The National Center for Biomedical Ontology is now in its seventh year. The goals of this National Center for Biomedical Computing are to: create and maintain a repository of biomedical ontologies and terminologies; build tools and web services to enable the use of ontologies and terminologies in clinical and translational research; educate their trainees and the scientific community broadly about biomedical ontology and ontology-based technology and best practices; and collaborate with a variety of groups who develop and use ontologies and (...) terminologies in biomedicine. The centerpiece of the National Center for Biomedical Ontology is a web-based resource known as BioPortal. BioPortal makes available for research in computationally useful forms more than 270 of the world's biomedical ontologies and terminologies, and supports a wide range of web services that enable investigators to use the ontologies to annotate and retrieve data, to generate value sets and special-purpose lexicons, and to perform advanced analytics on a wide range of biomedical data. (shrink)

This volume addresses how black, middle class, second generation Caribbean immigrants are often overlooked in contemporary discussions of race, black economic mobility, and immigrant communities in the US. Based on rich ethnography, Yndia S. Lorick-Wilmot draws attention to this persisting invisibility by exploring this generation's experiences in challenging structures of oppression as adult children of post-1965 Caribbean immigrants and as an important part of the African-American middle class. She recounts compelling stories from participants regarding their identity performances in (...) public and private spaces-including what it means to be "black and making it in America"-as well as the race, gender, and class constraints they face as part of a larger transnational community. (shrink)

In this paper, we set out a basic approach to the modeling of narrative in interactive virtual worlds. This approach adopts a bipartite model taken from narrative theory, in which narrative is composed ofstoryanddiscourse. In our approach, story elements — plot and character — are defined in terms of plans that drive the dynamics of a virtual environment. Discourse elements — the narrative’s communicative actions — are defined in terms of discourse plans whose communicative goals include conveying the (...) class='Hi'>story world plan’s structure. To ground the model in computational terms, we provide examples from research under way in the Liquid Narrative Group involving the design of the Mimesis system, an architecture for intelligent interactive narrative incorporating concepts from artificial intelligence, narrative theory, cognitive psychology and computational linguistics. (shrink)

In this paper, we set out a basic approach to the modeling of narrative in interactive virtual worlds. This approach adopts a bipartite model taken from narrative theory, in which narrative is composed ofstoryanddiscourse. In our approach, story elements — plot and character — are defined in terms of plans that drive the dynamics of a virtual environment. Discourse elements — the narrative’s communicative actions — are defined in terms of discourse plans whose communicative goals include conveying the (...) class='Hi'>story world plan’s structure. To ground the model in computational terms, we provide examples from research under way in the Liquid Narrative Group involving the design of the Mimesis system, an architecture for intelligent interactive narrative incorporating concepts from artificial intelligence, narrative theory, cognitive psychology and computational linguistics. (shrink)

The paper studies the topography of the model landscape of the physics in the Higgs sector both within the Standard Model of Elementary Particle Physics and beyond in the months before the discovery of a SM Higgs boson. At first glance, this landscape appears fragmented into a large number of different models and research communities. But it also clusters around certain guiding ideas, among them supersymmetry or dynamical symmetry breaking, in which representative and narrative features of the models are combined. (...) These models do not stand for themselves, waiting to be experimentally confirmed and elevated to the status of theory. Rather do they, quite in the sense advocated by Morgan and Morrison, enjoy a far-reaching autonomy. Typically models in the Higgs sector entertain three types of mediating relationships. First, they mediate between the SM and the data in those instances where the SM contains some uncertainty in the values of its basic parameters. Second, they mediate between BSM physics and the data by instantiating the core ideas behind these often speculative generalizations of the SM as stories—in Hartmann’s sense—that motivate or justify the respective model. Third, the fact that Higgs models within BSM physics reproduce the SM predictions in the low-energy limit functions as a consistency constraint that does not involve any additional autonomy. Due to the second type of mediating relationship, the representative features of Higgs models BSM are complex. (shrink)

Review Essay: Exemplary Stories: On the Uses of Biography in Recent Sociology: Alan Sica and Stephen Turner The Disobedient Generation: Social Theorists in the Sixties ; Mathieu Deflem Sociologists in a Global Age: Biographical Perspectives ; Anthony Elliott and Charles Lemert, The New Individualism: The Emotional Costs of Globalization.

