"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and some (...) come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way. (shrink)

_The Hearing Impaired Child_ introduces the background issues of hearing impairment then discusses specific aspects. These include causes of hearing loss, speech and language, personality and emotional development, and careers. Appendices provide checklists for language acquisition and reading and writing skills, lists of useful addresses, a helpful glossary and references for further reading.

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

The birth of a child with hearing impairment imposes more parentaldemands than having a child without a disability. Parents have little concernabout the holistic growth and development of their children with hearingdisability. This study aspires to delineate the parental practice and experience indealing with behavioural problems of their children with hearing-impairmentsin a Special School in Kano State, Nigeria. This study employed a qualitativecase study design in which interviews and observation were used to collectthe data. Purposeful sampling was utilised (...) in selecting three fathers and threemothers of children with hearing impairment. Data was recorded, transcribedand thematically analysed in which categories were identified and generated.The findings accentuated several major themes and categories of parentalpractice and their experiences, which have to do with counselling the childrenwith hearing impairment. Parental experience includes the judgment of othersin the family and based on the findings, the researchers provide discernments toparents, their children with hearing impairment, and the immediate communitywhere such children live. (shrink)

In this paper, I deal with video data not as a transparent window on social interaction but as a situated product of video practices. This perspective invites an analysis of the practices of video-making, considering them as having a configuring impact on both on the way in which social interaction is documented and the way in which it is locally interpreted by video-makers. These situated interpretations and online analyses reflexively shape not only the record they produce (...) but also the interactional order itself as it is documented. Dealing with practices of video-making not as a resource but as a topic, I explore a particular editing practice, the use of the split-screen technique, consisting in combining various camera views within the same image. This technique is now widely used in cinema, professional settings, TV, and social research. I focus on its uses in TV talk shows and debates: through a systematic sequential analysis of the positions where split screen is introduced, I show that directors do orient to the sequential features of interaction in using this technique and that, conversely, their uses of split screen reveal their local understanding—and configuring—of what the interactional dimension of debates and interviews consist of, for all practical purposes. (shrink)

Hearing loss has been identified as a major modifiable risk factors for dementia. Adult candidates for cochlear implantation represent a population at risk of hearing loss-associated cognitive decline. This study investigated the effect of demographics, habits, and medical and psychological risk factors on cognition within such a cohort. Data from 34 consecutive adults with post-lingual deafness scheduled for CI were analyzed. Pure tone audiometry and Speech Discrimination Score were recorded. The Repeatable Battery for Assessment of Neuropsychological Status for (...) Hearing impaired individuals was used to measure cognition. Demographics, habits, and medical factors were evaluated. Depression was measured using the Hospital Anxiety and Depression Scale, and social inhibition with the Type D questionnaire. All participants suffered from severe to profound hearing loss. The mean RBANS-H total score was 83 ± 16. Participants reported a mean of years of formal education of 12 ± 5 years. The prevalence of habits and medical risk factors was: physical inactivity, body mass index >30, traumatic brain injury, hypertension, heavy alcohol consumption, smoking, and diabetes. Regarding psychological factors, the mean scores of social inhibition and depression were 10 ± 6 and 6 ± 5, respectively. The number of years of education was significantly correlated with the RBANS-H total score, and with the domains “Immediate memory”, “Visuospatial/constructional”, and “Attention”. The mean RBANS-H total score in participants who had university studies or higher level was 97 ± 9, with the remaining participants reporting a mean score of 75 ± 15. Men performed better in the “Visuospatial/constructional”. Physical inactivity was associated with lower scores in the “Delayed memory” ; hypertension correlated with lower RBANS-H total scores and “Attention”. Depression and social inhibition were negatively correlated with RBANS-H total score and with the “Immediate memory,” “Visuospatial/constructional,” and “Attention”. In adults with late-onset deafness scheduled to CI, educational level has a significant effect. Additionally, sex, physical inactivity, hypertension, and psychological traits of social inhibition and depression may also influence cognitive status. Long-term studies with more participants would enable us better understand the effects different risk factors on cognitive status. (shrink)

Video‐recording healthcare interactions provides important opportunities for research and service improvement. However, this method brings about tensions, especially when recording sensitive topics. Subsequent reflection may compel the researcher to engage in ethical and moral deliberations. This paper presents experiences from a South African genetic counselling study which made use of video‐recordings to understand communicative processes in routine practice. Video‐recording as a research method, as well as contextual and process considerations are discussed, such as researching one's own (...) field, issues of trust and anonymity, the challenge of providing true informed consent and capturing details which may cause psychological harm. Several recommendations for research practice in diverse healthcare settings are made. This includes the value of reflective pieces, the importance of retrospective consent, disclosure of the limitations to anonymity, as well as the collective responsibility of those involved to produce ethical research. These recommendations have value for genetic counselling and other healthcare fields. (shrink)

