In eleven first-rate essays, the normative thought of C. S. Peirce is not just exegetically exhumed from out of a sprawled corpus, a challenging task in its own right, but actually resuscitated to new life to address contemporary concerns. The goal of this collection is stated simply by de Waal and Skowronski in their introduction. Because there are “an increasing number of people . . . beginning to look at what Peirce has to offer more generally to contemporary esthetics and (...) moral philosophy . . . this volume will prove a valuable starting point for this [interest]” . While this volume is valuable and a successful contribution to Peirce studies, it is by no means a starting point for this kind of elaboration .. (shrink)

Let κ be a cardinal which is measurable after generically adding ${\beth_{\kappa+\omega}}$ many Cohen subsets to κ and let ${\mathcal G= ( \kappa,E )}$ be the κ-Rado graph. We prove, for 2 ≤ m < ω, that there is a finite value ${r_m^+}$ such that the set [κ] m can be partitioned into classes ${\langle{C_i:i (...) G}$ in ${\mathcal G}$ such that ${[\mathcal{G} ^\ast ] ^m\cap C_i}$ is monochromatic. It follows that ${\mathcal{G}\rightarrow (\mathcal{G} ) ^m_{<\kappa/r_m^+}}$ , that is, for any coloring of ${[ \mathcal {G} ] ^m}$ with fewer than κ colors there is a copy ${\mathcal{G} ^{\prime}}$ of ${\mathcal{G}}$ such that ${[\mathcal{G} ^{\prime} ] ^{m}}$ has at most ${r_m^+}$ colors. On the other hand, we show that there are colorings of ${\mathcal{G}}$ such that if ${\mathcal{G} ^{\prime}}$ is any copy of ${\mathcal{G}}$ then ${C_i\cap [\mathcal{G} ^{\prime} ] ^m\not=\emptyset}$ for all ${i 2 we have ${r_m^+ > r_m}$ where r m is the corresponding number of types for the countable Rado graph. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 197-201 [Access article in PDF] An Interview with Donald Mitchell and James Wiseman The 2002 Fred Streng Book Award has been given to Donald W. Mitchell and James Wiseman for their edited collection, The Gethsemani Encounter: A Dialogue on the Spiritual Life by Buddhist and Christian Monastics. Donald W. Mitchell is professor of comparative philosophy at Purdue University and a member of (...) the editorial advisory board of Buddhist-Christian Studies. James Wiseman is a member of the Benedictine community of St. Anselm's Abbey in Washington, D.C., and is an associate professor of theology at the Catholic University of America. Following is an edited interview with both.DONALD MITCHELL How long have Buddhist and Christian monastics been in dialogue? In 1978 the Benedictine Confederation founded what is now named the Monastic Interreligious Dialogue (MID) in order to develop intermonastic dialogue, especially with Buddhism. MID has been in dialogue with Buddhism in Europe, Asia, Australia, and North America. Numerous MID spiritual exchanges and hospitality programs have taken place between Buddhist and Christian monastics over the years. How did the Dalai Lama get involved? His Holiness the Dalai Lama met with Thomas Merton in 1968, and from then on has been interested in Christian monasticism. He first got involved with MID when several of their members spoke with him at an East-West conference at the Naropa Institute in Boulder, Colorado, in 1981. This was the beginning of a series of intermonastic hospitality exchanges, with Tibetan Buddhist monks and nuns visiting Christian monasteries in the United States and Christian monastics being hosted at Tibetan Buddhist sites in India. Years later, at the Parliament of World's Religions in 1993, MID hosted a Buddhist-Christian dialogue on "Emptiness and Kenosis." The Dalai Lama took part in the dialogue and afterward told MID that he felt its dialogue with Buddhism had matured to the point [where] it would be helpful to have a weeklong retreat dialogue on the spiritual life in Buddhism and Christianity. Where did Gethsemani enter the picture? The Dalai Lama asked if it would be possible to hold the spiritual dialogue at Gethsemani Abbey, home of his friend Thomas Merton. In 1994 MID sent a delegation [End Page 197] to Dharamsala to discuss the proposal in more depth with the Dalai Lama. An agreement was reached to hold a retreat dialogue at Gethsemani Abbey with Buddhist and Christian teachers of spirituality coming from around the world. You're not a monk. How did you get involved? Good question. A year later, Sister Mary Margaret Funk, executive director of MID, met with me to request that I help organize the encounter as a lay advisor to MID. MID had used my book, Spirituality and Emptiness: The Dynamics of Spiritual Life in Buddhism and Christianity, to prepare for the Parliament dialogue on kenosis and emptiness. I agreed to help with inviting the Buddhist participants, crafting the program, and editing the proceedings. What developments in the dialogue have you seen occurring over the years? Many developments. As you can imagine, the Gethsemani Encounter in 1996 was itself a spiritual experience. As Ewert Cousins put it, there seemed to be two treasure boxes—Buddhism and Christianity—set before us in a spiritual atmosphere that enabled us to appreciate the gems of spiritual living shared by the participants. So the encounter itself brought the dialogue to a new stage of trust, understanding, and appreciation. This development can be seen in the fact that Buddhist participants suggested a project be undertaken to produce a Buddhist commentary on the Rule of St. Benedict. The result is Benedict's Dharma: Buddhists Reflect on the Rule of Saint Benedict, edited by Patrick Henry and published by Riverhead Books in 2001. What else? A small group of American Buddhist leaders and MID members met in 1999 to discuss the possibility of holding a Gethsemani Encounter II. It was decided to bring the dialogue ahead by focusing on one of the major topics that came up again and again at Gethsemani I—namely, the... (shrink)

