This paper examines the process of modelling a complex empirical phenomenon in modern astrophysics: extended extragalactic radio sources. I show that modelling is done piecemeal, addressing selected striking or puzzling features of that phenomenon separately and individually. The result is various independent and separate sub-models concerned only with limited aspects of the same phenomenon. Because the sub-models represent features of the same physical phenomenon, they need to be reasonably consistent with each other - a criterion not always fully (...) adhered to - and there needs to be a way to conceptually `re-unite' the sub-models to form an overall-model. Visualisation, that is, supplying a concrete interpretation of abstract, theoretical sub-models, aids this modelling process. My case study further endorses the view that modelling is `work in progress', i.e. a form of developing knowledge whereby models represent, not replicate, a phenomenon. (shrink)

In Polish historiography on radio in the Stalinist period, the official propaganda broadcast by Polish Radio is very often juxtaposed with the free and unbiased broadcasting of Radio Free Europe (RFE), which can create the impression that RFE was the only source of information in Poland and tends to diminish the importance of Polish Radio. In fact, both broadcasting institutions were crucial players in Cold War warfare, which was described by George F. Kennan in terms of (...) Clausewitz's “fog of war.” Indeed, both RFE and Polish Radio were listening to each other through the Iron Curtain because “white propaganda” (along with the intelligence obtained from political refugees) was one of the most important sources of information. The two broadcasting stations were more alike than we are willing to admit. For instance, the Polish section of RFE mimicked the post-war strategy of Polish Radio. While the latter pretended to be the continuation and successor of the pre-war institution, RFE's propaganda shaped the programme of Polish Radio for many years. Using this case study on RFE's attitude toward Poland's western borders along the Odra and Nysa Rivers, I show how these two opposing broadcasting stations functioned within an endless propaganda feedback loop. (shrink)

Past research on talk radio discourses has illustrated the crucial role of the hosts in managing the conversation and shaping the voices of callers. However, past research focused mostly on dyadic host–caller interactions. Radio talk shows in Hong Kong, in contrast, often have more than one host. This study is interested in the implications of the triadic setting of radio talk shows in Hong Kong. It uses Radio Television Hong Kong’s evening program Open Line Open View (...) as a case study. Employing the techniques of conversation analysis, this study replicates some of past studies’ findings about the source of host power. More importantly, the analysis shows that the second host in a triadic setting can play three important roles: the program conductor, the buffer, and the counterweight. The micro-level interactional patterns have important implications for the overall character of the program itself and the role of talk radio in the politics of public opinion in Hong Kong. More generally, this study illustrates the utility of paying attention to the differences between dyads and triads in the microsociological analysis of conversations in broadcast media. (shrink)

This paper aims to reconstruct the history of the first transatlantic wireless telegraphy on the basis of J. A. Fleming's unpublished notebooks and other manuscript sources. It will be shown that the progress of the experiment, in which power engineering was first combined with wireless telegraphy, was neither smooth nor automatic, and various kinds of difficulties or ‘resistances’ that Fleming and Marconi encountered during the course of the experiments in the laboratory and in the field at Poldhu will be (...) emphasized. This paper also aims to compare two different ‘styles’ of engineering. Fleming, whose educational background included Cambridge experimental physics, based his approach upon scientific engineering—that is, laboratory experiments, precise measurement, and mathematical considerations, whereas Marconi's work derived from an older style of doing technology—that is, field experiments, handicraft work, and an intuitive understanding of technological effects. These two different styles clashed in the experiment, and it will be shown that this tension became apparent when credit for a project's success was being assigned. (shrink)