Drawing on video-recorded data from pre-climbing route mapping with visually impaired climbers and a sight guide, this study uses conversation analysis to investigate the situated deployment of the Italian presentative (e) hai ‘(and) you have’ within locally routinized multimodal Gestalts. The study shows that the guide uses (e) hai to progress route mapping and engage the athlete in tactile actions that target specific features of the route. In this context, (e) hai is packaged with noun phrases, silent pauses, (...) bodily movements, and touch. The arrangement of such syntactic and embodied components is shown to follow a recurrent trajectory in which, between (e) hai and its grammatical completion, syntactic suspension creates a dedicated slot for guide and athlete to physically attain the target object. Routine embeddedness of (e) hai within such arrangement is shown to provide specific affordances to the athletes to anticipate subsequent action and engage in its embodied implementation. (shrink)

Cerebral Visual Impairment is an umbrella term which includes abnormalities in visual acuity, or contrast sensitivity or colour; ocular motility; visual field and the conscious and unconscious filtering or processing of visual input. Children with CVI have specific needs and problems relating to their development from infancy to adulthood which can impact on their wellbeing. Recent research indicates the complexities of living with CVI but there remains limited information of the full impact of CVI on families’ everyday lives. The qualitative (...) interviews reported here explored families’ experiences to discover the impact of CVI on all aspects of everyday life. Parents and children were invited to participate in semi-structured interviews, either face to face, by phone or video call between January 2018 and February 2019. Topics covered everyday practicalities of living with CVI, focusing on challenges and what worked well at school and home. Interviews were audio-recorded and subject to thematic analysis to look for patterns across the data. Twenty families took part in interviews, with eight children/young people within those families contributing interviews of their own. Four themes were developed from the interviews: Assessment and understanding implications of CVI, Education, Family life, Psychological wellbeing and quality of life. The interviews provide valuable insights into the impact of living with CVI and highlight the need for more awareness of the condition among professionals in both health and education settings. (shrink)

BackgroundCerebral Visual Impairment is a very common finding in children affected by Cerebral Palsy. In this paper we studied the characteristics of CVI of a large group of children with CP and CVI, describing their neurovisual profiles according to three different age subgroups.MethodsWe enrolled 180 subjects with CP and CVI for the study. We carried out a demographic and clinical data collection, neurological examination, developmental or cognitive assessment, and a video-recorded visual function assessment including an evaluation of ophthalmological characteristics, (...) oculomotor functions, and basic visual functions. In school-aged children, we also performed an evaluation of their cognitive-visual profiles.ResultsThere were signs of CVI in all the three subgroups. Subgroup 1 and subgroup 2 were different for fixation, visual acuity and contrast sensitivity, being more frequently impaired in younger children. Comparing subgroup 2 with subgroup 3, the older children presented more frequently myopia while the younger ones esotropia and alteration in smooth pursuit and saccades. Furthermore, fixation, smooth pursuit, visual acuity, contrast sensitivity and visual filed were more frequently impaired in younger children compared to the older ones. Multiple correspondence analysis confirmed the different neurovisual profiles according to age: younger children with CP showed more signs of CVI compared to the older ones. 34 out of 68 children belonging to subgroup 3 underwent the cognitive visual evaluation; an impairment of cognitive visual skills was detected in 21 subjects.ConclusionYounger children with CP showed more signs of CVI compared to the older ones, likely for the physiological maturation of visual system and mechanisms of neuroplasticity. In this direction, we suggest an early neurovisual evaluation to detect any weak visual functions. (shrink)

Screening of newborns for permanent congenital or early-onset hearing impairment has emerged as an essential component of neonatal care in developed countries, following favourable outcomes from early intervention in the critical period for optimal speech and language development. Progress towards a similar programme in developing countries, where most of the world’s children with hearing impairment reside, may be impeded by reservations about the available level of support services and the possible effect of the prevailing healthcare challenges. Ethical justification (...) for the systematic introduction of screening programmes for hearing in newborns based on the limitations in current primary prevention strategies, lack of credible alternative early-detection strategies and the incentives for capacity-building for the requisite support services is examined. (shrink)

ObjectivesMany older adults with visual impairment also have significant hearing loss. The aim was to investigate the effectiveness of a newly developed Dual Sensory Loss protocol on communication and wellbeing of older persons with DSL and their communication partners in the Netherlands and Belgium.MethodsParticipants and their communication partners were randomized in the “DSL-protocol” intervention group or a waiting-list control group. The intervention took 3 to 5 weeks. Occupational therapists focused on optimal use of hearing aids, home-environment modifications and (...) effective communication strategies. The primary outcome was the Communication Strategies domain of the Communication Profile for the Hearing Impaired. Secondary outcomes measured in participants were the Low Vision Quality Of Life Adjustment subscale, the Center for Epidemiological Studies - Depression Scale, De Jong Gierveld Loneliness Scale and the Fatigue Assessment Scale. The Hearing Handicap and Disability Inventory - Reaction of Others subscale and the Care-related Quality of Life - 7 Dimensions was measured in communication partners. Measurements were taken at baseline and 3-month follow-up. Linear mixed models were used to analyze effects between groups over time for every outcome measure.ResultsIntention-to-treat analyses showed a significant effect of the DSL-protocol on the use of verbal strategies in favor of the control group, however, this effect was non-significant after adjustment for confounding. Effect sizes of other outcomes varied between −0.23 [−0.57, 0.12] and 0.30 [−0.05, 0.64]. The LMM showed a significant effect on the HHDI-Reaction of others scale in favor of communication partners in the treatment group, however, the effect did not remain significant at a 0.01 significance level and the effect size was very small and non-significant 0.12, 95% CI [−0.27 to 0.51]. Adjusted analyses did not reveal treatment effects.ConclusionThe DSL-protocol did not clearly contribute to the enhancement of communication and wellbeing in DSL-patients. Possible reasons for the lack of effects are OTs not being comfortable giving advice on communication and psychosocial issues or the short-term treatment and follow-up period. Further study is warranted to find out how the protocol may be adapted or whether it is necessary to involve mental healthcare professionals.Clinical Trial Registrationwww.ClinicalTrials.gov, identifier NTR2843. (shrink)