Storytelling is a pervasive part of our daily lives and culture. The task of creating stories for the purposes of entertaining, educating, and training has traditionally been the purview of humans. This sets up the conditions for a creative authoring bottleneck where the consumption of stories outpaces the production of stories by human professional creators. The automation of story creation may scale up the ability to produce and deliver novel, meaningful story artifacts. From this practical perspective, story (...) generation systems replicate the creative abilities of humans and can thus be considered instances of computational creativity. Computational systems that are purported to be creative typically utilize one of three general approaches: exploration of a space of concepts, combination of concepts, and transformation of concepts. In this article we present an approach to story generation that utilize exploration, combination, and transformation. Our approach, implemented in the Vignette Based Partial Order Causal Link story planner, is an algorithm that searches through a space of possible story solutions, guided by combinations of existing story fragments called vignettes. The vignettes are made relevant to novel story generation contexts through an automated transformation pre-process. Through these processes, we show that story generation can incorporate multiple perspectives on computational creativity. Our approach is presented at both the theoretical and technical levels. (shrink)

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the (...) two mental state types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

How the concept of proof has enabled the creation of mathematical knowledge. The Story of Proof investigates the evolution of the concept of proof--one of the most significant and defining features of mathematical thought--through critical episodes in its history. From the Pythagorean theorem to modern times, and across all major mathematical disciplines, John Stillwell demonstrates that proof is a mathematically vital concept, inspiring innovation and playing a critical role in generating knowledge. Stillwell begins with Euclid and his influence on (...) the development of geometry and its methods of proof, followed by algebra, which began as a self-contained discipline but later came to rival geometry in its mathematical impact. In particular, the infinite processes of calculus were at first viewed as "infinitesimal algebra," and calculus became an arena for algebraic, computational proofs rather than axiomatic proofs in the style of Euclid. Stillwell proceeds to the areas of number theory, non-Euclidean geometry, topology, and logic, and peers into the deep chasm between natural number arithmetic and the real numbers. In its depths, Cantor, Gödel, Turing, and others found that the concept of proof is ultimately part of arithmetic. This startling fact imposes fundamental limits on what theorems can be proved and what problems can be solved. Shedding light on the workings of mathematics at its most fundamental levels, The Story of Proof offers a compelling new perspective on the field's power and progress. (shrink)

Pulitzer Prize-winning author Will Durant chronicles the lives and ideas of key philosophers throughout history in this informative yet eminently readable text. Beginning with Socrates and Plato and concluding with Friedrich Nietzsche, Durant builds a history of philosophy by showing how each thinker's ideas informed and influenced the next generation.

Evaluation processes are a basic component of creativity. They guide not only the pure judgement about a new artefact but also the generation itself, as creators constantly evaluate their own work. This paper proposes a model for automatic story generation based on the evaluation of stories. A model of how quality in stories is evaluated is presented, and two possible implementations of the generation guided by this evaluation are shown: exhaustive space exploration and constrained exploration. A (...) theoretical model and its implementation are explained and validation of the evaluation function through comparison with human criteria is described. (shrink)