OBJECTIVE: Following two randomized controlled trials that demonstrated reduced mortality and better neurological outcome in cardiac arrest patients, mild therapeutic hypothermia was implemented in many intensive care units. Up to now, no large observational studies have confirmed the beneficial effects of mild therapeutic hypothermia. DESIGN: Internet-based survey combined with a retrospective, observational study. PATIENTS: All patients admitted to an intensive care unit in The Netherlands after cardiac arrest from January 1, 1999 until January 1, 2009. DATA SOURCE: Dutch National Intensive (...) Care Evaluation database. METHODS: The moment of implementation of mild therapeutic hypothermia for each hospital participating in the Dutch National Intensive Care Evaluation database was determined with an Internet survey. To compare mortality before and after implementation of mild therapeutic hypothermia, the odds ratio adjusted for Simplified Acute Physiology Score II score, age, gender, propensity score, and in- or out-of-hospital cardiac arrest was calculated. Patients were excluded if 1) they were admitted to an intensive care unit that did not respond to the survey, 2) they were admitted within 3 months after implementation of mild therapeutic hypothermia, 3) they had a Glasgow Coma Scale score of >8, or 4) they did not satisfy the Simplified Acute Physiology Score II inclusion criteria. INTERVENTIONS: None. MEASUREMENTS AND MAIN RESULTS: A total of 13,962 patients were admitted to an intensive care unit following cardiac arrest. In total 8,645 patients were excluded, 5,544 because of a Glasgow Coma Scale score of >8. Of the resultant 5,317 patients, 1,547 patients were treated before and 3,770 patients after implementation of mild therapeutic hypothermia. Patients admitted after implementation of mild therapeutic hypothermia had lower minimal and maximal temperatures (p < .0001) during the first 24 hrs on the intensive care unit compared to patients admitted before implementation of mild therapeutic hypothermia. The adjusted odds ratio of the hospital mortality of patients treated after implementation of mild therapeutic hypothermia was 0.80 (95% confidence interval of 0.65-0.98, p = .029). CONCLUSION: The results of this retrospective, observational survey suggest that implementation of mild therapeutic hypothermia in Dutch intensive care units is associated with a 20% relative reduction of hospital mortality in cardiac arrest patients. (shrink)

This paper examines creative strategies employed inscientific modelling. It is argued that being creativepresents not a discrete event, but rather an ongoingeffort consisting of many individual `creative acts''.These take place over extended periods of time andcan be carried out by different people, working ondifferent aspects of the same project. The example ofextended extragalactic radio sources shows that, inorder to model a complicated phenomenon in itsentirety, the modelling task is split up into smallerproblems that result in several sub-models. This (...) is away of using cognitive resources efficiently and in away which overcomes their limitations. Another aspectof modelling that requires creativity is theemployment of visualisation in order to reassemble,i.e. recreate the unity of, the various sub-models bymeans of visualisation. This illustrates how thecreative effort required to deal with the complexityof the complicated phenomenon of radio sources ischannelled in order to use cognitive resourcesefficiently and to stay within their capacity. (shrink)

In a remarkable development, I have constructed a new definition for a self-delimiting universal Turing machine (UTM) that is easy to program and runs very quickly. This provides a new foundation for algorithmic information theory (AIT), which is the theory of the size in bits of programs for selfdelimiting UTM's. Previously, AIT had an abstract mathematical quality. Now it is possible to write down executable programs that embody the constructions in the proofs of theorems. So AIT goes from dealing with (...) remote idealized mythical objects to being a theory about practical down-to-earth gadgets that one can actually play with and use. (shrink)

The compact and, with \ M\, very massive object located at the center of the Milky Way is currently the very best candidate for a supermassive black hole in our immediate vicinity. The strongest evidence for this is provided by measurements of stellar orbits, variable X-ray emission, and strongly variable polarized near-infrared emission from the location of the radio source Sagittarius A* in the middle of the central stellar cluster. Simultaneous near-infrared and X-ray observations of SgrA* have revealed insights (...) into the emission mechanisms responsible for the powerful near-infrared and X-ray flares from within a few tens to one hundred Schwarzschild radii of such a putative SMBH. If SgrA* is indeed a SMBH it will, in projection onto the sky, have the largest event horizon and will certainly be the first and most important target for very long baseline interferometry observations currently being prepared by the event horizon telescope. These observations in combination with the infrared interferometry experiment GRAVITY at the very large telescope interferometer and other experiments across the electromagnetic spectrum might yield proof for the presence of a black hole at the center of the Milky Way. The large body of evidence continues to discriminate the identification of SgrA* as a SMBH from alternative possibilities. It is, however, unclear when the ever mounting evidence for SgrA* being associated with a SMBH will suffice as a convincing proof. Additional compelling evidence may come from future gravitational wave observatories. This manuscript reviews the observational facts, theoretical grounds and conceptual aspects for the case of SgrA* being a black hole. We treat theory and observations in the framework of the philosophical discussions about “realism and underdetermination”, as this line of arguments allows us to describe the situation in observational astrophysics with respect to supermassive black holes. Questions concerning the existence of supermassive black holes and in particular SgrA* are discussed using causation as an indispensable element. We show that the results of our investigation are convincingly mapped out by this combination of concepts. (shrink)

We find the relation between the frequencies received by two observers placed at a given parallel with 180° difference in longitude when they observe a distant light (radio) source. This relation depends on the absolute velocity of the Earth; however, because of the occurrence of aberration, the effect cannot be registered in practice.