In this controversial new book O'Hear takes a stand against the fashion for explaining human behavior in terms of evolution. He contends that while the theory of evolution is successful in explaining the development of the natural world in general, it is of limited value when applied to the human world. Because of our reflectiveness and our rationality we take on goals and ideals which cannot be justified in terms of survival-promotion or reproductive advantage. O'Hear examines the nature of human (...) self-consciousness, and argues that evolutionary theory cannot give a satisfactory account of such distinctive facets of human life as the quest for knowledge, moral sense, and the appreciation of beauty; in these we transcend our biological origins. It is our rationality that allows each of us to go beyond not only our biological but also our cultural inheritance: as the author says in the Preface, "we are prisoners neither of our genes nor of the ideas we encounter as we each make our personal and individual way through life.". (shrink)

Cochlear implants (CI) support the development of oral language in hearing-impaired children. However, even with CI, speech recognition in noise (SRiN) is limited. This raised the question, whether these restrictions are related to the quality of life (QoL) of children and adolescents with CI and how SRiN and QoL are related to each other. As a result of a systematic literature research only three studies were found, indicating positive moderating effects between SRiN and QoL of young CI users. (...) Thirty studies addressed the quality of life of children and adolescents with CI. Following the criteria of the World Health Organization (WHO) for pediatric HRQoL (1994) only a minority used validated child centered and age appropriate QoL instruments. Moreover, despite the consensus that usually children and adolescents are the most prominent informants of their own QoL (parent- reports complement the information of the children) only a minority of investigators used self-reports. Restricted SRiN may be a burden for the QoL of children and adolescents with CI. Up to now the CI community does not seem to be aware of a possible impairment of QoL in young CI users. Further studies addressing this topic are urgently needed, which is also relevant for parents, clinicians, therapists, teachers, and politicians. Additionally investigators should use valid pediatric QoL instruments. They should be aware, that most of the young CI users are able to inform about their quality of life also themselves (additionally to parents). (shrink)

In this article, we will consider how far we might be said to be active in forming our beliefs; in particular, we will ask to what extent we can be said to be free in believing what we want to believe. It is clear that we ought to believe only what is really so, at least in so far as it lies in our power to determine this, but reflection shows that, regrettably, we do not confine our beliefs to what (...) we have evidence for, nor do we always believe in accordance with the evidence we do have. So it is natural to conclude that non-intellectual factors may be at work here; such, at least, was the view of Descartes, who attributed error to the influence of our will in leading us to assent to judgments which go beyond the evidence presented by our infallible intellect. This view has some initial plausibility when we think of cases in which emotional considerations lead people to take up and genuinely believe things they have no evidence for, but it is not a view which has received much support from modern philosophers. So, in Part 1 we will look at criticisms levelled against Descartes' view by J. L. Evans, and in Part 2 we will see how far Descartes can be defended. Our conclusions here will lead us to give in Part 3 a general account of the influence of the will in beliefs. We will suggest that we are always responsible for our explicit beliefs, even though it is not true that we can simply believe what we like. Thus we will reject the idea that a man can consciously know something, and at the same time, by will power, believe the opposite. Belief is not then totally free, but we will argue that people do sometimes form beliefs which go against what they should and could believe, and that this can in a way be put down to the influence of the will. Finally we will consider some of the ways in which it is possible to influence our beliefs by willed acts over a long period of time, though this is not the way that we clami that the will might be said to play a part in every judgment that we make. (shrink)

The developmental trajectory of speechreading skills is poorly understood, and existing research has revealed rather inconsistent results. In this study, 209 Chinese students with hearing impairment between 7 and 20 years old were asked to complete the Chinese Speechreading Test targeting three linguistics levels. Both response time and accuracy data were collected and analyzed. Results revealed no developmental change in speechreading accuracy between ages 7 and 14 after which the accuracy rate either stagnates or drops; no significant developmental pattern (...) in speed of speechreading across all ages. Results also showed that across all age groups, speechreading accuracy was higher for phrases than words and sentences, and overall levels of speechreading speed fell for phrases, words, and sentences. These findings suggest that the development of speechreading in Chinese is not a continuous, linear process. (shrink)