Death is the destiny we all share, and this will not change. Yet the way we die, which had remained the same for many generations, has changed drastically in a relatively short time for those in developed countries with access to healthcare. For generations, if people were lucky enough to reach old age, not having died in infancy or childhood, in childbirth, in war, or by accident, they would take to bed, surrounded by loved ones who cared for them, and (...) fade into death. Most likely, they would have seen their parents and grandparents die the same way, and so this manner of dying would be familiar: it was part of the natural cycle of life. Now less than 25 per cent of Americans die at home, having reached much older ages than people would have dreamed of in past generations, often after surviving many illnesses and even diseases that would have been terminal for their grandparents. We are fortunate to live (and die) today, supported by myriad scientific, medical, and technological advancements, however we also face new problems as a result of the new way in which we die. We can no longer anticipate a peaceful waning at home with family. We know our lives will likely end in hospitals likely after we have endured grueling treatments to prolong life. We have to decide what decisions we want our loved ones, or care-givers, to make when we cannot choose for ourselves. We have to think about whether in any circumstances we would seek physician-assisted death. We know we face other questions as well, but we may not even know where to start. In the face of these decisions, we can feel daunted and afraid. The best remedy is information and planning. In this book, Gregory Eastwood - a physician who has cared for dying patients, served as an ethics consultant, and taught end of life issues to medical and other health profession students - draws from his substantial experience with patients and families to provide the information that will help us think clearly about the choices and issues we will face at the end of our own lives, and when faced with the deaths of our loved ones. With sensitivity and profound insight, Eastwood guides us through all the important questions about death and dying in straightforward, clear language, enhanced by real-life stories. Throughout, he shows us how we can take ownership of the way we want to die, when we must die, and feel more in control as death approaches. (shrink)

Pulitzer Prize-winning author Will Durant chronicles the lives and ideas of key philosophers throughout history in this informative yet eminently readable text. Beginning with Socrates and Plato and concluding with Friedrich Nietzsche, Durant builds a history of philosophy by showing how each thinker's ideas informed and influenced the next generation.

Moral constructions of suicide are deliberately avoided in contemporary suicidology, yet morality persists, little or imperfectly acknowledged, in its practices and in the policies, discourses, and instruments that it underpins. This study used narrative methodologies to examine the normative force of suicidology and its implications for persons who had engaged in an act of nonfatal suicidal behavior. I interviewed a convenience sample of twelve persons from two inner–urban community mental health centers who were receiving crisis and case management services after (...) a recent act of nonfatal suicidal behavior. Interviews focused on events leading up to and after participants’ suicidal behavior; the responses their suicidal behavior generated in others, including family, friends, and the health professionals caring for them; and cultural views of suicide more broadly. Analysis of these interviews revealed that, although participants’ narratives were broadly consistent with a number of recognizable, canonical story formats common to our cultural repertoire of stories of suicide, they also revealed important tensions, divisions, conflicts, and challenges to contemporary suicidological discourse and practice. Despite evidence to suggest that biomedical understandings of suicide provided some therapeutic benefit to participants, they did not address important social and moral dimensions of human life or explore their connection to suicidal behavior—aspects of the suicidal event that were critical to its causation and to its retelling and “resolution.” The results of this study provide important insights into the moral features of suicidal behavior, the moral and ethical implications of suicide research, and the limitations of moral and ethical discourse in suicidology. (shrink)

Responding to a recent surge of interest in feminist art, its futures, and its history, this article considers the nature and function of the dominant narratives that circulate and structure the field. Specifically, I explore the persistent story of inter-generational strife in which a first generation of artists and historians is understood to have been naïvely mired in an essentialism of which a second, more theoretically savvy generation has been subsequently cleansed. Although one would be hard pressed (...) to identify contemporary scholars who promote this sort of generationally bound progress narrative, the story persists. Its persistence, I argue, has less to do with its truth telling ability and more to do with its ability to perform the function of disidentification. (shrink)

We two semioticians, separated by a generation or two, by geography of a continent or two, and by discipline, launch a fresh metalogue to probe the semiosic behavior of storying.

