In lieu of an abstract, here is a brief excerpt of the content:Guest Editors' NoteKevin Taylor (bio) and Johnathan Flowers (bio)Welcome to this special fall 2021 issue of Education & Culture. we are pleased to bring you the second installment of this special three-part issue on Deweyan approaches to contemporary issues at the intersection of data and technology.In his extensive writings on philosophy and technology, Luciano Floridi has argued that "the time has come to translate environmental ethics into terms (...) of infosphere and informational entities, for the land we now inhabit is not just the earth."1 This may be appropriate from a Deweyan perspective as Dewey's approach to aesthetic experience focuses on the living organism within its environment and we have become digital humans in digital environments. Our digital world feels unstable because it is in constant change, but Dewey reminds us that "all interactions that effect stability and order in the whirling flux of change are rhythms. There is ebb and flow, systole and diastole: ordered change."2 The rhythms of our digital world pervade all experience in what he termed "doing and undergoing." We are swimming in a sea of data and leaving behind what investigative reporter Julia Angwin terms data pollution.3 But in the data-driven world, that data pollution is collected, analyzed, and monetized by big data tech firms in a kind of societal harm that threatens digital democracy.Whereas part one saw contributions from five scholars throwing curriculum and technology into sharp relief, this issue asks questions such as "Where ought we to begin?", "What does feminist pragmatism have to tell us about the pandemic and online teaching and learning?", and "Do the aims and means of data and technology align with human experience?"John Machielsen's "Responsible Imagineering: John Dewey's Pluralistic Ethics and Technological Innovation" seems like a good place to begin. Machielsen argues for placing Dewey's ethics at the starting point from which technological innovation can flourish. Driven by Deweyan concepts of intelligence, education, and imagination, Machielsen explores, among other themes, socially disruptive technology from the perspective of pragmatists who constantly reconstruct concepts and values through the process of Deweyan inquiry. Human beings are imaginative and plastic with regard to problem solving, and what is needed here is to keep the barriers between technology and everyday life porous so that we do not risk compartmentalizing them as distinctly different realms.In the next two essays, we turn our attention to the growing concerns surrounding intelligent technology in online educational environments. Great strides have been made in the field of artificial intelligence, and intelligent technology has inserted itself into various aspects of data and technology, such as machine learning that creates personalized learning paths for students. Whether these technologies fall under the [End Page 1] category of algorithms, machine learning, or artificial intelligence, they raise questions about their potential impact on teaching and learning.Olivier Del Fabbro is also suspicious of the current state of intelligent technology in his article, "How to Teach Machines in Artificial Intelligence: Technical Education in John Dewey, Gilbert Simondon, and Machine Learning." Citing the Google machine learning model that classified African Americans as gorillas, Del Fabbro utilizes Dewey and Gilbert Simondon to argue that the human–machine relationship is still immature and at risk of creating an alienated situation out of undesirable bad habits. Intelligent technology requires constant care by engineers and programmers to form good habits and adapt to social life if their aims are to align with Deweyan pedagogy.As Del Fabbro focuses on intelligent technology, the human dimension of online learning comes under scrutiny in two articles that adopt feminist pragmatist methods. Krissah Marga B. Taganas's article, "Feminist-Pragmatist Perspectives on Online Education: Challenging and Changing Online Educational Conversation," rightfully acknowledges how the pandemic has magnified existing inequalities in society. The rapid migration to online learning was necessarily expedited in the face of uncertainties surrounding public health, but how do educators migrate classes that were not designed with online learning in mind to begin with? Dewey emphasized schools as sites and tools for change, but how does online education provide an optimal social environment for learning? Taganas utilizes feminist pragmatism as an important philosophical resource to... (shrink)

Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of The Power of the Dog to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. (...) Drawing upon thought that stems from actual plants (Deleuze and Guattari’s arboreal-rhizomatic thinking) and vegetal philosophy (Marder, Coccia), as well as parallel botany’s attention to the artificial (Lionni), I follow the fate of one paper flower as it intersects with the gendered history of artificial flower making and floral sexual symbolism. Thinking with this paper flower, I engage with theories that variously question binary power relations (Cixous, Barthes, Steinbock), reading these alongside scholarship on sex, gender, and masculinity in the Western (Neale, Mulvey, Bruzzi), and broaching the hierarchies of settler colonialism. The film’s floral aesthetic, I argue, challenges the either/or logic of male or female, masculine or feminine, and even though it cannot fully break away from the binaries it critiques, it is indebted to registering the importance of the nuance (Barthes) in the unthreading of power. (shrink)

Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of _The Power of the Dog_ to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. (...) Drawing upon thought that stems from actual plants (Deleuze and Guattari’s arboreal-rhizomatic thinking) and vegetal philosophy (Marder, Coccia), as well as parallel botany’s attention to the artificial (Lionni), I follow the fate of one paper flower as it intersects with the gendered history of artificial flower making and floral sexual symbolism. Thinking with this paper flower, I engage with theories that variously question binary power relations (Cixous, Barthes, Steinbock), reading these alongside scholarship on sex, gender, and masculinity in the Western (Neale, Mulvey, Bruzzi), and broaching the hierarchies of settler colonialism. The film’s floral aesthetic, I argue, challenges the either/or logic of male or female, masculine or feminine, and even though it cannot fully break away from the binaries it critiques, it is indebted to registering the importance of the nuance (Barthes) in the unthreading of power. (shrink)