The first published paper on pulsars was entitled, by its five co-authors, “Observation of a Rapidly Pulsating Radio Source”. (Hewish, et al. 1968). The publication of this paper preceded by some months the coining of the word ‘pulsar’ to refer to such pulsating radio sources. Does it seem odd to talk of observing pulsars? It might seem so since much effort has subsequently gone into identifying pulsars with optically visible stars using conventional light, not radio, telescopes. (...) We can say that the moons of Jupiter are observable since either we can see them through a telescope or, at some future date, astronauts will be able to travel close enough to Jupiter to see its moons without visual aids. (shrink)

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

This new edition of work that has evolved over the past seven years completes the derivation of the form of The Standard Model from quantum theory and the extension of the Theory of Relativity to superluminal transformations. The much derided form of The Standard Model is established from a consideration of Lorentz and superluminal relativistic space-time transformations. So much so that other approaches to elementary particle theory pale in comparison. In previous work color SU(3) was derived from space-time considerations. This (...) book shows that the SU(2) U(1) Weak Interaction sector follows directly from the extension of Lorentz transformations to superluminal (faster-than-light) transformations. In fact, ElectroWeak symmetry is shown to have an SU(2) U(1) U(1) symmetry that naturally includes WIMPs (Weakly Interacting Massive Particles), a candidate for Dark Matter. Thus the form of the Standard Model is dictated by space-time considerations fulfilling a dream of Einstein. Using a new matrix formulation of Logic - Operator Logic - we show that Dirac-like equations can be constructed. This edition also derives broken SU(4) four fermion generations as well as a non-Higgsian (Dimensional Mass Generation) derivation of fermion and ElectroWeak gauge boson masses from GL(4). The program of the book is completed by reprinting the book Quantum Theory of the Third Kind, which describes Two-Tier quantum field theory. This theory yields finite results (No Feynman diagram calculations diverge!) in The Standard Model and Quantum Gravity calculations to all orders in perturbation theory. Lastly, the book also contains a description of Operator Logic, Probabilistic Operator Logic, Quantum Operator Logic (for q-number statements). A comprehensive derivation of the form of The Standard Model from geometric considerations. (shrink)

Theodor Adorno has a reputation for being adamantly opposed to empirical social science; he denounced it as, at best, a methodological fetish and, at worst, a source of reification. For the most part, scholars have implicitly followed Adorno's view, variously explaining away the impetus for or de‐emphasizing the importance of his participation in a number of varied studies in the social and human sciences between the late 1930s and mid‐1950s. This chapter begins to correct this imbalance by returning attention to (...) three of Adorno's most important empirical studies: “The Essential Value of Radio to All Types of Listeners” (1938–1941), “Anti‐Semitism among American Labor” (1944–1945), and “The Function of Anti‐Semitism in the Personality” (1944–1950). First, the chapter reconstructs Adorno's penetrating critique of existing research methods. Adorno came to see that empirical studies of individuals' preferences and opinions propagated the illusions of choice, preference, experience, and individuality that were necessary to the ideology of contemporary capitalism. But Adorno did not countenance the abandonment of these empirical techniques. Second, the chapter documents Adorno's revision and implementation of empirical techniques in the study of prejudice and authoritarianism. Adorno, it shows, used techniques ranging from social statistics to behavioral psychology. Adorno did not seek to rescue or to synthesize these approaches but instead insisted on the necessity of pursuing each empirical method until it terminated in contradiction. By so doing, he held, empirical social science could be used to illuminate the incongruities of the capitalist economy and social totality itself. (shrink)

This article investigates the use of communication media for the development of cultural extension activities carried out by the Universidad de Antioquia and the Universidad Pontificia Bolivariana between 1935 and 1953. On the basis of critical reviews on diverse documentary sources, it is described and analyzed how both institutions, following national and international benchmarks, developed strategies such as the publication of journals and the creation of radio broadcast stations over the years, which became relevant tools to extend and (...) amplify the work carried out within their respective academic cloisters. The review of the Revista Universidad de Antioquia, the Revista Universidad Pontificia Bolivariana and the program bulletins and programming grids of Emisora ​​Cultural Universidad de Antioquia and Radio Bolivariana, allowed us to state that, through their stations, magazines and classrooms, both universities tried to give the city, the region and the country their version of what they understood by culture. In doing so, they faced their own limitations, mainly the weakness of their infrastructure and the scarcity of their resources to participate in an increasingly competitive, professional, diverse market that was heading in a decidedly commercial direction. Added to this were the tensions and contradictions inherent to projects of this type, which faced the challenge of disseminating cultural expressions that, paradoxically, were considered minority and, in that sense, hardly acceptable and enjoyable beyond the layers with a prolonged formal education. (shrink)