_Telling Stories to Change the World_ is a powerful collection of essays about community-based and interest-based projects where storytelling is used as a strategy for speaking out for justice. Contributors from locations across the globe—including Uganda, Darfur, China, Afghanistan, South Africa, New Orleans, and Chicago—describe grassroots projects in which communities use narrative as a way of exploring what a more just society might look like and what civic engagement means. These compelling accounts of resistance, hope, and vision showcase the power (...) of the storytelling form to generate critique and collective action. Together, these projects demonstrate the contemporary power of stories to stimulate engagement, active citizenship, the pride of identity, and the humility of human connectedness. (shrink)

Activists and academics have clamoured for the decolonisation of knowledge, including law. But, unfortunately hardly anyone has put forth strategies for how faculties should decolonise the law. A number of jurists have underscored the necessity to draw on customary laws and traditional values. Still, the #RhodesMustFall movement has, for the most part, been loud on the outcomes, but quiet on the methodologies. Joining the conversation on the decolonisation of epistemologies, this article contributes to the ongoing efforts to sanitise the law (...) by proposing to revive African oral storytelling cultures as a way to analyse the questions of law facing society. To live up to this task, this article adopts decolonial theory and, through stylised examples, illustrates how lawyers and social scientists in Africa can utilise storytelling to contextualise, construct, and comprehend those questions. This article assumes that lawyers can use African storytelling alongside the prevailing doctrinal method. That method, relaying the coloniality of law and captured by the acronym IRAC, rules, application, and conclusion), trains students to approach conflict in society through a highly abstract and decontextualised problem-solving model. Lately, some social scientists have discovered the practicality of storytelling in presenting analysis and research. However, in African oral traditions, stories worked differently from the manner in which those scientists employ them. African storytelling played a leading role, not only in conveying collective wisdom and social memory from one generation to the next, but also as a medium through which communities transmit the values that hold them together.Contribution: This article adds to the scholarship on storytelling and narratology by showing how educators can utilise stories to analyse legal questions. That rich scholarship in the humanities and the social sciences has so far not taken seriously the possibility of using stories to analyse research problems. Instead, scholars focus on storytelling mainly as a way of presenting science, not as an analytical tool. This article bridges that gap and demonstrates the analytical value of storytelling. (shrink)

Haraway foregrounds many stories that we, in a late capitalist era, tell ourselves in order to justify, or not even notice, actions that are harmful to all living things. While I am mindful of Haraway’s excellent attention to the ways that ‘stories tell stories, thoughts think thoughts, and knots knot knots,’ I argue that we must take great care when we, as educators, blur the lines between facts and fiction; reality and art. When everything becomes a story—with some stories (...) simply being more compelling than other stories—we run the risk of contributing to the very sense of unmooring that has led us to the status quo where arctic icecaps are melting, living things are becoming extinct, and humans are suffering from man-made pollution. In this paper, I trouble the use of stories to draw attention to the ecological harm we have done to our earth. While stories can be powerful, there are risks associated with how we tell stories; and particular risks when we blur the lines between critical storytelling and the idea of something as ‘factual’. Storytelling, and blurring the lines between stories and facts, can have negative implications for our quest to generate a sense of ‘response-ability’ for our planet and all who live on it. In order to make that argument, I first talk about my own story and the ways that I have used stories in the classroom. I then touch on Haraway and her particular use of stories. I then foreground the practice of telling truths with stories by exploring the use of critical fiction and narrative inquiry. I conclude with implications for pedagogy. (shrink)

We evaluate the “story grammar” approach to story understanding from three perspectives. We first examine the formal properties of the grammars and find only one to be formally adequate. We next evaluate the grammars empirically by asking whether they generate all simple stories and whether they generate only stories. We find many stories that they do not generate and one major class of nonstory that they do generate. We also evaluate the grammars' potential as comprehension models and find (...) that they would add nothing to semantic models that focus on the story content. Hence we advocate a story content oriented approach to studying story understanding instead of the structural story grammar approach. (shrink)

The epistemological consequences of paradox are paradoxical. They can be usefully generated by telling a series of once-upon-a-time stories that make various philosophical points, starting out innocent and ending up, well, paradoxical. This is an introduction to my Live Skepticism, defended in Skepticism Comes Alive.