This essay historicizes cultural and psychic economies in the postwar United States under the sign of material scarcity. It situates the proliferation of plastic flowers in domestic space within a context of bureaucratic anxieties surrounding natural resource scarcity, and trends toward ‘outdoor living’ that were an offshoot of the ideology of economic growth. Interrogating repeated, if relatively unexamined, invocations of ‘anxious’ suburban subjects in descriptions of postwar society, the essay suggests that plastic flowers shored up a sense of (...) stability and permanence at a time when nuclear annihilation, Cold War paranoia, and population growth combined to render life uncertain and potentially unsustainable. The essay concludes by reflecting on how legacies of that epoch – and the fiction of permanence offered by plastic flowers – endure in contemporary fantasies of limitless progress. (shrink)

A speed-accuracy trade-off (SAT) in behavioural decisions is known to occur in a wide range of vertebrate and invertebrate taxa. Accurate decisions often take longer for a given condition, while fast decisions can be inaccurate in some tasks. Speed-accuracy tactics are known to vary consistently among individuals, and show a degree of flexibility during colour discrimination tasks in bees. Such individual flexibility in speed-accuracy tactics is likely to be advantageous for animals exposed to fluctuating environments, such as changes in predation (...) threat. We therefore test whether individual speed-accuracy tactics are fixed or flexible under different levels of predation threat in a model invertebrate, the bumblebee Bombus terrestris. The flexibility of speed-accuracy tactics in a foraging context was tested in the laboratory using a ‘meadow’ of artificial flowers harbouring ‘robotic’ crab spider predators. We found that while the ranking of bees along the speed and accuracy continuums was consistent across two levels of predation threat, there was some flexibility in the tactics used by individual bees – most bees became less accurate at colour discrimination when exposed to predation threat when flower types were rewarding. The relationship between decision speed and accuracy was influenced by predator detectability and the risk associated with making incorrect choices during the colour discrimination task. Predator crypsis resulted in a breakdown in the relationship between speed and accuracy, especially when making an incorrect floral choice incurred a distasteful quinine punishment. No single speed-accuracy tactic was found to be optimal in terms of foraging efficiency under either predation threat situation. However, bees that made faster decisions achieved higher nectar collection rates in predator free situations, while accurate bees achieved higher foraging rates under predation threat. Our findings show that while individual bees remain relatively consistent in terms of whether they place greater emphasis on speed or accuracy under predation threat, they can respond flexibly to the additional time costs of detecting predators. (shrink)

ABSTRACTBy showing its organic linkage between theories of human nature and governance, this article illustrates that the Huainanzi is a scripture that holds a systematic and unique theory. The ideal governance of the Huainanzi is mystical transformation, i.e. the Daoist concept of non-action. Rule by simple Confucian rituals is not at odds with mystical transformation. However, mystical transformation does not include the rule by rituals. Moreover, excessively complicated rituals are incompatible with mystical transformation. Human nature in the Huainanzi does not (...) contradict humanity and righteousness. Human nature’s growth into humanity and righteousness is as natural as the approach of a butterfly to flowers. However, the humanity and righteousness of the Huainanzi are not innate to human nature. Likewise, unlike a flower, a butterfly is not part of a plant. Moreover, artificial flowers, which correspond to excessively complicated rituals, are incompatible wi... (shrink)

This chapter contains sections titled: Notes.

The blooming desert or ‘El desierto florido’ in Spanish, is a millenarian climate pattern caused by El Niño that warms the surface waters in the eastern tropical Pacific Ocean and creates the conditions for rain in the Altiplano and the Atacama Desert, north of Chile. After some millimeters of abundant rain, a rich biotic community emerges, and in a matter of hours or days, the driest surface on Earth becomes an impressive colorful habitat for more than two hundred different species (...) of eye-catching flowers that host the desert biotic life. Unfortunately, this breathtaking display of colors coexists with less appealing but equally astonishing landscapes. The Atacama Desert harbors the largest accumulation of discarded clothing worldwide and the largest pools of lithium mining which require vast amounts of water for their production. Every year, approximately 56,000 tons of used clothing, predominantly consisting of fast fashion polyester products, water-intensive cotton fabrics, and equally polluting material scraps, are deposited, forming toxic mountains of waste. This article presents an interpretation of these distinct landscapes as interconnected realities of the dump that illustrate the impact of biocultural semiocides, whereby the loss of relationships and meanings with Earth materials is shaped by glocal forces. By making this argument, the article contends that the Atacama region replicates the conditions of the Earth as a global dumping and solastalgia, namely ‘the pain caused by the loss of solace and the sense of desolation connected to one´s home and territory.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Implicit Soul of Charlie Kaufman's AdaptationDavid L. SmithI don't know what else there is to write about other than being human, or, more specifically, being this human. I have no alternative. Everything is about that, right? Unless it's about flowers.—Charlie Kaufman 1There are some things that cannot be observed directly, even in principle: a single quark, the present moment, ones own eye. What Richard Rodriquez calls the (...) "one subject" of literature—"What it feels like to be alive" 2 —is perhaps another one of those things. A writer struggles to be true to something central about life—to catch it on the fly, to get it right. Some have reified this "something" as "the soul" or "the human spirit." Today, though, we mainly rely on placeholders: "it," for example, as in "do you get it?" or "what's it all about?"—a usage that flirts with the vanishing "it" of "it is raining," implying a source or substance behind phenomena in which we do not really believe but without which we cannot do justice to experience. In any case, the writer's attempt to represent this elusive heart of things is typically frustrated, done in by the slipperiness of words, the cludginess of the conventions of communication, and the waywardness of the imagination. Writing inevitably falls short of its deepest aims.Nevertheless, there is something deviously affirmative in this state of affairs. For if life is a thing that refuses to be observed, then isn't the very failure of literature, if consciously acknowledged, a way of staying true to it? Isn't the writer's disappointment an especially telling feature of "what it feels like to be alive?" Emerson, more clearly than most, understood how this trick is turned: "We grant that human life is [End Page 424] mean; but how did we find out that it was mean? What is the ground of this uneasiness of ours; of this old discontent? What is the universal sense of want and ignorance, but the fine innuendo by which the soul makes its enormous claim?" 3 As noted above, "the soul" is a disposable term here. If you prefer, say simply "the human," "life," or "it." The point, in any case, is that the elusive subject which cannot be stated or represented directly may nevertheless be implied. If the human cannot be caught in a formula, it may be embodied or enacted in the ongoing work of creation.Charlie Kaufman's Adaptation is both an argument for and an example of this implicit realization of the human in art. Many viewers and even reviewers might see it as a poor candidate for humanistic interpretation along these lines. Most, in fact, have seen the film as little more than a clever postmodern puzzle-box, albeit one with great acting, deft direction, and a generous sense of humor. Its theme, after all, is the representation of representation. A book is being rewritten or adapted to become the film we are watching. The subject of that film is its own author's struggle to create it. The film further calls attention to its own artificiality by changing the rules of representation on us midway through. Its tone, style, and basic genre conventions shift when the author/protagonist begins to rethink his original purposes, undermining the credibility of all representational schemes in the process. Adaptation, in short, seems to be what the graduate-educated a decade ago might have felt comfortable calling "an endless play of simulacra," a text absorbed in its own textuality, a snake that eats its own tail. 4All of this is true enough, but it is not the whole story. The point of Adaptation, I will argue, is not simply the pleasure it takes in playing with issues of representation, but its clear sense of the human issues at stake in that play. Adaptation, that is, is not only about the way words tend to float free of the world. Rather, it is also a demonstration of the way a writer's basic goal can survive the wreck of her intentions, or the way that failed attempts to be true to life... (shrink)

