In this article, I suggest that the recently emerged perspective of environmental pragmatism encompasses self-contradicting principles. For many years, it was deemed impossible for environmental ethics to formulate justified environmental policy. Environmental pragmatism, and its primary scholar Bryan G. Norton, has promoted a new outlook in that debate by proposing an ideal methodology based upon classic American pragmatism. In this methodology, a community can determine what is morally righteous by conducting open-ended inquiry and considering all relevant stakeholders in a rational (...) discourse. Environmental pragmatism must therefore accommodate reasonable value pluralism. Moreover, Norton claims that these criteria should be complemented with what I call the ‘sustainability criterion’. However, this principle of righteous decision- making appears inconsistent with the two aforementioned commitments. This article considers why this is the case. (shrink)

DesignAgility is an adaptation of the design thinking method and was developed to meet the specific needs of the publishing industry and the media sector in general. The authors of the eponymous book embedded DesignAgility into an agile framework that allows its users to effectively develop and implement media innovations with a small team. This sample chapter of the book focuses on Ideation and describes the qualified brainstorming and idea-generating in the innovation process. The needs of the users aka the (...) ‘personas’ are reflected in so-called ‘user stories’. Through refinement the ideas are developed into possible product or service features. The chapter describes detailed steps from preparation to procedure and includes a checklist of how to easily follow the instructions for ideation. The visualization of the DesignAgility process shows where this step has to be taken within the whole innovation process. (shrink)

Dans cet ouvrage, Bruno Deschênes met en parallèle la pensée musicale européenne et la pensée esthétique japonaise, une rencontre philosophique par laquelle il propose par transpropriation comment cette pensée venant d'Asie permettrait aux mélomanes d'approfondir leur appréciation de toute musique quelle qu'elle soit. Il présente divers aspects de l'esthétique japonaise qui sont ignorés, à tout le moins jugés périphériques, dans la pensée européenne et qui, pourtant, sont inhérents à l'écoute de toute musique. Ouvrage écrit au départ du point de vue (...) du musicien, l'auteur met en contexte le rôle de l'interprète dans son rapport à un auditeur qui est à la recherche d'un sentiment esthétique vécu dans l'instant même d'une écoute tributaire de l'exécution musicale. L'écoute musicale est, selon lui, une relation visant une expérience esthétique commune. L'auditeur va à la rencontre d'une musique et du musicien, alors que ce dernier va à la rencontre de cette même musique pour l'enchantement de ses admirateurs. Tous deux convoitent un sentiment esthétique vécu mutuellement le temps d'une rencontre que l'auteur qualifie de musicale."--Page 4 of cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TragedyA Lesson in SurvivalChristopher Perricone (bio)Tragedy and Its Historical Context"Tragedy" in the strict sense of the word refers to an ancient Greek literary genre, a form of drama for the most part performed publicly in the theater. As is well known, the word "tragedy" literally means "goat song." The belief among scholars is that early singers of tragedy wore goatskin costumes in imitation of satyrs. Also, as is well (...) known, Aristotle defines "tragedy" in the strict sense of the word as "the imitation of an action that is serious and also having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions."1 Of course, when one thinks of tragedy in the strict sense the names that come to mind are Aeschylus, Sophocles, and Euripides. It is arguable that these men not only set the stage for and developed the idea of tragedy in the strict sense, but they also laid the foundations of tragedy for centuries to come.After the Greeks, not surprisingly, tragedy evolves. The strict sense of the term as a point of reference, origin, or nucleus, remains—that is, after the Greeks, tragedy still retains that sense of "an imitation of an action that is serious." However, when one considers what later goes by the name of tragedy, one is hard-pressed, without resorting to Procrustean measures, to fit with any precision those later works of tragedy into the original Greek mold. After the Greeks, Seneca composes tragedies, as do Marlowe, Shakespeare, Corneille, Racine, Goethe, Schiller, Ibsen, Chekov, Lorca, Anouilh, Miller, et al. Even the sense of "serious" is not exactly the same: is the seriousness of Hedda Gabler's or Willie Loman's fate at all comparable to the fates of [End Page 70] Medea or Oedipus? The former cases surely seem serious in some domestic sense, whereas the latter clearly are intended to imply seriousness on a much grander and perhaps cosmic scale.The reason I mention all this is that "tragedy," both in what I call the strict and nuclear ancient Greek sense of the term (which does not imply that tragedy is clearly and distinctly defined, even in ancient Greece) and in the looser, derived sense of the word, has a long and compelling history. Tragedy is a form of drama to which we continually return. It is a genre that seems intrinsic not only to our very idea of theater but also to the very nature of art itself. Although one may debate the plausibility of writing tragedies in a disillusioned and nonheroic age, nevertheless one can hardly imagine the theater existing without tragedy. One way or another, it seems tragedies, whether in the strict or loose sense, will always be performed, and not merely out of nostalgia. Indeed, given the compelling nature of tragedy, it seems no accident that among the giants of literature, the tragedians are significantly represented. The compelling nature of tragedy is nicely expressed by the literary critic F. L. Lucas, and his statements should be considered a complement to Aristotle:Tragedy, then, is a representation of human unhappiness, which pleases us notwithstanding, by the truth with which it is seen and the fineness with which it is communicated—"l'amertume poignante et fortifiante de tout ce qui est vrai." ["The invigorating and poignant bitterness of whatever is true"; my translation.] The world of everyday seems often a purposeless chaos, a mangy tiger without even the fearful symmetry of Blake's vision; but the world of tragedy we can face, for we feel mind behind it and the symmetry is there. Tragedy, in fine, is man's answer to this universe that crushes him so pitilessly. Destiny scowls upon him; his answer is to sit down and paint her where she stands.2It is not only true that tragedy as practice and performance has a long and rich history; the study of tragedy has an equally long and rich history. The idea of tragedy has attracted, tantalized, frustrated, and exercised... (shrink)

‘VERANIUS’ is an uncommon gentilicium, with brief and transient notice in Loman annals. The earliest Veranius on record is the friend of Catullus. iccording to Catullus , he was abroad on the staff of a governor while, or just after, the poet was with Memmius in Bithynia. The governor was Piso, clearly L. Piso , proconsul of Macedonia till the summer of 55. Veranius, it emerges elsewhere , had also been in Hispania Citerior, accompanied here too by his inseparable (...) Fabullus. Veranius may, or ray not, have been an author, identical with the Veranius who wrote on religious antiquities—who again might be the Veranius Flaccus whom Caesar Augusstus derided for his affected and archaic style. (shrink)