Although storybooks are often used as pedagogical tools for conveying moral lessons to children, the ability to spontaneously extract "the moral" of a story develops relatively late. Instead, children tend to represent stories at a concrete level - one that highlights surface features and understates more abstract themes. Here we examine the role of explanation in 5- and 6-year-old children's developing ability to learn the moral of a story. Two experiments demonstrate that, relative to a control condition, prompts (...) to explain aspects of a story facilitate children's ability to override salient surface features, abstract the underlying moral, and generalize that moral to novel contexts. In some cases, generating an explanation is more effective than being explicitly told the moral of the story, as in a more traditional pedagogical exchange. These findings have implications for moral comprehension, the role of explanation in learning, and the development of abstract reasoning in early childhood. (shrink)

Generating and Understanding Jokes by Five- And Nine-Year-Olds as an Expression of Theory of Mind The main aim of the presented research is to describe children's ability to generate and understand humorous stories and pictures drawn by their peers and older or younger children. From the perspective of research on children's theories of mind, we assume that in middle childhood we will observe a transition from the basic, copy theory of mind to the interpretative one. We examined 60 five- and (...) nine-year-old children in two phases. During the first phase, the children were asked to draw a funny picture and then justify what made it funny and they had also to present the funny story. Two months later, the children were presented with some pictures chosen after the first phase as the most typical one. They had to justify why these pictures are funny. The obtained results indicate that there is a relation between the age of the subjects and the kind of interpretations of funny pictures which are consistent with the author's intentions. Significantly more nine-year-olds than five-year-olds accurately understood the author's intentions when interpreting his picture. The presented data indicate that changes in the theory of mind take place also in middle childhood and lead to a complex, interpretative theory of mind which can be discovered when researching children's understanding of jokes. (shrink)

Novelty is a key concept to understand creativity. Evaluating a piece of artwork or other creation in terms of novelty requires comparisons to other works and considerations about the elements that have been reused in the creative process. Human beings perform this analysis intuitively, but in order to simulate it using computers, the objects to be compared and the similarity metrics to be used should be formalized and explicitly implemented. In this paper we present a study on relevant elements for (...) the assessment of novelty in computer-generated narratives. We focus on the domain of folk-tales, working with simple plots and basic narrative elements: events, characters, props and scenarios. Based on the empirical results of this study we propose a set of computational metrics for the automatic assessment of novelty. Although oriented to the implementation of our own story generation system, the measurement methodology we propose can be easily generalized to other creative systems. (shrink)

AutoBioPhilosophy is an astonishingly frank and original autobiography that explores the fundamental question of what it means to be human.Robert Rowland Smith's life story involves a love triangle, office politics, police raids, illegal drugs, the academic elite and a near-death experience. It sees him grappling with the tragic fate of his father, going through a double divorce and encountering a living divinity. We witness him confronting his demons but also looking out for angels.A former Oxford don, Robert uses these (...) deeply personal experiences to generate philosophical insights that will resonate with everybody. What are the recurring patterns, unconscious motives and social forces that govern our behaviour? Through his experiences, and referencing writers from Shakespeare to Freud, he offers new models and ways into human psychology.As we are led into Robert's private world, we gain an understanding of what it means to be human that is relevant to all. (shrink)

Black and Wilensky (1979) have made serious methodological errors in analyzing story grammars, and in the process they have committed additional errors in applying formal language theory. Our arguments involve clarifying certain aspects of knowledge representation crucial to a proper treatment of story understanding.Particular criticisms focus on the following shortcomings of their presentation: 1) an erroneous statement from formal language theory, 2) misapplication of formal language theory to story grammars, 3) unsubstantiated and doubtful analogies with English grammar, (...) 4) various non sequiturs concerning the generation of non‐stories, 5) a false claim based on the artificial distinction between syntax and semantics, and 6) misinterpretation of the role of story grammars in story understanding.We conclude by suggesting appropriate criteria for the evaluation of story grammars. (shrink)

