The spread of new information and communications technologies during the past two decades has helped reshape civic associations, political communities, and global relations. In the midst of the information revolution, we find that the speed of this technology-driven change has outpaced our understanding of its social and ethical effects. The moral dimensions of this new technology and its effects on social bonds need to be questioned and scrutinized: Should the Internet be understood as a new form of public space and (...) a source of public good? What are we to make of hackers? Does the Internet strengthen or weaken community? In The Internet in Public Life, essayists confront these and other important questions. This timely and necessary volume makes clear the need for a broader conversation about the effects of the Internet, and the questions raised by these seven essays highlight some of the most pressing issues at hand. (shrink)

Although the poet, journalist, and critic Heinrich Heine has not received much attention among recent political theorists, his revolutionary poetry and criticism were foundational for many German thinkers who have become canonical and comprise a powerful theoretical and historical project in their own right. This essay revisits Heine’s Zur Geschichte der Religion und Philosophie in Deutschland, situating it within the broader arc of his poetry and prose works, to examine the unique mode of criticism he developed in response to a (...) sense of political impasse and paralysis in his moment. For Heine, this paralysis stemmed from the persistence of outmoded institutions in a revolutionary age, and the act of exposing it was the first step toward rebelling against and overcoming it. Heine thus developed a revolutionary notion of criticism that sought to lay bare and get beyond his moment. (shrink)

What role do normative ideals play in politics? Since Rawls, many political philosophers have advocated what they take to be a Kantian answer to this question. Normative ideals organize and guide political decision-making and action, and a major task of political philosophy is to generate them. Recently, this position has come under renewed scrutiny among political thinkers identifying as realists and nonideal theorists. These critics argue that ideal theory is too remote from empirical politics. This article turns to Kant for (...) an alternative conception of ideals that is both distinct from the Rawlsian account and better withstands the critiques of realists and nonideal theorists. It argues that, for Kant, ideals are aids to freedom; their aim is to guide us towards forms of autonomy we have yet to fully realize. This leaves us with a much stronger view of ideals than does ideal theory. (shrink)

The participation of physicians in the atrocities of the Holocaust exposed vulnerabilities in medicine’s moral commitment to patients’ best interests that every health professional should recognize. Teaching about this history is challenging, as it is extremely complex and there are no common standards for what basic historical facts students in health professions training programs should learn. Nor is there guidance on how these historical facts can or should be related to contemporary ethical issues facing health professionals. To address these problems, (...) we propose a set of core historical facts about health professional involvement in the Holocaust that every student in a health professional training program should learn. We then identify three ethical lessons from the Holocaust that are pertinent today as physicians struggle to maintain their moral compass and earn the trust of patients and the public: 1) The lesson of commitment to science; maintaining balance between reason and skepticism in the search for truth, The lesson of clinical detachment; maintaining balance between necessary professional distance with a commitment to humanism and intimacy with patients, and 3) The lesson of competing loyalties; maintaining balance in upholding medicine’s multiple responsibilities, including to individual patients and the larger community. Embedding these facts and lessons into the education of health professionals is challenging yet critically important. Today’s physicians struggle with some of the same ethical tensions as did German physicians in the Nazi era, albeit in a much-attenuated fashion. Awareness of these tensions and taking active measures to maintain them in balance are necessary components of humanistic health care, which should be an integral part of health professional training programs. (shrink)

In Community Matters: Challenges to Civic Engagement in the 21st Century, six distinguished scholars address three perennial challenges of civic life: the making of a citizen, how citizens are to agree , and how to define the rights and responsibilities of citizenship. These essays will encourage students, academics, and interested citizens outside the academy to go farther and dig deeper into these vital issues.

This book taps the best American thinkers to answer the essential American question: How do we sustain our experiment in government of, by, and for the people? Authored by an extraordinary and politically diverse roster of public officials, scholars, and educators, these chapters describe our nation's civic education problem, assess its causes, offer an agenda for reform, and explain the high stakes at risk if we fail.