In this article we explore and contrast the uses and gratifications of the internet for blind/visually impaired and deaf/hearing impaired individuals. The uses and gratifications approach integrates the different issues that surround disabled persons’ internet use into one rich and coherent framework which allows a better understanding of the relationship between benefits obtained from internet use, underlying needs and the barriers that create gaps between gratifications sought and obtained. Based on 21 in-depth interviews, our study shows that (...) both visually and hearing impaired individuals use the internet mostly for gathering information and for communicating with friends and family; meeting new people online was not a priority need. To a great extent these internet uses are driven by the underlying need for independence and active agency. Although our visually and hearing impaired informants share this need, the two groups differ in the gratifications obtained from the internet due to different barriers that hinder their use. (shrink)

We present a novel model of individual people, online posts, and media platforms to explain the online spread of epistemically toxic content such as fake news and suggest possible responses. We argue that a combination of technical features, such as the algorithmically curated feed structure, and social features, such as the absence of stable social-epistemic norms of posting and sharing in social media, is largely responsible for the unchecked spread of epistemically toxic content online. Sharing constitutes a distinctive communicative act, (...) governed by a dedicated norm and motivated to a large extent by social identity maintenance. But confusion about this norm and its lack of inherent epistemic checks lead readers to misunderstand posts, attribute excess or insufficient credibility to posts, and allow posters to evade epistemic accountability—all contributing to the spread of epistemically toxic content online. This spread can be effectively addressed if people and platforms add significantly more context to shared posts and platforms nudge people to develop and follow recognized epistemic norms of posting and sharing. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

Using video to facilitate data collection has become increasingly common in health research. Using video in research, however, does raise additional ethical concerns. In this paper we utilize family therapy data to provide empirical evidence of how recording equipment is treated. We show that families made a distinction between what was observed through the video by the reflecting team and what was being recorded onto videotape. We show that all parties actively negotiated what should and should not (...) go ‘on the record’, with particular attention to sensitive topics and the responsibility of the therapist. Our findings have important implications for both clinical professionals and researchers using video data. We maintain that informed consent should be an ongoing process and with this in mind we present some arguments pertaining to the current debates in this field of health-care practice. (shrink)

Children with hearing impairment (HI) show disorders in morphology and syntax. The question is whether and how these disorders are connected to problems in the auditory domain. The aim of this paper is to examine whether moderate to severe hearing loss at a young age affects the ability of German-speaking orally trained children to understand and produce sentences. We focused on sentence structures that are derived by syntactic movement, which have been identified as a sensitive marker for syntactic (...) impairment in other languages and in other populations with syntactic impairment. Therefore, our study tested the repetition and/or comprehension of subject and object relatives, subject and object Wh-questions, passive sentences, and topicalized sentences, as well as sentences with verb movement to second sentential position. We tested 19 HI children aged 9;5-13;6 and compared their performance with hearing children using sentence-picture matching and sentence repetition tasks. For the comprehension tasks, we included HI children who passed an auditory discrimination task; for the sentence repetition tasks, we selected children who passed a screening task of simple sentence repetition without lip-reading; this made sure that they could perceive the words in the tests, so that we could test their grammatical abilities. The results clearly showed that most HI children had considerable difficulties in the comprehension and repetition of sentences with syntactic movement: they had significant difficulties understanding object relatives, Wh-questions, and topicalized sentences, and in the repetition of object who and which questions and subject relatives, as well as in sentences with verb movement to second sentential position. Repetition of passives was only problematic for some children. Object relatives were still difficult at this age for both HI and hearing children. An additional important outcome of the study is that not all sentence structures are impaired—passive structures did not pose a problem for the HI children in comprehension, and caused fewer problems in repetition than other structures. (shrink)

What is moral philosophy? That is the question with which this important volume grapples. Its starting point is the famous critique made in 1958 by Elizabeth Anscombe, who argued that moral philosophy begins from a mistake: that it is fundamentally wrong about the sort of concept that the word 'moral' represents. Anscombe rejected moral philosophy as it was then (and mostly now still is) practised. She offered instead a blueprint for the task moral philosophers must embrace if they are to (...) speak intelligibly to society about good and bad, right and wrong, duty and obligation. The chapters in this book are inspired by Anscombe's classic text. One of the most powerful voices here, among many authoritative voices, is that of Philippa Foot – Anscombe's lifelong friend – who asserts that 'any account of practical reason evacuated of an understanding of what human beings need to flourish is inadequate and must be rejected.'. (shrink)

This study investigated eye-movement patterns during emotion perception for children with hearing aids and hearing children. Seventy-eight participants aged from 3 to 7 were asked to watch videos with a facial expression followed by an oral statement, and these two cues were either consistent or inconsistent in emotional valence. Results showed that while normal-hearing children paid more attention to the upper part of the face, children with hearing aids paid more attention to the lower face after (...) the oral statement was presented. When there was an inconsistency between the visual and auditory cues, children with hearing aids were likely to increase attention to the upper face. The results revealed the underlying mechanism of deficits in emotion perception for hearing-impaired children. (shrink)