The narrative ethicist imagines life as multiple points of view, each reflecting a distinct imagination and each more or less capable of comprehending other points of view and how they imagine. Each point of view is constantly being acted out and then modified in response to how others respond. People generally have good intentions, but they get stuck realizing those intentions. Stories stall when dialogue breaks down. People stop hearing others' stories, maybe because those others have quit telling their stories. (...) The narrative ethicist's job is to help people generate new imaginations that can restart dialogues. (shrink)

This essay argues that current theories of action fail to explain agentive control because they have left out a psychological capacity central to control: attention. This makes it impossible to give a complete account of the mental antecedents that generate action. By investigating attention, and in particular the intention-attention nexus, we can characterize the functional role of intention in an illuminating way, explicate agentive control so that we have a uniform explanation of basic cases of causal deviance in action as (...) well as other defects of agency, explain cases of skilled agency and sharpen questions about the role of thought in agency. This provides for a different orientation in the theory of action. (shrink)

This article explores shifts in feminist and postfeminist discourse on sexuality using two influential novels about women’s sexual agency and empowerment as a case in point. The first novel, Häutungen [Shedding], appeared in the mid-1970s at the peak of the New German Women’s Movement and went on to become one of the most important feminist fictional texts. The second novel, Feuchtgebiete [Wetlands] was published in 2008 in the wake of what has been called postfeminism. Both books are discovery narratives about (...) young women coming of age and both have been heralded by the media as having ruptured sexual taboos and old ways of talking about women’s bodies and sexuality. In different ways, both have also been influential in feminist and postfeminist debates about the possibilities for empowering women as sexual subjects. Both texts show how fiction can draw upon and help shape a transgressive sexual politics, making it instrumental in women’s sexual empowerment. In this article, we examine the resonances and the differences between these two texts, paying particular attention to the kind of narratives that are produced and how in each case a sexual subject is constructed in and through the text. Specific exclusions in terms of race, ethnicity, class, and sexuality are explored, as well as the sexual political strategies that each text generates with an eye toward the possibilities each creates for women’s sexual (dis)empowerment and critique of normalised sexuality. (shrink)

We argue that narratives are central to the success of historical reconstruction. Narrative explanation involves tracing causal trajectories across time. The construction of narrative, then, often involves postulating relatively speculative causal connections between comparatively well-established events. But speculation is not always idle or harmful: it also aids in overcoming local underdetermination by forming scaffolds from which new evidence becomes relevant. Moreover, as our understanding of the past’s causal milieus become richer, the constraints on narrative plausibility become increasingly strict: a narrative’s (...) admissibility does not turn on mere logical consistency with background data. Finally, narrative explanation and explanation generated by simple, formal models complement one another. Where models often achieve isolation and precision at the cost of simplification and abstraction, narratives can track complex changes in a trajectory over time at the cost of simplicity and precision. In combination both allow us to understand and explain highly complex historical sequences. (shrink)

In this essay I begin with Aristotle’s perplexing observation that a tragic drama is a “whole,” one identified by a clear beginning, middle and ending. I pause to wonder how Aristotle imagines such ends, given his contention that a play concludes in such a way that “nothing can follow from it.” On the face of it, it is very difficult to imagine what Aristotle has in mind here. I suggest that one clue may be found in his title, Poetics, with (...) its clear suggestion that a dramatic event is in fact a making, a poiesis. I develop this idea to suggest that the end of a story, any story, tends to be something the reader imposes, often in the interest of generating a specific moral. I then display these readerly dynamics by providing a close reading of the famous story from Genesis, concerning the cities of Sodom and Gomorrah. I explore a number of different ways in which this story may be thought to “end,” as well as the implications of each such ending. (shrink)