Motivation: There is an ongoing search for definitive and reliable biomarkers to forecast or predict imminent seizure onset, but to date most research has been limited to EEG with sampling rates <1,000 Hz. High-frequency oscillations have gained acceptance as an indicator of epileptic tissue, but few have investigated the temporal properties of HFOs or their potential role as a predictor in seizure prediction. Here we evaluate time-varying trends in preictal HFO rates as a potential biomarker of seizure prediction.Methods: HFOs were (...) identified for all interictal and preictal periods with a validated automated detector in 27 patients who underwent intracranial EEG monitoring. We used LASSO logistic regression with several features of the HFO rate to distinguish preictal from interictal periods in each individual. We then tested these models with held-out data and evaluated their performance with the area-under-the-curve of their receiver-operating curve. Finally, we assessed the significance of these results using non-parametric statistical tests.Results: There was variability in the ability of HFOs to discern preictal from interictal states across our cohort. We identified a subset of 10 patients in whom the presence of the preictal state could be successfully predicted better than chance. For some of these individuals, average AUC in the held-out data reached higher than 0.80, which suggests that HFO rates can significantly differentiate preictal and interictal periods for certain patients.Significance: These findings show that temporal trends in HFO rate can predict the preictal state better than random chance in some individuals. Such promising results indicate that future prediction efforts would benefit from the inclusion of high-frequency information in their predictive models and technological architecture. (shrink)

William James, one of America’s most original philosophers and psychologists, was concerned above all with the manner in which philosophy might help people to cope with the vicissitudes of daily life. Writing around the turn of the twentieth century, James experienced firsthand, much as we do now, the impact upon individuals and communities of rapid changes in extant values, technologies, economic realities, and ways of understanding the world. He presented an enormous range of practical recommendations for coping and thriving (...) in such circumstances, arguing consistently that prospects for richer lives and improved communities rested not upon trust in spiritual or material prescriptions, but rather on clear thinking in the cause of action. This volume seeks to demonstrate how James’s astonishingly rich corpus can be used to address contemporary issues and to establish better ways for thinking about the moral and practical challenges of our time. In the first part, James’s theories are applied directly to issues ranging from gun control to disability, and the ethics of livestock farming to the meaning of “progress” in race relations. The second part shows how James’s theories of ethics, experience, and the self can be used to “clear away” theoretical matters that have inhibited philosophy’s deployment to real-world issues. Finally, part three shows how individuals might apply ideas from James in their personal lives, whether at work, contemplating nature, or considering the implications of their own habits of thought and action. (shrink)

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

A recent study published in Nature Neuroscience purports to have answered a question posed to Locke in 1688 by his friend William Molyneux, namely, whether ‘a man born blind and made to see’ would be able to identify, immediately and by vision alone, objects previously known only by touch. The answer, according to the researchers – and as predicted by Molyneux, as well as Locke, Berkeley, and others – is ‘likely negative. The newly sighted subjects did not exhibit an (...) immediate transfer of their tactile shape knowledge to the visual domain’. Since then, however, many commentators have argued that the answer is still not clear. Moreover, in the contemporary literature on Molyneux’s Question, and more generally on cross-modal perception and the individuation of the senses, it is sometimes hard to determine what question is being investigated. In this paper, I distinguish a number of different questions about the relation between visual and tactual perception that can arise when considering Molyneux’s... (shrink)

Writing twenty years ago, the late Harvard Law professor William Stuntz diagnosed a set of “pathological politics” at the heart of US criminal law. Stuntz sought to explain why carceral policies in...