`This book grew out of the conviction, not in itself strange or startling, that the ordinary person can and should think straight rather than crooked.' Patrick Shaw has written a commonsense introduction to the use of logic in everyday thought and argument. It explains some of the rules of good argument and some of the ways in which arguments can fail, drawing illustrations from a variety of contemporary and international sources, such as the press, radio, and television. Symbols (...) and technicalities are kept to a minimum in this thorough and provocative investigation of the rational approach to thought - and its limitations. Logic and Its Limits emphasizes the use of logic in helping to settle and clarify disputes. It will help the reader to avoid bad arguments, to detect them in others, and so to think and argue more effectively. A wide range of thought-provoking examples and exercises concerned with contemporary social and political issues make this a readable and stimulating guide for the student and general reader alike. (shrink)

We citizens of the 21st century live in a world where division of epistemic labour rules. Most of what we know we learned from the spoken or written word of others, and we depend in endless practical ways on the technological fruits of the dispersed knowledge of others—of which we often know almost nothing—in virtually every moment of our lives. Interest has been growing in recent years amongst philosophers, in the issues in epistemology raised by this fact. One issue concerns (...) the depth and extent of our epistemic dependence on testimony, as we may label this broad epistemic source: Do we have any knowledge at all that is free of epistemic dependence on what we have learned from others? A related question is whether our entitlement to believe what we have learned from others can be explained without invoking any epistemic principles special to testimony. These questions concern, as it were, the macro-epistemology of testimony. In the present discussion I shall focus instead on the micro foundations. Testimony, in our broad sense, can occur through an extensive range of types of spoken and written means of purportedly factual communication, including telephone calls, e-mails and personal letters, lectures and radio broadcasts, newspapers, textbooks and encyclopaedias, personal diaries, and public records of all kinds. But the central paradigm—what started the whole communication thing off—is surely that of face-to-face spoken encounter, when one person tells something to another, thereby intending and hoping to share her knowledge with her audience. I begin by describing the speech act of telling, identifying what takes place in a felicitous act of telling. From the nature of the speech act of telling, we see precisely how it is that knowledge is, when all goes as it should, acquired from teller by trusting hearer, in such an act, and in acts of testimony more broadly. (shrink)

We citizens of the 21st century live in a world where division of epistemic labour rules. Most of what we know we learned from the spoken or written word of others, and we depend in endless practical ways on the technological fruits of the dispersed knowledge of others—of which we often know almost nothing—in virtually every moment of our lives. Interest has been growing in recent years amongst philosophers, in the issues in epistemology raised by this fact. One issue concerns (...) the depth and extent of our epistemic dependence on testimony, as we may label this broad epistemic source: Do we have any knowledge at all that is free of epistemic dependence on what we have learned from others? A related question is whether our entitlement to believe what we have learned from others can be explained without invoking any epistemic principles special to testimony. These questions concern, as it were, the macro-epistemology of testimony. In the present discussion I shall focus instead on the micro foundations. Testimony, in our broad sense, can occur through an extensive range of types of spoken and written means of purportedly factual communication, including telephone calls, e-mails and personal letters, lectures and radio broadcasts, newspapers, textbooks and encyclopaedias, personal diaries, and public records of all kinds. But the central paradigm—what started the whole communication thing off—is surely that of face-to-face spoken encounter, when one person tells something to another, thereby intending and hoping to share her knowledge with her audience. I begin by describing the speech act of telling, identifying what takes place in a felicitous act of telling. From the nature of the speech act of telling, we see precisely how it is that knowledge is, when all goes as it should, acquired from teller by trusting hearer, in such an act, and in acts of testimony more broadly. (shrink)

We explored the differential impact of auditory information and written contextual information on the recognition of verbal irony in spontaneous speech. Based on relevance theory, we predicted that speakers would provide acoustic disambiguation cues when speaking in situations that lack other sources of information, such as a visual channel. We further predicted that listeners would use this information, in addition to context, when interpreting the utterances. People were presented with spontaneously produced ironic and nonironic utterances from radio talk (...) shows in written or auditory form, with or without written contextual information. When the utterances were read without written contextual information, all utterances were rated as equally ironic. But when they were heard as opposed to read, or when they were presented in irony-biasing contexts, originally ironic utterances were rated as more sarcastic than originally nonironic utterances. This evidence suggests both acoustic and contextual information are used when inferring ironic intent in spontaneous speech, and validates previous manipulations of intonation in studies of irony understanding. (shrink)