In spite of the growing interest witnessed in the study of the relationship between emotion and language, the determination of the emotional valence of sentences, paragraphs or texts has so far attracted little attention. To bridge this gap, a technique based on the emotional aspect of words is presented. In this preliminary study, we have compared the affective tones of the sentences of four texts as perceived by readers, to the values generated by the words that compose the texts. The (...) results support the psychological reality of the affective tones of linguistic units larger than a word, and the possibility of their evaluation through the lexical information. Such information should be. useful for studying the role of emotional interest on text processing and for the analysis of the natural stories produced by people in reaction to stressful events. (shrink)

This is a unique, groundbreaking collection of autobiographical essays by leading women in philosophy. It provides a glimpse at the experiences of the generation that witnessed, and helped create, the remarkable advances now evident for women in the field.

This article reports two studies investigating the relationship between emotional feelings and respiration. In the first study, participants were asked to produce an emotion of either joy, anger, fear or sadness and to describe the breathing pattern that fit best with the generated emotion. Results revealed that breathing patterns reported during voluntary production of emotion were (a) comparable to those objectively recorded in psychophysiological experiments on emotion arousal, (b) consistently similar across individuals, and (c) clearly differentiated among joy, anger, fear, (...) and sadness. A second study used breathing instructions based on Study 1's results to investigate the impact of the manipulation of respiration on emotional feeling state. A cover story was used so that participants could not guess the actual purpose of the study. This manipulation produced significant emotional feeling states that were differentiated according to the type of breathing pattern. The implications of these findings for emotion theories based on peripheral feedback and for emotion regulation are discussed. (shrink)

Mitochondrial replacement techniques are intended to avoid the transmission of mitochondrial diseases from mother to child. MRT represent a potentially powerful new biomedical technology with ethical, policy, economic and social implications. Among other ethical questions raised are concerns about the possible effects on the identity of children born from MRT, their families, and the providers or donors of mitochondria. It has been suggested that MRT can influence identity directly, through altering the genetic makeup and physical characteristics of the child, or (...) indirectly through changing the child's experience of disease, and by generating novel intrafamilial relationships that shape the sense of self. In this article I consider the plausibility and ethical implications of these proposed identity effects, but I focus instead on a third way in which identity may be affected, through the mediating influence of the wider social world on MRT effects on identity. By taking a narrative approach, and examining the nature and availability of identity narratives, I conclude that while neither direct genetic nor indirect experiential effects can be excluded, social responses to MRT are more likely to have a significant and potentially damaging influence on the generation of MRT children's narratives of identity. This conclusion carries some implications for the collective moral responsibility we hold to ensure that MRT, if implemented, are practised in ethically justifiable ways. (shrink)

Much of the history of physics at the beginning of the twentieth century has been written with a sharp focus on a few key figures and a handful of notable events. Einstein’s Generation offers a distinctive new approach to the origins of modern physics by exploring both the material culture that stimulated relativity and the reaction of Einstein’s colleagues to his pioneering work. Richard Staley weaves together the diverse strands of experimental and theoretical physics, commercial instrument making, and the (...) sociology of physics around 1900 to present a complete view of the collective efforts of a group whose work helped set the stage for Einstein’s revolutionary theories and the transition from classical to modern physics that followed. Collecting papers, talks, catalogues, conferences, and correspondence, Staley juxtaposes scientists’ views of relativity at the time to modern understandings of its history. Ultimately, Einstein’s Generation tells the story of a group of individuals whose work engendered some of the most significant advances of the twentieth century—and challenges our celebration of Einstein’s era above all others. (shrink)