My aim in this paper is to give a philosophical analysis of the relationship between contingently available technology and the knowledge that it makes possible. My concern is with what specific subjects can know in practice, given their particular conditions, especially available technology, rather than what can be known “in principle” by a hypothetical entity like Laplace’s Demon. The argument has two parts. In the first, I’ll construct a novel account of epistemic possibility that incorporates two pragmatic conditions: responsibility and (...) practicability. For example, whether subjects can gain knowledge depends in some circumstances on whether they have the capability of gathering relevant evidence. In turn, the possibility of undertaking such investigative activities depends in part on factors like ethical constraints, economical realities, and available technology. In the second part of the paper, I’ll introduce “technological possibility” to analyze the set of actions made possible by available technology. To help motivate the problem and later test my proposal, I’ll focus on a specific historical case, one of the earliest uses of digital electronic computers in a scientific investigation. I conclude that the epistemic possibility of gaining access to scientific knowledge about certain subjects depends (in some cases) on the technological possibility for making responsible investigations. (shrink)

Even today, apologists for modernist and post-modernist architecture frequently appeal to what, following Sir Karl Popper, I will call historicist arguments. Such arguments have a particular poignancy when they are used to justify the replacement of some familiar part of an ancient city with some intentionally untraditional structure; as, for example, when a familiar nineteenth century block of offices in a prime city site is swept away to make room for something supposedly more fitting to the ‘new millennium’, a ‘twentieth (...) century contribution to monumental architecture’, a building ‘of substantial importance to the present age’. Similarly, those architects or consumers of architecture who fail to conform to whatever stylistic demands the age is held to demand are marginalized in many supposedly serious discussions of architecture, and made to feel out of place and out of time. (shrink)

David Chalmers thinks his iPhone exemplifies the extended mind thesis by meeting the criteria ‎that he and Andy Clark established in their well-known 1998 paper. Andy Clark agrees. We take ‎this proposal seriously, evaluating the case of the GPS-enabled smartphone as a potential mind ‎extender. We argue that the “trust and glue” criteria enumerated by Clark and Chalmers are ‎incompatible with both the epistemic responsibilities that accompany everyday activities and the ‎practices of trust that enable users to discharge them. Prospects (...) for revision of the original ‎criteria are dim. We therefore call for a rejection of the trust criterion and a reevaluation of the ‎extended mind thesis.‎. (shrink)

Leading prescriptions for addressing the spread of fake news, misinformation, and other forms of epistemically toxic content online target either the platform or platform users as a single site for intervention. Neither approach attends to the intense feedback between people, posts, and platforms. Leading prescriptions boil down to the suggestion that we make social media more like traditional media, whether by making platforms take active roles as gatekeepers, or by exhorting individuals to behave more like media professionals. Both approaches are (...) impracticable and wrong. (shrink)

We spent a wonderful morning in the van Gogh gallery in Amsterdam. Of course we knew all the paintings, we had seen them all in reproduction, and the building was more like a bank vault than a setting for art. But what art! At first sight how small and uniform the paintings were in reality: yet every blade of grass, every flower in a field, every olive tree, every vibration in the sky, every patch of colour, every brush stroke, testified (...) to life and to a life vibrating beneath the surface form. In a true sense, an artist inspired, an artist breaking convention, artistic and social, but nevertheless an artist transforming life with a vision of the enhancement of life, a vision inviting each one of us to look again at the natural forms around us, to feel the spirit or the gods dwelling in them, a vision of enchantment and of humanity in a disenchanted world. Art—painting—can, then, be a source of spiritual nourishment as Kant and Schiller and Ruskin in their different ways thought it should be. (shrink)