This article explores the complementary strengths and weaknesses of grounded and abstract representations in the domain of early algebra. Abstract representations, such as algebraic symbols, are concise and easy to manipulate but are distanced from any physical referents. Grounded representations, such as verbal descriptions of situations, are more concrete and familiar, and they are more similar to physical objects and everyday experience. The complementary computational characteristics of grounded and abstract representations lead to trade‐offs in problem‐solving performance. In prior research with (...) high school students solving relatively simple problems, Koedinger and Nathan (2004) demonstrated performance benefits of grounded representations over abstract representations—students were better at solving simple story problems than the analogous equations. This article extends this prior work to examine both simple and more complex problems in two samples of college students. On complex problems with two references to the unknown, a “symbolic advantage” emerged, such that students were better at solving equations than analogous story problems. Furthermore, the previously observed “verbal advantage” on simple problems was replicated. We thus provide empirical support for a trade‐off between grounded, verbal representations, which show advantages on simpler problems, and abstract, symbolic representations, which show advantages on more complex problems. (shrink)

Barsalou's interesting model might benefit from defining simulation and clarifying the implications of prior critiques for simulations (and not just for perceptual symbols). Contrary to claims, simulators (or frames) appear, in the limit, to be amodal. In addition, the account of abstract terms seems extremely limited.

While rooted in careful study of Mead’s original writings and transcribed lectures and the historical context in which that work was carried out, the papers in this volume have brought Mead’s work to bear on contemporary issues in metaphysics, epistemology, cognitive science, and social and political philosophy.

Rationale: Deep brain stimulation (DBS) of the hippocampus is proposed for enhancement of memory impaired by injury or disease. Many pre-clinical DBS paradigms can be addressed in epilepsy patients undergoing intracranial monitoring for seizure localization, since they already have electrodes implanted in brain areas of interest. Even though epilepsy is usually not a memory disorder targeted by DBS, the studies can nevertheless model other memory-impacting disorders, such as Traumatic Brain Injury (TBI). Methods: Human patients undergoing Phase II invasive monitoring for (...) intractable epilepsy were implanted with depth electrodes capable of recording neurophysiological signals. Subjects performed a delayed-match-to-sample (DMS) memory task while hippocampal ensembles from CA1 and CA3 cell layers were recorded to estimate a multi-input, multi-output (MIMO) model of CA3-to-CA1 neural encoding and a memory decoding model (MDM) to decode memory information from CA3 and CA1 neuronal signals. After model estimation, subjects again performed the DMS task while either MIMO-based or MDM-based patterned stimulation was delivered to CA1 electrode sites during the encoding phase of the DMS trials. Each subject was sorted (post hoc) by prior experience of repeated and/or mild-to-moderate brain injury (RMBI), TBI, or no history (control) and scored for percentage successful delayed recognition (DR) recall on stimulated vs. non-stimulated DMS trials. The subject’s medical history was unknown to the experimenters until after individual subject memory retention results were scored. Results: When examined compared to control subjects, both TBI and RMBI subjects showed increased memory retention in response to both MIMO and MDM-based hippocampal stimulation. Furthermore, effects of stimulation were also greater in subjects who were evaluated as having pre-existing mild-to-moderate memory impairment. Conclusion: These results show that hippocampal stimulation for memory facilitation was more beneficial for subjects who had previously suffered a brain injury (other than epilepsy), compared to control (epilepsy) subjects who had not suffered a brain injury. This study demonstrates that the epilepsy/intracranial recording model can be extended to test the ability of DBS to restore memory function in subjects who previously suffered a brain injury other than epilepsy, and support further investigation into the beneficial effect of DBS in TBI patients. (shrink)