The amount of criticism heaped upon persuadent has obscured consideration of the meaning of picta; for it is this word which carries the weight of the line. Tracing the sequence of thought in the passage will show where the emphasis lies. There is throughout a comparison, either expressed , or implied , between the artless manifestations of nature and their cultivated, trained, or man-made counterparts; ‘wild flowers are more beautiful to behold than cultivated ones; similarly ivy and arbutus which (...) grow as they will are more attractive than those in gardens; natural rills more charming than artificial fountains, … birds which sing from the heart delight us more than those which have been taught.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Protest Vaclav Havel Stanek's ground-floorstudy in his house on the outskirts of Prague. The house is surroundedby a garden. Doorbell.The front dooris opened. STANEK: (Loud,cordial.) Vanek!-Hello! (Thefront dooris closed.) VANEK: (Noncommittal.) Hello, Mr. StanekSTANEK : Come in, come in! (Pause.Sudden outburstof emotion.) Vanek! My dear fellow! (Pause.Conversationally.)Did you have trouble finding it? VANEK: Not reallySTANEK : Forgot to mention the flowering magnolias. That's how you know it's my house. (...) Superb, aren't they? VANEK: YesSTANEK : I managed to double their blossoms in less than three years, compared to the previous owner. Have you magnolias in your garden? VANEK: NoSTANEK : You must have them! I'm going to find you two quality saplings and I'll come and plant them for you personally. (Crosses to the bar.) How about some brandy? VANEK: I'd rather not, Mr. Stanek, if you don't mindSTANEK : Come on, Vanek! Just a token one. Eh? @ 1978 Copyright by Vaclav Havel; Translation @ 1984 Copyright by Vera Blackwell. CAUTION: No performances or readings of this work may be given without the express authorization of the author or the author's agent. For production rights, contact: Sanford J. Greenburger Associates, 825 Third Avenue, New York, N.Y. 10022. 45 (Two drinks arepoured.) VANEK: (Sighs.) STANEK: Here we are. Well-here's to our reunion! VANEK: Cheers- (Both drink.) VANEK: (Shuddersslightly. Emits a soft groan.) STANEK: I was afraid you weren't going to come. VANEK: Why? STANEK: Well, I mean, things got mixed up in an odd sort of way-What? -Won't you sit down? VANEK: (Sitsdown in an armchair,placinghis briefcase on the floorbeside him.) ThanksSTANEK : (Sinksinto anarmchairopposite Vanek witha sigh.) That'smore like it! Peanuts? VANEK: No, thanksSTANEK : (Helps himself Munching) You haven't changed much in all these years, you know? VANEK: Neither have youSTANEK : Me? Come on! Getting on for fifty, going gray, aches and pains setting in-Not as we used to be, eh? And the present times don't make one feel any better either, what? When did we see each other last, actually? VANEK: I don't knowSTANEK : Wasn't it at your last opening night? VANEK: Could beSTANEK : Seems like another age! We had a bit of an argumentVANEK : Did we? STANEK: You took me to task for my illusions and my over-optimism. Good Lord! How often since then I've had to admit to myself you were right! Of course, in those days I still believed that in spite of everything some of the ideals of my youth could be salvaged and I took you for an incorrigible pessimist. VANEK: But I'm not a pessimistSTANEK : You see, everything's turned around! (Shortpause.) Are youalone? VANEK: How do you mean, alone? STANEK: Well, isn't there somebody-you knowVANEK : Following me? STANEK: Not that I care! After all, it was me who rang you up, right? VANEK: I haven't noticed anybody46 STANEK: By the way, suppose you want to shake them off one of these days, you know the best place to do it? VANEK: NoSTANEK : A department store. You mingle with the.crowd, then at a moment when they aren't looking you sneak into the loo and wait there for about two hours. They become convinced you managed to slip out through a side entrance and they give up. You must try it sometime! VANEK:.(Pause.) Seems very peaceful hereSTANEK : That's why we moved here. It was simply impossible to go on writing near that railway station! We've been here three years, you know. Of course, my greatest joy is the garden. I'll show you around later-I'm afraid I'm going to boast a littleVANEK : You do the gardening yourself? STANEK: It's become my greatest private passion these days. Keep puttering about there almost every day. Just now I've been rejuvenating the apricots. Developed my own method, you see, based on a mixture of natural and artificial fertilizers plus a special way of waxless grafting. You won't believe the results I get! I'll find some cuttings for you later on- (Opensalarge silverbox oncoffee table between them.) Would... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Script RoseJoseph S. CatalanoLearning to read words, musical notes or numbers is a process by which we attach sounds, pictures and meanings to marks. Looked at in this way, the English script “rose” is a sign of a sound, a picture or a meaning. But when we read fluently is the word “rose” a sign? I think not; and I shall try to make a case that, to (...) the properly disposed reader, the script “rose” (hereafter written rose) is a rose.ITo have the perspective I require on reading, a quasi-Davidsonian distinction between causes and reasons may be useful. Early training in matching marks with sounds and pictures, surface irritations of light on the eye, stimulation and fixing of our entire neurological complex are all part of the causal network of our ability to read. But none of these causes are the reasons for our ability to be absorbed in reading a text.Of course, a distinction between causes and reasons does not, of itself, explain how the written page can be a world in which we find things such as roses. In order to see how the script rose got to be a rose, it is useful to suspend the usual questions that we ask about written language. Thus, we must not concern ourselves about the ambiguity that might arise because the word rose can be taken to mean a flower, a hue or a person, nor about what happens when we translate from one language to another, nor about the distinction between a sign, whether natural or artificial, and what is signified, nor whether written language [End Page 85] corresponds to something other than itself, nor the question of the meaning of meaning.IIWe created better than we knew, when we invented writing. We intended to represent the spoken word; but we made roses, dreams and lives exist as marks on a page. If this seems mysterious, it is a mystery that is present in every artifact, and what I seek is a perspective on written language precisely as an artifact.Of course, scripts are artifacts, but what I am after is the workmanship. The workmanship is both obvious and hidden. It is there for us to see; it is what we read. But we do not see it as forged over a long period of time just to serve its function as marks that are readable.In general, certain aspects of written language are similar to ordinary artifacts, others are not so. The difference is more obvious than the similarity: Scripts differ from ordinary artifacts, because we first approach them as signs of sounds, pictures or meanings: A child does not learn about sitting by looking at a chair as a sign of a chair; for example, the child does not squat on the floor, when it sees a chair. More importantly, the craftsmanship that gave us written language, especially alphabetic writing, was directed toward forging “arbitrary” marks, and a chair is certainly not an arbitrary representation of something to sit upon. In Quiddities, in the section “A” for “Alphabet,” W. V. Quine neatly summarizes the remarkable feat of discovering meaningless marks to represent sounds.... the full power of writing awaited the convergence of writing with speech, and this reached its early stages five thousand years ago. Depictions of visible objects came to be pressed into phonetic duty on the rebus principle, as if in English we were to write melancholy by depicting a melon and a collie. This expedient was rendered more flexible and powerful, if less picturesque, by devoting the phonetic representations to brief sounds—single consonants or syllables. The sound was represented by a hieroglyph depicting something whose name merely began with that sound. The rebus principle thus gave way to an acrophonic one.It was a notable step of abstraction. Finding a melon and collie in melancholy is a matter of punning with familiar words; extracting a meaningless me-, on the other hand, and meaningless lan-, and so on, calls for appreciating fugitive sounds that are not words and name nothing.(pp. 1–2)[End Page 86]Quine is right to follow the traditional claim that writing... (shrink)