We aim to contribute to recent situational approaches to the study of interpersonal violence by elaborating the concept of trajectories. Trajectories are communicative processes in which antagonists act upon each other’s bodily and verbal actions to project a direction for the interaction to take, which is then (con) tested in the exchanges that follow. We use the notion of trajectories to gain insight in how participants turn an antagonistic situation into a violent encounter, which we contrast to interactionist and micro-sociological (...) understandings. Using ethnomethodological and conversation analytical tools, we detail the trajectories of three violent encounters, captured on phone camera recordings to answer the question how verbal and bodily exchanges project physical violence. Methodologically, our contribution shows how bodily actions can be studied in visual data. Our cases show how antagonists move the interaction toward violence by creating a metaconflict revolving around the conditions under which the interaction will become a physical confrontation; what we call the contested projection of violence. We conclude that the concept of trajectories offers a useful analytical tool to detail the shifts and turns of the interactive process—notably it’s bodily dimensions— that characterize antagonism and violence. Substantially, our analysis raises questions about conceptualizations of the emotional dynamics (notably the role of dominance) of violence, as proposed by earlier micro-sociological and interactionist work. We therefore suggest that future studies engage with these issues in more detail and in larger datasets. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Who Hears?A Zen Buddhist PerspectiveRobert AitkenWestern psychologists and neurologists have attempted to use their concepts to explain East Asian religions for more than seventy-five years. Carl Jung (1875–1961) wrote a long foreword to Richard Wilhelm's The Secret of the Golden Flower back in 1931, which gave many readers in Europe and the Americas their first glimpse of philosophical Daoism.1 A generation later, Erich Fromm's conversations with D. T. Suzuki (...) were recorded in Zen Buddhism and Psychoanalysis.2 In our own time, the Dalai Lama's collaborative work with neuroscientists and psychologists has received widespread attention,3 while academia has given James H. Austin's Zen and the Brain hearty approval.4The process of mutual understanding between Western scientists and teachers of East Asian religion is still incomplete, however, and in earlier times it had barely begun. I remember my amusement back in the 1970s, watching a video of monks trailing streams of wires attached to biofeedback instruments while they were walking formally and solemnly. Even in those early days it was apparent to me that for all their academic credentials, the scholars had started with an ignorance of the subject of their study. They were successful in measuring something in the brain relating to a samādhi condition, but while the monks may have grounded themselves more or less in a settled practice, who is to measure their appreciation of the mejiro chirping in the camellia bush just outside? Great masters of Zen, Zhaozhou, and Deshan and their successors did not talk about being settled, any more than neuroanataomists discuss the importance of the alphabet.The chirping of the mejiro might have reminded the monks of a case, a case that would lie in a dimension even further from the world of wires and dials. "Who is the master of hearing that sound?"5 This was the gist of a question by Bassui Tokushō Zenji—a question that became a public case, one kōan among many other kōans that have not been studied by science. It is time for such a study.My directory of Chinese kōans holds more than 5,500 neatly framed traditional stories set forth to guide the student.6 The modern Zen teacher is conversant with some 550 of these kōans, a number that is sufficient if... if.... There are several caveats. If the teacher treats kōans as historical artifacts, then the stories are no [End Page 89] longer kōans, and the teaching is perniciously misleading. Sometimes the teacher has gone only part way in kōan study. The great house of conventional wisdom has fallen, but he or she doesn't know it is ruined and holds forth in the old explanatory way. Sometimes the teacher has completed the long course of study, but elects to pontificate from within the wreckage of the old manor. Finally there are those who abandon the ruins completely for practice on the open road. Here is my gāthā pointing to that way:Stepping forth on the open road,I vow with all beingsTo distinguish the voices of birds,And make good use of my time.Bassui Zenji's kōan "Who is the master of hearing that sound?" could be paraphrased here at the Pālolo Zen Center as "Who is hearing that thrush singing on the railing outside?" If, in the days before I retired, a student were to respond, "I hear the thrush," I would not have approved. Bassui would not have approved. Intimacy would be missing, and intimacy is the Dao. Intimacy is the way of all the Buddhas. There is no Zen without intimacy; intimacy with what? Both the self and the thrush. That was Bassui's intention, you can be sure.Fayan met Dizang while on pilgrimage. Dizang asked, "What are you up to these days?"Fayan said, "I'm going around one pilgrimage, wherever my feet will carry me."Dizang asked, "What to you expect from pilgrimage?"Fayan said, "I don't know."Dizang said, "Not knowing is most intimate." Fayan underwent great realization. 7Zen Buddhism stresses intimacy, while in... (shrink)

Video data has now become the most common form of data for educational researchers studying classroom interaction and school culture. Software protocols for analysing vast archives of video data are deployed regularly, allowing researchers to annotate, code and sort images. These protocols are often applied by researchers without reflection or reference to the extensive philosophical work in film and media studies. Without exception, this research treats the video image as movement-image or picture, a recording of ‘raw data’, (...) indexical of a given time-space relationship. In this article I situate this kind of research within the history of scientific cinema, drawing on Deleuze's books on cinema, as well as his ideas on colour and figure from The Logic of Sensation, to propose an alternative way of analysing video data. One of the central claims of Deleuze in Cinema 2 is that the time-image reconfigures bodies as expressions of force – the body becomes a ‘shock of forces’. I argue that such an approach allows us to study the student body as less a phenomenological organism with built-in ‘I can’ cognitive and motor capacities, and more an indeterminate crystalline contraction and expansion of intensity. I present an example of how to study classroom video data as time-image, and explore the implications of such work for education research. (shrink)

In this book Anthony O’Hear examines the reasons that are given for religious faith. His approach is firmly within the classical tradition of natural theology, but an underlying theme is the differences between the personal Creator of the Bible or the Koran and a God conceived of as the indeterminate ground of everything determinate. Drawing on several religious traditions and on the resources of contemporary philosophy, specific chapters analyse the nature of religious faith and of religious experience. They examine connections (...) between religion and morality, and religion and human knowledge – the cosmological, teleological and ontological arguments, process thought, and the problem that evil presents for religion. The final chapter returns to the inherently dogmatic nature of religious faith and concludes that rational people should look beyond religion for the fulfilment of their spiritual needs. (shrink)