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the (...) mass media. (shrink)

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

Multilevel research strategies characterize contemporary molecular inquiry into biological systems. We outline conceptual, methodological, and explanatory dimensions of these multilevel strategies in microbial ecology, systems biology, protein research, and developmental biology. This review of emerging lines of inquiry in these fields suggests that multilevel research in molecular life sciences has significant implications for philosophical understandings of explanation, modeling, and representation.

These essays represent an important contribution to modern philosophical theology. They begin with an appreciation of Basil Mitchell's work and then discuss the role of reason in the justification of Christian theism, giving special attention to the nature of informal reasoning in religion and science. The latter essays examine particular arguments raised by specific religious concepts, covering such topics as the problem of evil, conspicuous sanctity, atonement, and the Eucharist. Drawn from a wide spectrum of philosophers and theologians, the (...) contributors include Maurice Wiles, Grace M. Jantzen, Gordon Kaufman, J.R. Lucas, Rom Harr'e, Richard Swinburne, and Michael Dummett. (shrink)

Stephane Savanah provides a critique of theories of self-recognition that largely mirrors my own critique that I began publishing two decades ago. In addition, he both misconstrues my kinesthetic-visual matching model of mirror self-recognition in multiple ways , and misconstrues the evidence in the scientific literature on MSR. I describe points of agreement in our thinking about self-recognition, and criticize and rectify inaccuracies.

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 101-104 [Access article in PDF] A Christian Response to Buddhist Reflections on Prayer Donald W. Mitchell Purdue University In his essay, Kenneth K. Tanaka considers two important elements of Christian prayer when he presents young Megan praying. First is the petitionary element of her prayer, and second is the relational element. Saint John Damascene expresses these same two dimensions in his classical definition of (...) Christian prayer: "Prayer is the raising of one's mind and heart to God, or the requesting of good things from God." 1 This movement of the mind and heart to God makes Christian prayer a living relationship that is itself a gift of God through Christ. The "heart" of a person is that hidden center in which Christ resides and from where his spirit moves both heart and mind toward God in a relation of love and devotion. As Saint Thérèse of Lisieux puts it, "For me, prayer is a surge of the heart... it is a cry of recognition and of love, embracing both trial and joy." 2 One responds to trials, one's own or those of others, with prayers of petition or intercession; and to joys or blessings with prayers of adoration, praise and thanksgiving. In all cases, the prayers are the dynamics of a person's relationship with God, where God is both ultimate source and object of the prayers.Tanaka also makes two comments about Christian prayer in its public forms. First, he questions the appropriateness of public prayers for civic leaders or for teams at athletic events. Does God choose to aid only some political leaders or nations, or choose sides in athletic games? Though I may feel that God must prefer my son's Little League team, or at least Notre Dame football for heaven's sake, certainly God loves and cares for everyone. Perhaps Tanaka's final characterization of Christian prayer is helpful here: "conversational, personal and hopeful." In a public event, one expresses in prayer one's hope, while understanding that God's providence embraces everyone in ways that are larger than one can comprehend.In the essay by Taitetsu Unno on the Jesus Prayer and Nembutsu, the question of dualism and both the initiative and the consequence of prayer is addressed. Unno points out that according to the Jesus Prayer tradition in Eastern Orthodoxy, the initiative of the prayer is from God, much like the intoning of Nembutsu arising from the Vow of Great Compassion. Here, as in Saint Thérèse's "surge of the heart," the ultimate subject and object of prayer are the same. Unno points out that the consequence [End Page 101] of such a Christian prayer is a sense that the world is infused with the presence of God in a way that is similar to finding the Land of Bliss everywhere. Indeed, I would add that this similarity applies to more than just the Jesus Prayer. Saint Teresa of Avila refers to a prayer experience that is not uncommon in mature Christian spirituality "in which is revealed to the soul how all things are in God, and how within himself he contains them all." 3After presenting these similarities between the Jesus Prayer and Nembutsu, Unno raises what he sees as a fundamental difference: the treatment of sin, blind passions, and ignorance. Unno quotes a Christian Orthodox text that calls for the utter rejection of sin and evil, and depicts grace as entering the soul and driving evil outside. Unno then says, "To negate evil, sin, and death means to deny a part of one's reality; to affirm them through transformation means to make one's life complete and whole." The latter approach is, for Unno, key to the spirituality of Shinran and Shin Buddhism. I would like to make two comments here. First, it is unclear as to what Unno is saying about the Shin approach to evil. How can one transform evil into its opposite without evil being "nullified and eradicated"? When the "ice" of one's passions melt into the... (shrink)