When I proposed having the future at the center of this issue, which marks the 10th anniversary of Humanist Studies & The Digital Age, I was aware of the complexity of this controversial topic. The possibility of magnifiche sorti e progressive — a “splendid and progressive destiny” — made possible by human technology inspires hope in some and critique in others. The expression comes from one of Leopardi’s last poems, Ginestra o il fiore del deserto (Broom, or the flower of (...) the desert), where he uses it ironically to suggest the powerlessnesss of humanity in the face of natural disasters. The poet argues with all those who praise the human condition and progress acritically. He condemns their hubris and bitterly invites them to visit the arid slopes of Vesuvius, reduced to a desert by the volcano’s eruption. (shrink)

Features essays on moral philosophy written in honor of Elizabeth Flower's retirement.

When people combine concepts these are often characterised as “hybrid”, “impossible”, or “humorous”. However, when simply considering them in terms of extensional logic, the novel concepts understood as a conjunctive concept will often lack meaning having an empty extension (consider “a tooth that is a chair”, “a pet flower”, etc.). Still, people use different strategies to produce new non-empty concepts: additive or integrative combination of features, alignment of features, instantiation, etc. All these strategies involve the ability to deal with conflicting (...) attributes and the creation of new (combinations of) properties. We here consider in particular the case where a Head concept has superior ‘asymmetric’ control over steering the resulting concept combination (or hybridisation) with a Modifier concept. Specifically, we propose a dialogical approach to concept combination and discuss an implementation based on axiom weakening, which models the cognitive and logical mechanics of this asymmetric form of hybridisation. (shrink)

This volume is part one of a two-volume set. Volume I: From the Puritans through Transcendentalism. Volume I: From the St. Louis Hegelians through C. I. Lewis.