This book is a balanced and up-to-date introduction to the philosophy of science. It covers all the main topics in the area, as well as introducing the student to the moral and social reality of science. The author's style is free from jargon, and although he makes use of scientific examples, these should be intelligible to those without much scientific background. At the same time the questions he raises are not merely abstract, so the book will be of interest and (...) concern to scientists as well as philosophers.The author discusses the growth of knowledge of science, the status of scientific theories and their relationship to observational data, the extent to which scientific theories rest on unprovable paradigms, and the nature of scientific explanations. In later chapters he considers probability, scientific reductionism, the relationship between science and technology, and the relationship between scientific and other values. (shrink)

The study was carried out in order to reveal the problems of hearing-impaired students, who have an important place in our society and the reli-gious coping methods they use to cope with their problems. In the first part of the study, the problems of the hearing impaired students and their religious coping methods were examined. In the second part, the findings obtained as a result of the interviews were interpreted under two headings as the participants' problems (...) and religious coping methods. In accordance with the purpose of the study, semi-structured interview technique, which is one of the qualitative research methods, was used. The study group of the research, which was designed according to the phenomenology method, one of the qualitative research methods, consisted of 11 students, 9 boys and 2 girls, studying at the 9th, 10th, 11th and 12th grades of Çorum Special Education Vocational High School. The data obtained in the study were analyzed by content analysis method. As a result of the study, it was seen that hearing-impaired students frequently resort to positive religious coping methods to overcome their problems. It is also concluded that the students are willing to share their problems; religious thoughts, feelings and behaviors have an important effect on coping with their problems; they use religious coping methods such as trust in Allah, prayer and worship while coping with their problems but they are open to support from the environment; they try to overcome the problems not with complaints but with patience. It has been observed that hearing-impaired students sometimes question why they are disabled rather than others, and they feel uneasy in this situation. For hearing-impaired individuals to protect their mental health, necessary training should be provided without neglecting the religious aspect of their problems. (shrink)

As guidelines for neonatal resuscitation evolve from a growing evidence base, clinicians must ensure that practice is closely aligned with the available evidence, based on methodologically sound and ethically conducted research. This paper reviews ethical, legal and risk-management issues arising during the design of a quality-assurance project to make video recordings of neonatal resuscitations after high-risk deliveries. The issues, which affect patients, researchers, staff and the hospital at large, include the following: 1) Informed consent for research involving emergency (...) procedures is often not possible, for lack of time to provide sufficient information. The mental capacity of the subject or parent may be compromised by the impending emergency, and freedom of choice is threatened by the time pressure to consent. 2) Video recording of the inevitable medical errors raises issues of whether participating staff may be identifiable and accountable, affecting their willingness to participate in such research. The approach to staff participation and identification is reviewed. 3) The use of video data for education threatens the privacy of research subjects. The ethics of maintaining privacy is balanced with the ethics of using the data to improve practice of resuscitation. 4) The research subjects (patients, or the staff whose performance is being monitored) must be defined. 5) There are legal and ethical aspects of management and ownership of data. 6) The role of the Human Research Ethics Committee in protecting the research subject and possibly the medicolegal interests of the hospital is discussed. This paper reviews the literature and discusses the issues. (shrink)

KARLSSON V, LINDAHL B and BERGBOM I. Nursing Inquiry 2012; 19: 247–258 Patients’ statements and experiences concerning receiving mechanical ventilation: a prospective video‐recorded studyProspective studies using video‐recordings of patients during mechanical ventilator treatment (MVT) while conscious have not previously been published. The aim was to describe patients’ statements, communication and facial expressions during a video‐recorded interview while undergoing MVT. Content analysis and hermeneutics inspired by the philosophy of Gadamer were used. The patients experienced almost constant difficulties (...) in breathing and lost their voice. The most common types of communication techniques patients used were nodding or shaking the head. Their expressions were interpreted as stiffened facial expression, tense body position and feelings of sadness and sorrow. Nursing care for patients’ conscious during MVT is challenging as it creates new demands regarding the content of the care provided. In caring for patients undergoing MVT while conscious, establishing a caring relationship, making patients feel safe and helping them to communicate seem to be most important for alleviating discomfort and instilling hope. (shrink)

Objective To study how doctors care for their patients, both medically and as fellow humans, through observing their conduct in patient–doctor encounters. Design Qualitative study in which 101 videotaped consultations were observed and analysed using a Grounded Theory approach, generating explanatory categories through a hermeneutical analysis of the taped consultations. Setting A 500-bed general teaching hospital in Norway. Participants 71 doctors working in clinical non-psychiatric departments and their patients. Results The doctors were concerned about their patients' health and how their (...) medical knowledge could be of service. This medical focus often over-rode other important aspects of the consultations, especially existential elements. The doctors actively directed the focus away from their patients' existential concerns onto medical facts and rarely addressed the personal aspects of a patient's condition, treating them in a biomechanical manner. At the same time, however, the doctors attended to their patients with courteousness, displaying a polite and friendly attitude and emphasising the relationship between them. Conclusions The study suggests that the main failing of patient–doctor encounters is not a lack of courteous manners, but the moral offence patients experience when existential concerns are ignored. Improving doctors' social and communication skills cannot resolve this moral problem, which appears to be intrinsically bound to modern medical practice. Acknowledging this moral offence would, however, be the first step towards minimising the effects thereof. (shrink)