The $120 millwn libel suit brought by General William Westmoreland against CBS has been the focus of considerable press and public attention. It was Westmurelad's claim that the CBS broadcast, "The Uncountd Enemy: A Vietnam Deception, contained intentional distortions of fact. CBS stood firmly behind the broadcast, although conceding journalistic flaws. During the trial the procedures followed when making the documentary were closely scrutinized and the nature of teleuision journalistic practice was called into question. The ethical implications of the (...) Westmoreland v. CBS controversy are discussed in this article. (shrink)

Considered a sign of the ‘coming of age’ of video games as an artistic medium, the award-winning BioShock franchise covers vast philosophical ground. _BioShock and Philosophy: Irrational Game, Rational Book _presents expert reflections by philosophers on this critically acclaimed and immersive fan-favorite. Reveals the philosophical questions raised through the artistic complexity, compelling characters and absorbing plots of this ground-breaking first-person shooter Explores what _BioShock_ teaches the gamer about gaming, and the aesthetics of video game storytelling Addresses a wide array of (...) topics including Marxism, propaganda, human enhancement technologies, political decision-making, free will, morality, feminism, transworld individuality, and vending machines in the dystopian society of Rapture Considers visionary game developer Ken Levine’s depiction of Ayn Rand’s philosophy, as well as the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the Hall of Philosophical Heroes. (shrink)

Levin and Schnorr (independently) introduced the monotone complexity, Km(α), of a binary string α. We use monotone complexity to define the relative complexity (or relative randomness) of reals. We define a partial ordering ≤Km on 2ω by α ≤Km β iff there is a constant c such that Km(α ↾ n) ≤ Km(β ↾ n) + c for all n. The monotone degree of α is the set of all β such that α ≤Km β and β ≤Km α. We (...) show the monotone degrees contain an antichain of size 2N0, a countable dense linear ordering (of degrees of cardinality 2N0), and a minimal pair. Downey, Hirschfeldt, LaForte, Nies and others have studied a similar structure, the K -degrees, where K is the prefix-free Kolmogorov complexity. A minimal pair of K -degrees was constructed by Csima and Montalbán. Of particular interest are the noncomputable trivial reals, first constructed by Solovay. We define a real to be (Km, K)-trivial if for some constant c, Km(α ↾ n) ≤ K(n)+c for all n. It is not known whether there is a Km-minimal real, but we show that any such real must be (Km, K)-trivial. Finally, we consider the monotone degrees of the computably enumerable (c.e.) and strongly computably enumerable (s.c.e.) reals. We show there is no minimal c.e. monotone degree and that Solovay reducibility does not imply monotone reducibility on the c.e. reals. We also show the s.c.e. monotone degrees contain an infinite antichain and a countable dense linear ordering. (shrink)

Richard Levins’ distinction between aggregate, composed and evolved systems acquires new significance as we recognize the importance of mechanistic explanation. Criteria for aggregativity provide limiting cases for absence of organization, so through their failure, can provide rich detectors for organizational properties. I explore the use of failures of aggregativity for the analysis of mechanistic systems in diverse contexts. Aggregativity appears theoretically desireable, but we are easily fooled. It may be exaggerated through approximation, conditions of derivation, and extrapolating from some conditions (...) of decomposition illegtimately to others. Evolved systems particularly may require analyses under alternative complementary decompositions. Exploring these conditions helps us to better understand the strengths and limits of reductionistic methods. (shrink)

We argue that the concept of a control variable (CV) as described by Feldman and Levin needs to be revised because it does not account for the influence of sensory feedback from the periphery. We provide evidence from the realm of rhythmic movements that sensory feedback can permanently alter the frequency and phase of a centrally generated rhythm.

In his essay “Pragmatism and Humanism,” William James recalls a friend’s disappointment that the “prodigious star-group” known as the Big Dipper “should remind us Americans of nothing but a culinary utensil.”1 Such, presumably, is the fault of generalization, though James himself is less than specific in illustrating the occasional parity of varied perspectives. For example, he posits two identical equilateral triangles, one inverted and overlapping the other, and notes, “You can treat the adjoined figure as a star, as two (...) big triangles crossing each other, as a hexagon with legs set up on its angles, as six equal triangles hanging together by their tips, etc.”. What he does not say is that the design.. (shrink)

Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by a (...) human, another evolutionary step had to be taken, one fostered by a literary association. This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous. (shrink)