Bruno Latour is one of the founding figures in social network theory and a broadly influential systems thinker. Although his work has always been relational, little scholarship has engaged the relational morality, ontology, and epistemology of feminist care ethics with Latour’s actor–network theory. This article is intended as a translation and a prompt to spur further interactions. Latour’s recent publications, in particular, have focused on the new climate regime of the Anthropocene. Care theorists are just beginning to address posthuman approaches (...) to care. The argument here is that Latourian analysis is helpful for such explorations, given that caring for the earth and its inhabitants is the dire moral challenge of our time. The aim here is not to characterize Latour as a care theorist but rather as a provocative scholar who has much to say that is significant to care thinking. We begin with a brief introduction to Latour’s scholarship and lexicon, followed by a discussion of care theorist Puig de la Bellacasa’s work on Latour. We then explore recent work on care and the environment consistent with a Latourian approach. The conclusion reinforces the notion that valuing relationality across humans and non-human matter is essential to confronting the Anthropocene. (shrink)

I do not propose to attempt in this article to make any exact or exhaustive definition of religion, but rather to call attention to one of its outstanding psychological characteristics. At the outset, then, I take it for granted that religion is primarily a feeling experience. We make use of the term ‘religion,’ it is true, for many things in addition to immediate feeling experiences, and it is inevitable that we should do so. But it will be well to bear (...) in mind that when we describe Buddhism or Christianity as ‘a religion’ we are using the term in a secondary fashion. A man may accept the tenets, and to some extent practise the commandments, of a religion in this sense without being religious. (shrink)

The triumph was the most prestigious accolade a politician and general could receive in republican Rome. After a brief review of the role played by the triumph in republican political culture, this article analyzes the severe limits Augustus placed on triumphal parades after 19 BC, which then became very rare celebrations. It is argued that Augustus aimed at and almost succeeded in eliminating traditional triumphal celebrations completely during his lifetime, by using a combination of refusing them for himself and his (...) relatives and of rewarding his legates who fought under his auspices with ornamenta triumphalia and an honorific statue in the Forum of Augustus. Subsequently, the elimination of the triumph would have been one natural result of the limit placed on further imperial expansion recommended by Augustus in his will, a policy his successors chose not to follow. Tiberius, however, was unwilling to conform to this new order and retired from public life to Rhodes the year after celebrating a triumph in 7 BC, the first such celebration since 19 BC. Tiberius' two triumphs and the senate's repeated offers of further triumphs to Augustus himself represented a different vision of the role triumphal celebration should take in a restored res publica and an ongoing challenge to the princeps. (shrink)

The fetal human possesses an active central nervous system from at least the eighth week of development. Until mid-gestation the most significant center of activity is the brainstem. By the end of the first trimester, it appears that the brainstem could be acting as a rudimentary modulator of sensory information and motor activity. What importance ought to be attached to such regulatory activity is uncertain. Some argue that it represents a level of integrated activity sufficient to bolster an argument for (...) conferring some measure of standing at this point. Our thinking about sentience is not advanced a great deal, as we as yet have no good way of talking about it at the brainstem level. As for the neocortex, available evidence indicates that it does not become a functional part of the neuraxis until at least mid-gestation. It is not until then that the thalamus – the major gateway for sensory input to the cerebrum – makes its first afferent contacts with the neocortex. Keywords: neuromaturation, fetal behavior, fetal brainstem CiteULike Connotea Del.icio.us What's this? (shrink)

Professor Roderick John Flower, Biochemical Pharmacology, William Harvey Research Institute, St Barts and the London School of Medicine Queen Mary University of London Charterhouse Square, London EC1M 6BQ, UK; [email protected] O'Neill, a molecular biologist in Frank Herbert's 1982 novel ‘The White Plague’,1 seeks retributive justice for the death of his wife in a terrorist bomb blast by infecting those he holds responsible with an engineered pathogen that kills only women. The eponymous plague soon spreads uncontrollably with predictable catastrophic global consequences.When (...) the definitive history of armed conflict is written, the chapter on biological weapons will make for a long and disagreeable read. Now, happily, disavowed by most nations under the 1972 Biological Weapons Convention, the presumption is that any future deployment would be at the hands of rogue states, criminal gangs or perhaps terrorist organisations, to whom they could appeal because of their apparent ease of preparation and dissemination coupled with their sinister reputation and potential for causing mass casualties.But Herbert's villain is different. He is a trained scientist possessing expert skills and with access to pathogens, reagents and cutting-edge technology. Such a person might appear outwardly to be part of the conventional academic establishment except that their motives impel them to act covertly outside the accepted ethical and legal boundaries of their profession. Such ‘outsiders’ evade detection because they act alone and can, through their privileged position, anticipate and thwart regulation or investigation. But is this frightening scenario more than just a plot for apocalyptic novels? Is it a credible threat?In reality, such occurrences seem to be rare. In a comprehensive analysis of 180 incidents involving the use of biological agents during the last century, for instance, Carus2 noted that none of the confirmed bioterrorist attacks by non-state actors …. (shrink)

This volume is part two of a two-volume set. It may be purchased separately or in conjunction with volume one. Vol. II: From the St. Louis Hegelians through C. I. Lewis. and G. H. Mead.

