as such, they are poor objects of knowledge—if knowledge is to be more reliable than mere opinion. There is a reading of Plato’s Theaetetus on which knowledge may be understood as a relation between an epistemic subject and a logos, where logoi are intrinsically dialectical, and where dialectic is a kind of intersubjective activity. Insofar as this epistemology may be attributed to Plato, the project of this paper is Platonic in spirit. It is also, in a sense, Kantian, in that it divorces ontology from the search for things-in-themselves, redirecting our attention from things to objects: epistemic objects. Such objects can be understood, as Maurice Merleau-Ponty proposed, as shared by multiple subjects by virtue of their participation in an intersubjective world, constituted by what Shaun Gallagher calls ‘‘participatory sense-making.’’ On an epistemology constructed in this way, the fact that both epistemic objects and their subject are mutable is no obstacle to knowledge. Far-from-equilibrium systems are forever mutable; at thermodynamic equilibrium, there would be neither subject, nor object. Epistemic objects, on this picture, are metastable loci of interactive potential. (shrink)

Original reading of Heidegger suggesting what his project could mean for building an ethical way of life now and in the future.

Esta Cr tica es una obra capital por el solo hecho de que versa sobre los temas en que culmina toda meditaci n sistem tica en filosof a. Es un proyecto de revoluci n te rica.

This chapter contains sections titled: Sex Talk Just Friends and Sex Too? Casual Sex History and Prevalence So, Why have Sex with a Friend? Communication in Friends with Benefits Relationships The Bottom Line.

How medical education and practice can move beyond a narrow focus on biological intervention to recognize the lived experiences of illness, suffering, and death. In Afflicted, Nicole Piemonte examines the preoccupation in medicine with cure over care, arguing that the traditional focus on biological intervention keeps medicine from addressing the complex realities of patient suffering. Although many have pointed to the lack of compassion and empathy in medical practice, few have considered the deeper philosophical, psychological, and ontological reasons for (...) it. Piemonte fills that gap, examining why it is that clinicians and medical trainees largely evade issues of vulnerability and mortality and, doing so, offer patients compromised care. She argues that contemporary medical pedagogy and epistemology are not only shaped by the human tendency to flee from the reality of death and suffering but also perpetuate it. The root of the problem, she writes, is the educational and institutional culture that promotes reductionist understandings of care, illness, and suffering but avoids any authentic confrontation with human suffering and the fear and self-doubt that can come with that confrontation. Through a philosophical analysis of the patient-practitioner encounter, Piemonte argues that the doctor, in escaping from authentic engagement with a patient who is suffering, in fact “escapes from herself.” Piemonte explores the epistemology and pedagogy of medicine, examines its focus on calculative or technical thinking, and considers how “clinical detachment” diminishes physicians. She suggests ways that educators might cultivate the capacity for authentic patient care and proposes specific curricular changes to help students expand their moral imaginations. (shrink)

In this chapter, the author wants to respond to Noam Chomsky's claim, repeated often in different ways. He argues both that Chomsky's own position suffers from inconsistency – he dismisses the apparent problem while at the same time promoting it as a “mystery” – and that his principal reason for maintaining his position, that there is no clear conception of body, or the physical, with which to contrast the mind, or the mental, does not really dispense with the issue that (...) rightfully worries philosophers. A good analogy for the mind–body problem is the “naturalization” debate in metaethics; indeed, naturalization is a term that occurs often in the context of both debates. Chomsky explicitly disparages the claim that the mental–physical relation poses an “explanatory gap." Maybe, as Chomsky says concerning at least some mental attributes, it will always remain a mystery how the organized matter of our brains can support these features. (shrink)

This chapter contains section titled: Context: Irrelevant and Relevant Hume's Argument against Justified Belief in Miracles Explained Immortality References Further Reading.

In this chapter, the author shows that the affinity between the two thinkers is far greater than interpreters like Farrell allow. He focuses on evaluating the argument that Richard Rorty is not able to get past the dichotomies ‐ although he will have cause to comment on the first one as well. In the context of a continued anti‐representationalism, Rorty comes to admit that there is a “truth in realism” and that our relations to the world are not just causal (...) but also normative. The author argues that with these admissions Rorty comes to articulate a view that can, with some plausibility, be said to have gotten beyond the dichotomies of scheme and content, subject and object, and realism and antirealism. D. Davidson agrees with Rorty that truth is not definable by simpler and more transparent concepts. Davidson has a pronged attack on the concept of representation. (shrink)

_Provides a critique of reason, demanding that we take greater responsibility for nature and other people._.

Bodying Postqualitative Research posits the question of what happens when lived, fleshy human bodies engage in postqualitative research in education. It takes as its central concern research propositions aimed at dismantling the structures of humanism that typically govern research in education and uses postqualitative conceptions of data, methodology, and clarity in conjunction with insights from feminist science studies scholars to imagine how we might 'body' postqualitative work. This book uses the provocations offered by postqualitative research and takes these touchpoints to (...) dismantle dominant logics of research, born of neoliberalism and ongoing settler colonialism to offer alternative perspectives. Importantly, this book stays near to the body by proposing caffeine shakes, antipsychotic medications, and scars as moments to take seriously how bodies do researching practices. After each chapter, the book turns to poetry as a "fracture" or a moment of disruption to the rhythm of the text that incites readers to reconsider the previous chapter otherwise. It concludes by asking what bodying postqualitative research might mean for pedagogy and for propositions toward future inquiry. Drawing together the work of feminist science and education scholars oriented toward the biosciences and whose work has not yet been immersed into postqualitative scholarship in a sustained way, this book brings together a vein of feminist science studies theorizing that both deepens and troubles postqualitative scholarship through its focus on the politics of science and the possibilities of doing bodies with biology, culture, and life. The volume is suitable for students and scholars interested in postqualitative and embodied research methods in education, and feminist and gender studies. (shrink)