Can poem and picture collaborate successfully in a composite art of text and design? Or does one art inevitably dominate the other? W.J.T. Mitchell maintains that Blake's illuminated poems are an exception to Suzanne Langer's claim that "there are no happy marriages in art—only successful rape." Drawing on over one hundred reproductions of Blake's pictures, this book shows that neither the graphic nor the poetic aspect of his composite art consistently predominates: their relationship is more like an energetic rivalry, (...) a dialogue between vigorously independent modes of expression. W.J.T. Mitchell is Professor of English and Art and Design at the University of Chicago and editor of Critical Inquiry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Volume 20, Issue 8, August 2020, Page W12-W13.

The current ethical norms of genomic biobanking creating and maintaining large repositories of human DNA and/or associated data for biomedical research have generated criticism from every angle, at both the practical and theoretical levels. The traditional research model has involved investigators seeking biospecimens for specific purposes that they can describe and disclose to prospective subjects, from whom they can then seek informed consent. In the case of many biobanks, however, the institution that collects and maintains the biospecimens may not itself (...) be directly involved in research, instead banking the biospecimens and associated data for other researchers. Moreover, the future uses of biospecimens may be unknown, if not unknowable, at the time of collection. Biobanking may thus stretch the meanings of inform and consent to their breaking point: if you cannot inform subjects about what their biospecimens will be used for, what can they consent to? Given that informed consent by individual subjects is the ethical gold standard, the seeming dilution of the concept in the context of biobanking is a profound problem. (shrink)

The emergence and scope of personal and collective efforts to integrate faith into workplaces is a social movement that includes and extends beyond personal ethics. This paper discusses the development of The Integration Profile (TIP) Faith and Work Integration Scale, which is designed to measure the multidimensional nature of faith expressions within workplace settings. TIP measures the manifestations of faith, religion, and spirituality at the individual level. Earlier research theorized that individuals tend to manifest or live out their faith in (...) one of four ways (Miller in God at work: the history and promise of the faith at work movement, Oxford University Press, New York, 2007); TIP expands this to assess eight sub-orientations, nested within the four main manifestations of faith–work integration. The development of the 24-item TIP scale involved exploratory analyses in a sample of 512 employees of a for-profit palliative care organization and a hierarchical confirmatory factor analysis in a sample of 4463 employees in an American multinational food processing organization. Additional analyses were conducted in a third sample of 266 working adults to assess the convergent and discriminant validity of the eight sub-orientations with other faith variables as well as associations with work outcomes. (shrink)

The article considers the changing position of women and the family from the Second World War until today using the UK as its example. It offers a theoretical perspective by setting out to examine the possibility that the rise of second-wave feminism both reflected and spearheaded an aspect of demographic transition to non-replacement populations. It considers the tension between the formation of ‘sexual difference’ to enable reproduction and what it calls the ‘engendering of gender’ in lateral relations which are indifferent (...) to procreation. With the achievements of feminism as a political vanguard and the demographic transition as its socioeconomic base, women were no longer defined by the family; their definition ceased to depend on procreation. The article proposes that the new use of the term ‘gender’ entered the political arena to become a key concept of feminism to indicate non-procreative sexuality and sexual relations that need not be heterosexual or biologically procreative. Judith Butler’s well-known suggestion that ‘gender’ troubles the status quo in a revolutionary manner cannot be sustained. Rather than disturbing the universe, the advent of ‘gender’ reflects the transition to a new demographic order. (shrink)