Portraits of Wittgenstein is a major collection of memoirs and reflections on one of the most influential and yet elusive personalities in the history of modern philosophy, Ludwig Wittgenstein. Featuring a wealth of illuminating and profound insights into Wittgenstein's extraordinary life, this unique collection reveals Wittgenstein's character and power of personality more vividly and comprehensively than ever before. With portraits from more than seventy-five figures, Portraits of Wittgenstein brings together the personal recollections of philosophers, students, friends and acquaintances, including Bertrand (...) Russell, G. E. Moore, F. R. Leavis, A. J. Ayer, Karl Popper, Friedrich von Hayek, G. H. von Wright, Rush Rhees, Freeman Dyson, G. E. M. Anscombe, Iris Murdoch, Mary Midgley and Mary Warnock. These authors testify to the life-long influence Wittgenstein had on the lives of those he met. Their fascinating memoirs, reflections and commentaries, often at odds with each other, reveal Wittgenstein's kindness, and how much genuine friendship meant to him, as well as his suffering and despair. They show too how the philosopher's ruthless honesty and uncompromising integrity often resulted in stern advice and harsh rebukes to friends and foes alike. Now available in a single, revised and updated volume, Portraits of Wittgenstein includes new selections, revised contributions, photographs, maps and introductory overviews that provide historical context to Wittgenstein's relationships with his intellectual and social circle. This collection of valuable and hard-to-find material is an indispensable resource for scholars and students of the life and work of Ludwig Wittgenstein. (shrink)

This paper attempts to better define the areas of conflict and agreement between value ethics and the theoretical ethics of the market processes at work in the biotechnology industry. Despite the apparent lack of ethics in an oligopolistically competitive pharmaceuticals industry, the paper concludes that the current stage of development of the medical biotechnology subindustry offers unparalleled opportunities for ethical systems to influence the market-based development of biotechnology. Ethical conversations between doctors and biologists with ethicists can help the market absorb (...) more of the reflective wisdom that ethics brings when discussing such issue areas as justice, patents of the human genome, and modifications of the human genome. If conversations between ethicists and biotechnological managers and doctors are successful the metaphors of market-based financing may be refined and the knowledge base of the good increased. (shrink)

The fabula praetexta is a category of Roman drama about which we are poorly informed. Ancient testimonia are scanty and widely scattered, while surviving fragments comprise fewer than fifty lines. Only five or six titles are firmly attested. Scholarly debate, however, has been extensive, and has especially focused on reconstructing the plots of the plays.1 The main approach has been to amplify extant fragments by fitting them into a plot taken from treatments of the same episode in later historical sources (...) such as Livy, Dionysius, or Plutarch.2 This method was extended by Mommsen and others in their efforts to identify new titles and plots by isolating passages in the historians which seem written in a dramatic style, and could therefore be interpreted as derivations from historical plays.3 Such a line of approach is both risky and subjective. It is based on the desire to recover a lost genre, which modern scholars feel must or should have existed. It is tempting to imagine that the Romans would have encouraged a thriving national theatre on historical themes. Such a genre, it is argued, would have been influential in shaping the average Roman's view of past events and the treatment of famous episodes by later historians.4 The conclusions reached have virtually no basis in the ancient sources we actually have. The result is largely a fiction created by the scholarly imagination. (shrink)