This essay has its origin in a project on the globalization of science that rediscovered the wisdom of past research practices through the technology of the future. The main argument of this essay is that a convergence of digital video technologies with practices of social surveillance portends a methodological shift towards a new variety of qualitative methodology. Digital video is changing the way that students of the social world practice their craft, offering not just new ways of presenting (...) but new ways of practicing field research. We introduce concepts of the fluid wall and videoactive context to emphasize that the camera is an actor in the research process, and both behaviour and observation occur in both directions--in front of and behind the camera. While these practices and procedures are novel in some ways, they may also be viewed as old methods in the context of new instruments for recording as well as a new social understanding of these instruments. Since new technologies interact with the social context, the digital video methods we discuss in this essay are likely to become increasingly important for generations to come. We provide an overview of the use of digital video in research practice and present an account of the use of digital video methodology in Chile. (shrink)

We spent a wonderful morning in the van Gogh gallery in Amsterdam. Of course we knew all the paintings, we had seen them all in reproduction, and the building was more like a bank vault than a setting for art. But what art! At first sight how small and uniform the paintings were in reality: yet every blade of grass, every flower in a field, every olive tree, every vibration in the sky, every patch of colour, every brush stroke, testified (...) to life and to a life vibrating beneath the surface form. In a true sense, an artist inspired, an artist breaking convention, artistic and social, but nevertheless an artist transforming life with a vision of the enhancement of life, a vision inviting each one of us to look again at the natural forms around us, to feel the spirit or the gods dwelling in them, a vision of enchantment and of humanity in a disenchanted world. Art—painting—can, then, be a source of spiritual nourishment as Kant and Schiller and Ruskin in their different ways thought it should be. (shrink)

Even today, apologists for modernist and post-modernist architecture frequently appeal to what, following Sir Karl Popper, I will call historicist arguments. Such arguments have a particular poignancy when they are used to justify the replacement of some familiar part of an ancient city with some intentionally untraditional structure; as, for example, when a familiar nineteenth century block of offices in a prime city site is swept away to make room for something supposedly more fitting to the ‘new millennium’, a ‘twentieth (...) century contribution to monumental architecture’, a building ‘of substantial importance to the present age’. Similarly, those architects or consumers of architecture who fail to conform to whatever stylistic demands the age is held to demand are marginalized in many supposedly serious discussions of architecture, and made to feel out of place and out of time. (shrink)

In this powerful re-examination of the purpose and direction of philosophy for the new century O'Hear engages with our most pressing questions.

IntroductionHearing loss has a great impact on the people affected, their close partner and the interaction between both, as oral communication is restricted. Nonverbal communication, which expresses emotions and includes implicit information on interpersonal relationship, has rarely been studied in people with hearing impairment. In psychological settings, non-verbal synchrony of body movements in dyads is a reliable method to study interpersonal relationship.Material and methodsA 10-min social interaction was videorecorded in 39 PHI and their significant others. Nonverbal synchrony, which means (...) the nonverbal behaviors of two interacting persons and verbal interaction were analyzed by computer algorithms and observer ratings. Hearing-related quality of life, coping mechanisms, general psychopathology, quality of relationship, and burden of hearing loss experienced by SOs were assessed using questionnaires.ResultsIn the 39 dyads, true nonverbal synchrony differed from pseudosynchrony [t = 2.41; p = 0.02] with a medium effect size. Gender of PHI had a significant effect on general synchrony and on leading by SOs. Age gap correlated with synchronic movements. Very short duration of hearing impairment was associated with lower nonverbal synchrony in the role of leading by SOs. Feeling of closeness by PHI correlated negatively with the role of leading by SOs and feeling of closeness by SOs was positively associated with leading by PHI. No correlation was detected between nonverbal synchrony and other questionnaires. Burden experienced by the SOs was higher in SOs who reported less closeness.DiscussionA longer hearing impairment leads to more nonverbal leading by SOs compared to PHI with very short duration of hearing loss, possibly because of the long-lasting imbalance in communication. If PHI felt more closeness, SOs led less and vice versa. Burden experienced by SOs negatively correlated with closeness reported by SOs. Use of nonverbal signals and communication might help to improve benefits of auditory rehabilitation for PHI and decrease burden experienced by SOs. (shrink)

To one side of the wide third-floor hallway of Victoria College, just outside the offices of the Institute for the History and Philosophy of Science and Technology, lies the massive carcass of a 1960s-era electron microscope. Its burnished steel carapace has lost its gleam, but the instrument is still impressive for its bulk and spare design: binocular viewing glasses, beam control panel, specimen tray, and a broad work surface. Edges are worn, desiccated tape still feebly holds instructive reminders near control (...) dials; this was once a workhorse in some lab. But it exists now out of time and place; like many of the scientific instruments we study, it has not been touched by knowing hands in decades. (shrink)