The huge amounts spent on store security and crime prevention worldwide, not only costs international businesses, but also amounts to a hidden tax on those law-binding consumers who bear higher prices. Most previous research has focused on shoplifting and ignored many other ways in which consumers cheat businesses. Using a hybrid of both qualitative research and survey approaches in four countries, an index of 37 activities was developed to examine consumers’ unethical activities across UK, US, France, and Austria. The findings (...) indicate that around three quarters of consumers in all four countries can be classified as heavy offenders for these minor cheats. The paper argues that government agencies, marketers, and retailers should adopt more pro-active preventative approaches, rather than reactive loss limitation measures to combat unethical behavior. (shrink)

Morin’s identification of inner speech with self-awareness is problematic. Taylor’s description of her experience before, during, and after her stroke and operation is also problematic; it is at times confusing and difficult to comprehend conceptually. Rather than being global, her deficits in self-awareness seem piecemeal. She describes self-awareness that exists independent of inner speech. I offer interpretations of her experience alternative to those of Morin and Taylor.

Since its inception as a topic of inquiry, mirror-self-recognition has usually been explained by two models: one, initiated by Guillaume, proposes that mirror-self-recognition depends upon kinesthetic-visual matching, and the other, initiated by Gallup, that self-recognition depends upon a self-concept. These two models are examined historically and conceptually. This examination suggests that the kinesthetic-visual matching model is conceptually coherent and makes reasonable and accurate predictions; and that the self-concept model is conceptually incoherent and makes inaccurate predictions from premises which are themselves (...) inaccurate. From a theoretical standpoint, the kinesthetic-visual matching model is the better explanation of self-recognition. (shrink)

This study examines the effects of sex and familiarity on Americans’ talk to dogs during play, using categories derived from research comparing mothers’ and fathers’ talk to infants. Eight men and fifteen women were videotaped whilst playing with their own dog and with another person’s dog, and their utterances were codified for features common to infant-directed talk. Women used the baby talk speech register more than men, and both men and women used this register more when interacting with the unfamiliar (...) dog than with the familiar dog. When playing with the familiar dog, women talked more than men, and their talk was more suggestive of friendliness and having a conversation. When playing with the unfamiliar dog people used more praise, more conversational gambits, a more diverse vocabulary, and longer utterances than when playing with the familiar dog, suggesting that when playing with the unfamiliar dog, people pretended to have more of a conversation, were more attentive to appearing friendly and were less attentive to the dog’s limited understanding. Overall, however, men and women used similar forms of talk when interacting with a dog, whether familiar or not. (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

Mitchell: Could we begin by discussing the problem of public art? When we spoke a few weeks ago, you expressed some uneasiness with the notion of public art, and I wonder if you could expand on that a bit.Kruger: Well, you yourself lodged it as the “problem” of public art and I don’t really find it problematic inasmuch as I really don’t give it very much thought. I think on a broader level I could say that my “problem” is (...) with categorization and naming: how does one constitute art and how does one constitute a public? Sometimes I think that if architecture is a slab of meat, then so-called public art is a piece of garnish laying next to it. It has a kind of decorative function. Now I’m not saying that it always has to be that way—at all—and I think perhaps that many of my colleagues are working to change that now. But all too often, it seems the case.Mitchell: Do you think of your own art, insofar as it’s engaged with the commercial public sphere—that is, with advertising, publicity, mass media, and other technologies for influencing a consumer public—that it is automatically a form of public art? Or does it stand in opposition to public art?Kruger: I have a question for you: what is a public sphere which is an uncommercial public sphere? Barbara Kruger is an artist who works with words and pictures. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Professor of English and art at the University of Chicago. (shrink)

American undergraduates rated masculinity, femininity, and likability of two men from a videotaped interaction. Participants were informed that both men were cat persons, dog persons, heterosexual, adopted, or gay, or were unlabeled. Participants rated the men less masculine when cat persons than when dog persons or unlabeled, and less masculine and more feminine when gay than when anything else or unlabeled. The more masculine man received lower feminine ratings when a dog person than when a heterosexual, and higher masculine ratings (...) when a dog person than when unlabeled. Labels did not affect likability. Overall, the gay label consistently promoted cross-gender attributions, the dog person label encouraged somewhat heightened gender-appropriate attributions, and the cat person label allowed for normative attributions. (shrink)

The following articles are best described as essays “in,” not “on,” the New Art History. They exemplify what we regard as some of the most interesting new directions in the practical understanding of art: the discourse of art historical description ; the materiality of the pictorial surface ; the role of genre ; the relation of visual representation and language ; and the mediation of social and economic history through painting. These essays constitute a kind of first installment of work (...) resulting from out call for papers on “The Disciplines of the Eye.” This call continues to go out, and we shall welcome contributions that attempt to take stock of current thinking in the visual arts in a more general way—essays “on” as well as “in” the patterns of thought emerging in the study of visual representation. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the digital image -- Foundational (...) sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

The authors surveyed hospitals across the country on their policies regarding overlapping surgery, and found large variation between hospitals in how this practice is regulated. Specifically, institutions chose to define “critical portions” in a variety of ways, ultimately affecting not only surgical efficiency but also the autonomy of surgical trainees and patient experiences at these different hospitals.