Constantius, as though the Temple of Janus had been closed and all enemies had been laid low, was longing to visit Rome and, following the death of Magnentius, to hold a triumph, without a victory title and after shedding Roman blood. For he did not himself defeat any belligerent nation or learn that any had been defeated through the courage of his commanders, nor did he add anything to the empire, and in dangerous circumstances he was never seen to lead (...) from the front, nor even to be among the front ranks. But he wanted to display an exaggeratedly long procession, standards stiff with gold and the beauty of his attendants, to a population who were living more peacefully, neither anticipating nor wishing to see this or anything like it. For perhaps he was unaware that some earlier emperors had been content with lictors in peacetime, but when the heat of battle could not allow inactivity, one of them had entrusted himself to a small fishing boat, blasted by raging gales, another had followed the example of the Decii and offered up his life in a vow for the state, and another had himself explored the enemy camp alongside the regular soldiers; that, in short, various of them had won renown for magnificent deeds, and so committed their glories to the distinguished memory of posterity. …When he was approaching the city, observing with a serene expression the respectful attendance of the Senate, and the venerable likenesses of the patrician families, he thought, not like Cineas, the legate of Pyrrhus, that a multitude of kings had been assembled together, but rather that this was the refuge of the whole world [cumque urbi propinquaret, senatus officia, reuerendasque patriciae stirpis effigies, ore sereno contemplans, non ut Cineas ille Pyrrhi legatus, in unum coactam multitudinem regum, sed asylum mundi totius adesse existimabat]. Next, when he turned his gaze to the general populace, he was astonished at the speed with which every type of men from everywhere had flowed into Rome. As though he were trying to terrify the Euphrates or the Rhine with the sight of arms, with the standards in front of him on each side, he sat alone in a golden chariot, glittering with the shimmer of many different precious stones, whose flashes seemed to produce a flickering light. After many others had preceded him, he was surrounded by dragons, woven from purple cloth and affixed to the golden, bejewelled tips of spears, open to the wind with their broad mouths and so hissing as though roused with anger, trailing the coils of their tails in the wind [eumque post antegressos multiplices alios, purpureis subtegminibus texti, circumdedere dracones, hastarum aureis gemmatisque summitatibus illigati, hiatu uasto perflabiles, et ideo uelut ira perciti sibilantes, caudarumque uolumina relinquentes in uentum]. Then there came a twin column of armed men, with shields and plumed helmets, shining with glittering light, clothed in gleaming cuirasses, with armoured horsemen, whom they call clibanarii, arranged among them, masked and protected by breastplates, encircled with iron bands, so that you might have thought them to be statues finished by the hand of Praxiteles, not men [sparsique catafracti equites, quos clibanarios dictitant, personati thoracum muniti tegminibus, et limbis ferreis cincti, ut Praxitelis manu polita crederes simulacra, non uiros]. Slender rings of metal plates, fitted to the curves of the body, clothed them, spread across all their limbs, so that, in whatever direction necessity moved their joints, their clothing moved likewise, since the joins had been made to fit so well.When he was hailed as Augustus with favourable cries, [Constantius] did not shudder at the din that thundered from hills and shores, but showed himself unmoved, as he appeared in his provinces. For, when passing through high gates, he stooped his short body, and, keeping his gaze straight, as though his neck were fixed, he turned his head neither right nor left, as though an image of a man, and he was never seen to nod when the wheel shook, or to spit or wipe or rub his face or nose, or to move his hand [nam et corpus perhumile curuabat portas ingrediens celsas, et uelut collo munito, rectam aciem luminum tendens, nec dextra uultum nec laeua flectebat, tamquam figmentum hominis, nec, cum rota concuteret, nutans, nec spuens, aut os aut nasum tergens uel fricans, manumue agitans uisus est umquam]. Although this behaviour was an affectation, it, and other aspects of his more private life, were however indications of extraordinary endurance, granted to him alone, as it was given to be supposed. This passage, which describes the aduentus of Constantius II into Rome in 357, is one of the best-known episodes in the Res Gestae of Ammianus Marcellinus. This historical work was completed by the retired military officer in around 390, with the surviving books covering the period from 353 to the aftermath of the Battle of Adrianople in 378. Unsurprisingly, this passage is also one of the most debated. Throughout his work, Ammianus regularly criticized Constantius as a weak, vicious ruler, influenced by women and, in particular, eunuchs, and so contrasted him with his cousin and successor Julian, the emperor who receives the most favourable treatment within this text. The degree and nature of criticism within this particular passage has, however, been the subject of a variety of wildly differing interpretations. It is clear that, at the outset, Ammianus is inveighing against the notion of holding a triumph for victory in a civil war, but there has been debate over whether Constantius was actually celebrating a triumph or merely the anniversary of his accession. Similarly, the description of the Senate as ‘the refuge of the whole world’ has been read in contrasting ways, being regarded as derogatory by Johannes Straub, as neutral, or even positive, by Pierre Dufraigne, and as respectful by R.C. Blockley. While this passage as a whole is generally read as an attack on Constantius for his pretentions to ill-deserved military glory, it also raises the question of whether Ammianus was also criticizing Constantius for the way in which he performed his aduentus, emphasizing his pompous and autocratic behaviour in order to contrast him with Julian, who preferred to behave more like a ciuilis princeps in public. Of course, such a reading almost inevitably produces a portrait of Ammianus as an impractically nostalgic figure, harking back to a style of rule which was anachronistic in the post-Diocletianic Later Roman Empire. In addition, Ammianus also presented Julian as performing an aduentus into Constantinople in 361, employing some phrases that were similar to those used to describe Constantius’ procession in 357. Furthermore, as John Matthews has illustrated, Ammianus’ presentations of the occasions when Julian eschewed late-antique imperial protocol are not without tinges of criticism, and his judgement on the propriety of different modes of imperial behaviour varied dependent on the context. (shrink)

In adapting the story of the Great War to the taste of his own age Ephoros, himself a pupil of Isokrates and a professional historian, was led astray by the combined influences of rhetoric and rationalism; as neither the rationalism nor the rhetoric was of the best quality, the intrusion of both at this stage could have inflicted irreparable damage on the tradition of the war if the text of Herodotus had not survived to refute the inventions grafted on the (...) authentic record by Ephoros. (shrink)

This paper aims to reexamine how traditions about the spolia opima developed with special emphasis on two crucial phases of their evolution, the time of Marcus Claudius Marcellus' dedication in 222 BC and the early years of Augustus' principate, following the restoration of the temple of Jupiter Feretrius on the Capitol. In particular, I will argue that Marcellus invented the spolia opima, that his feat shaped the entire tradition about such dedications, and that this tradition was later enhanced and "reinvented" (...) by Augustus, probably following upon renewed interest under Julius Caesar. Through an evaluation of the surviving evidence about the three canonical dedicators the possibility is explored that the spolia opima, rather than being an archaic ritual dating back to the regal period, represent a tradition invented by specific individuals at certain well-defined moments in Roman history. Augustus himself, beginning while he was still a child, was influenced by traditions about the career and achievements of M. Claudius Marcellus. Augustus' interest in Marcellus helps to explain his special focus on the spolia opima as a significant and hallowed Roman tradition. Consequently, in the late first century B.C., spolia opima were associated both with old-fashioned "republican" aspirations and also with the iconography and self-definition of the new ruling family. In this context other leading Romans of the age considered dedicating such spolia, notably M. Licinius Crassus, grandson of the triumvir, and the elder Drusus, brother of Tiberius. In addition, Virgil included the spolia opima as a recurring theme in the second half of the Aeneid. The poem reaches its climax when Aeneas kills his rival Italian leader Turnus in a duel which would have entitled him to dedicate spolia opima. (shrink)

This paper aims to reframe disability through John Dewey’s transactional theory of culture to indicate how disability is not located in the biological organization of the individual nor in the organization of culture, but in the transactions between the two. This paper will apply Dewey’s theory of culture to disability studies and philosophy of disability and then to ADHD to make clear the benefits of a transactional model of disability.