Haraway foregrounds many stories that we, in a late capitalist era, tell ourselves in order to justify, or not even notice, actions that are harmful to all living things. While I am mindful of Haraway’s excellent attention to the ways that ‘stories tell stories, thoughts think thoughts, and knots knot knots,’ I argue that we must take great care when we, as educators, blur the lines between facts and fiction; reality and art. When everything becomes a story—with some stories (...) simply being more compelling than other stories—we run the risk of contributing to the very sense of unmooring that has led us to the status quo where arctic icecaps are melting, living things are becoming extinct, and humans are suffering from man-made pollution. In this paper, I trouble the use of stories to draw attention to the ecological harm we have done to our earth. While stories can be powerful, there are risks associated with how we tell stories; and particular risks when we blur the lines between critical storytelling and the idea of something as ‘factual’. Storytelling, and blurring the lines between stories and facts, can have negative implications for our quest to generate a sense of ‘response-ability’ for our planet and all who live on it. In order to make that argument, I first talk about my own story and the ways that I have used stories in the classroom. I then touch on Haraway and her particular use of stories. I then foreground the practice of telling truths with stories by exploring the use of critical fiction and narrative inquiry. I conclude with implications for pedagogy. (shrink)

Although personal relevance is key to sustaining an audience’s interest in any given narrative, it has received little systematic attention in scholarship to date. Across centuries and media, adaptations have been used extensively to bring temporally or geographically distant narratives “closer” to the recipient under the assumption that their impact will increase. In this review article, we review experimental and other empirical evidence on narrative processing in order to unravel which types of personal relevance are more likely to be impactful (...) than others, which types of impact (e.g. aesthetic, therapeutic, persuasive) they have been found to generate, and where their power may become excessive or outright detrimental to reader experience. (shrink)

Johnson et al. make a persuasive case that qualitative, story-like reasoning plays a crucial role in everyday thought and decision-making. This commentary questions the cohesiveness of this type of reasoning and the representations that generate it. Perhaps narratives do not underpin, but are ephemeral products of thought, created when we need to justify our actions to ourselves and others.

Art teaches us not only what to see but what to be.Artists refashion stories with paintbrush and chisel. Their narrations reach back through time to the mysteries of cave painting at Altamira and Lascaux, over seventeen thousand years ago. We no longer know what stories the pictures on those walls were meant to illustrate, but we can try to imagine, even now.1Images speak a different language from words. They tell stories differently. Yet, for many generations, since art history was legitimized (...) as a discipline in American academia, early in the twentieth century2 illustration has been treated with a measure of condescension. Bernard Berenson, among others, intimates, in his Italian Painters of the Renaissance.. (shrink)

Evolving Dharma is a next-generation book about meditation, Buddhism, and the contemplative path. It explores how the dharma (the path, the way, the teachings of the Buddha) has evolved in astonishing ways and how dharma practice evolves in one's own life. Instead of approaching the dharma as spirituality, therapy, or self-help, scholar and practicing Buddhist Jay Michaelson presents it as a set of technologies for upgrading the brain, for physically enhancing its capacity for wisdom and compassion. In the last (...) twenty years, Buddhism has exploded well beyond its former boundaries. Meditation is being taught to prisoners, cancer patients, and children. It is being practiced online--by geeks, hipsters, and punks; by atheists, Christians, and Jews; by people who are not "spiritual." It's not even "Buddhism" anymore, having evolved out of its original religious context and into dozens of new ones. Evolving Dharma is the first book to take stock of these trends, and to speak in real-life terms about how they affect the practice of meditation and the path to upgrading the mind. Michaelson is fearless, unorthodox, and irreverent, yet his book is also based on his decade of meditation practice and teaching as well as his ten years of work as an LGBT activist. Including forays into neuroscience and cultural criticism and Michaelson's personal stories of his five months spent in silent retreat, life-changing realizations, pain, joy, and insight, this is not an ironic, wading-into-spirituality memoir but a thoughtful, important work that takes its subject seriously, both as discipline and as individual narrative. Chapter titles include "The Dharma Evolves By Disappearing," "The Evolution of Enlightenment," and "When Every Mystical State You've Ever Wanted Isn't Enough.". (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing (...) us the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)