We show that if there is no inner model with a Woodin cardinal and the Steel core model K exists, then every Jónsson cardinal is Ramsey in K, and every δ-Jónsson cardinal is δ-Erdös in K. In the absence of the Steel core model K we prove the same conclusion for any model L[E] such that either V = L[E] is the minimal model for a Woodin cardinal, or there is no inner model with a Woodin cardinal and V is (...) a generic extension of L[E]. The proof includes one lemma of independent interest: If V = L[A], where A $\subset$ κ and κ is regular, then L κ [A] is a Jónsson algebra. The proof of this result, Lemma 2.5, is very short and entirely elementary. (shrink)

We show that if there is no inner model with a Woodin cardinal and the Steel core model K exists, then every Jonsson cardinal is Ramsey in K, and every $\delta$-Jonsson cardinal is $\delta$-Erdos in K. In the absence of the Steel core model K we prove the same conclusion for any model L$[\mathscr{E}]$ such that either V = L$[\mathscr{E}]$ is the minimal model for a Woodin cardinal, or there is no inner model with a Woodin cardinal and V is (...) a generic extension of L$[\mathscr{E}]$. The proof includes one lemma of independent interest: If V = L$[\mathscr{A}]$, where A $\subset$ $\kappa$ and $\kappa$ is regular, then L$_\kappa$[A] is a Jonsson algebra. The proof of this result, Lemma 2.5, is very short and entirely elementary. (shrink)

In Animal Rites, Cary Wolfe examines contemporary notions of humanism and ethics by reconstructing a little known but crucial underground tradition of theorizing the animal from Wittgenstein, Cavell, and Lyotard to Lévinas, Derrida, ...

This may be an especially favorable moment in intellectual history to come to some understanding of notions like “abstraction” and “the abstract,” if only because these terms seem so clearly obsolete, even antiquated, at the present time. The obsolescence of abstraction is exemplified most vividly by its centrality in a period of cultural history that is widely perceived as being just behind us, the period of modernism, ranging roughly from the beginning of the twentieth century to the aftermath of the (...) Second World War.1art is now a familiar feature of our cultural landscape; it has become a monument to an era that is passing from living memory into history. The experiments of cubism and abstract expressionism are no longer “experimental” or shocking: abstraction has not been associated with the artistic avant-garde for at least a quarter of a century, and its central masterpieces are now firmly entrenched in the tradition of Western painting and safely canonized in our greatest museums. That does not mean that there will be no more abstract paintings, or that the tradition is dead; on the contrary, the obsolescence we are contemplating is in a very precise sense the precondition for abstraction’s survival as a tradition that resists any possible assault from an avant-garde. Indeed, the abstract probably has more institutional and cultural power as a rearguard tradition than it ever did as an avant-garde overturning of tradition. For that very reason its self-representations need to be questioned more closely than ever, especially its account of its own nature and history. This seems important, not just to set the record straight about what abstract art was, but to enable critical and artistic experimentation in the present, and a more nuanced account of both pre-and postmodern at, both of which are in danger of being swallowed up by the formulas of abstract formalism. If art and criticism are to continue to play an oppositional and interventionist role in our time, passive acceptance and reproduction of a powerful cultural tradition like abstract art will simply not do. 1. I define modernism and “the age of abstraction” here in familiar art historical terms, as a period extending from Kandinsky and Malevich to Jasper Johns and Morris Louis. There are other views of this matter which would trace modernism back to the emergence of an avant-garde in the 1840s , or to romanticism , or to the eighteenth century . My claim would be that “the abstract” as such only becomes a definitive slogan for modernism with the emergence of abstract painting around 1900. W. J. T. Mitchell, editor of Critical Inquiry, is professor of English and a member of the Committee on Art and Design at the University of Chicago. His most recent book is Iconology: Image, Text, Ideology. (shrink)