This paper argues that the field of philosophy, and bioethics spe­cifically, engages in a series of speech acts that identify scholarship advocating for increased philosophical engagement with the experiences of disability as “activism.” In doing so, the field of philosophy treats these calls as not worthy of consideration, and therefore, to be ignored in “serious scholarship.” Further, this paper makes clear the ways that philosophy relies upon ableism through what Peter Railton calls the “culture of smartness,” which serves as a (...) form of ableist apologia as defined by Jay Dolmage. The paper concludes by using the example of ADHD to indicate how the prevalence of this “culture of smartness” serves to exclude disabled philosophers within the field. (shrink)

This article attempts to gather the evidence for panhellenism in the fifth century B.C. and to trace its development both as a political program and as a popular ideology. Panhellenism is here defined as the idea that the various Greek city-states could solve their political disputes and simultaneously enrich themselves by uniting in common cause and conquering all or part of the Persian empire. An attempt is made to trace the evidence for panhellenism throughout the fifth century by combining different (...) kinds of evidence: that is, both poetic and historical texts, as well as the testimonia for monuments which are no longer extant. Any thought of a panhellenic crusade was impossible before the Persian invasions, but such an expedition, under the dual leadership of Athens and Sparta, was espoused by Cimon. After his death it remained an item of popular talk for the rest of the century and this talk intensified during the second half of the Peloponnesian War. The paper has six parts: the first finds hints of panhellenist ideology in the fragments of Simonides' Plataea elegy and in Aeschylus' Persians. The second part attempts to explain several puzzling passages in Herodotus in terms of his reflecting contemporary panhellenist discourse, especially in his account of Aristagoras of Miletus at Sparta. Part three reconstructs Cimon' s belief in dual hegemony and his plans for a joint Athenian-Spartan expedition against the Persian empire. Part four connects an anecdote about Miltiades with the Cimonian monuments and argues that the artistic program of the Stoa Poikile was intended to support Cimon's panhellenist aspirations. Part five discusses panhellenist sentiments in late fifth-century Greek poetry, and dates the Olympic Oration and Funeral Oration of Gorgias to the period 408-405 B.C., Finally, part six relates the panhellenist writings of Isocrates to earlier developments. (shrink)

Little is known about phratries in ancient Athens. The few surviving pieces of evidence, both literary and epigraphical, do not provide an adequate basis for a convincing reconstruction of most details. It may be possible, however, to say something more about the number and size, even if not about the organization and function, of phratries in the fifth and fourth centuries b.c.The purpose of this note is to show how IG II2.2344 is relevant to the question of phratries. It is (...) a list of twenty names with patronymics, comprising three families and two isolated individuals, under the heading,Δι⋯ς ⋮ Φρατρίο ⋮ Ἀθην⋯ας ⋮ Φρα[τρίας] | οἵδε ɸρ⋯τερεςThe inscription is in the form of a dedication, and after Δι⋯ς ⋮ Φρατρίο ⋮ Ἀθην⋯ας ⋮ Φρα[τρίας] one should understand στήλη or ἱερ⋯ στήλη. There are several other examples of this form of dedication, though none is exactly parallel. The stele was most likely set up in the sanctuary of the phratry, and that would explain why a list of phratry members should be in the form of a dedication. In the absence of other criteria, the inscription is dated by letter forms to the early fourth century.Surprisingly enough this inscription has been either ignored or curtly dismissed in the literature concerning the number and nature of Athenian phratries. In 1902 Alfred Körte concluded that this list of twenty names constituted the total membership of a phratry. But in 1910 Anton von Premerstein maintained that the list was only of a single thiasos within a phratry. We know that by the beginning of the fourth century phratries were subdivided into units called thiasoi, which are to be distinguished from the private religious associations of the same name. Von Premerstein argued that the constant appeals of the orators to the testimony of phratry members render it very unlikely that one phratry could be so small as to have only twenty members, even if there were more than twelve phratries altogether. (shrink)

Bloodbending is sometimes referred to as the “puppetmaster technique” because it is the only bending art whose focus is on the direct manipulation and control of a target. Incarcerated in a maximum‐security prison designed specifically to hold waterbenders, Hama was powerless to resist her captors due to their restriction of any liquid that could be used to bend. The bending styles in Avatar: The Last Airbender draw their inspiration from real‐world Chinese martial arts. Karl Friday describes satsujinken in a more (...) complicated way: “when a combatant uses force of will to overpower, immobilize, and strike down an opponent before he can react, this is called ‘setsunin‐to’”. It could be a perfect description of bloodbending as practiced by Hama: a use of already established and morally neutral techniques for the domination and overpowering of a person for egoistic aims. (shrink)

This article offers a detailed analysis of the penalties imposed on Cn. Calpurnius Piso pater in AD 20 after he had been posthumously convicted of maiestas . Piso was accused of leaving his province without permission and then returning to try to retake it after the death of Germanicus in AD 19. He was also believed by many to be implicated in the death of Germanicus. The details of his case have been revealed by a new inscription from Spain, the (...) Senatus Consultum de Cn. Pisone patre, which was first published in 1996. Part of this long and well-preserved inscription records the post-mortem sanctions against memory imposed by the senate and Tiberius on Piso after his suicide. The verdicts for his family members and accomplices are also included. The decree was posted on bronze in the major cities of the Empire and in the winter quarters of all the legions. The article argues for the following conclusions. The decree should be taken at face value and its punishments considered harsh for a member of the Roman office-holding élite. It was widely published throughout the Empire after there had been extravagant mourning for Germanicus. Consequently, it seems that post-mortem disgrace did not necessarily involve the family as a whole. Indeed, sanctions against memory appear to be consciously designed to preserve the Roman élite family, its assets, and social position by removing its erring member. Such sanctions reveal both a tension and an accommodation between remembering and forgetting, between the family and the community, between history and memory. (shrink)