The Hans Reichenbach Papers comprise published and unpublished manuscripts, lectures, correspondence, photographs, drawings, and related materials from his early student days until his death. The correspondence contains about 9000 pages to and from Reichenbach; it ranges over his entire career. Those with whom Reichenbach maintained lifelong contact include Rudolf Carnap, Ernst Cassirer, Herbert Feigl, Philip Frank, Carl Hempel, Sidney Hook, Paul Oppenheim and Wolfgang Pauli. In addition, there is significant correspondence with von Astor, Bergmann, Bertalanffy, Dingler, Dubislav, Einstein, Fraenkel, Frank, (...) Freundlich, Grelling, Grünbaum, Paul Hertz, Hutten, Jordan, Landé, von Laue, Lewin, C.I. Lewis, Charles Morris, Nagel, Neurath, Northrop, Planck, Quine, Regener, Rougier, Salmon, Schillp, Schlick, Scholz, Schrödinger, Martin Strauss, Tarski, Vaihinger, Weiss, Williams, Zawarski, and Zilsel. The correspondence provides a valuable source of information about Reichenbach’s personal and philosophical development. It also provides primary source material for research into one of the 20th century most influential philosophical movements. Reichenbach’s manuscripts include many of his own notes as a student. Some go as far back as his university days in science and mathematics. Some of the most significant of these notes are those taken by him as a student of Albert Einstein on the special and general theories of relativity. There are four such notebooks dating from 1918. In addition there are his student notes on astronomy, Planck and electricity, Hilbert’s “Statistical Mechanics” and “Problems and Principles.” He also kept many of his lecture notes from Germany, Turkey, and the United States. The number of lectures runs to over 100 and provides a glimpse into the problems of philosophy and how he presented them to his students. Many of his lectures discussed principles of radio and issues in philosophy and modern science, often in form of popularizations of questions in relativity and quantum theory delivered on radio programs for a wider audiences. In addition to this there are an abundance of notes, calculations, and diagrams used to draft both published and unpublished papers. (shrink)

The aim of our research is to explore how Alzheimer’s disease and dementia are represented in the Slovak media. Data consisted of text documents from the Newton media database. Search criteria included TV, radio, print and web sources that mentioned the words “Alzheimer” and “dementia” between 2015 and 2018. A thematic discourse analysis was applied in order to identify the themes and their mutual semantic relations. The analysis was focused primarily on the headlines (n = 227). The results (...) show that the biomedical perspective currently dominates at the expense of a socio-psychological one. Persons with Alzheimer’s disease and dementia are represented as tragic cases and victims of a cruel disease. Responsibility for care and prevention is individualized. Our findings suggest that a new perspective is needed. Such an approach should recognize the dignity and humanity of persons with Alzheimer’s disease and dementia despite their cognitive deficits and respect their socio-psychological needs. (shrink)

Patronizing the Public is the first detailed and comprehensive examination of how American philanthropy has transformed culture, communication, and the humanities. Drawing on an impressive range of archival and secondary sources, the chapters in the volume shed light on philanthropic foundations have shaped numerous fields, including film, television, radio, journalism, drama, local history, museums, as well as art and the humanities in general.

Theodor Adorno is one of this century's most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno's insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume's somewhat colloquial tone. This (...) colloquialism, in dialogue with Adorno's unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counterpoint in new music), and the larger questions of musical sociology for which Adorno is most famous, including the relation of interpretation to audience, the ideological function of opera, and the historical meaning of musical technique. The essay on the sociology of music, for example, represents an early statement of what would soon become trademark principles of his mode of musical analysis, serving as a catalyst for his famous study Introduction to the Sociology of Music. Some forty years after most of these essays were written, they remain fresh and relevant. In part, this is because Adorno's method has only recently begun to make substantial inroads into Anglo-American musicology. And the interdisciplinary nature of his thought provides a precursor for today's interdisciplinary studies. (shrink)

This book reveals the French scientific contribution to the mathematical theory of nonlinear oscillations and its development. The work offers a critical examination of sources with a focus on the twentieth century, especially the period between the wars. Readers will see that, contrary to what is often written, France's role has been significant. Important contributions were made through both the work of French scholars from within diverse disciplines, and through the geographical crossroads that France provided to scientific communication at (...) the time. This study includes an examination of the period before the First World War which is vital to understanding the work of the later period. By examining literature sources such as periodicals on the topic of electricity from that era, the author has unearthed a very important text by Henri Poincaré, dating from 1908. In this work Poincaré applied the concept of limit cycle to study the stability of the oscillations of a device for radio engineering. The “discovery” of this text means that the classical perspective of the historiography of this mathematical theory must be modified. Credit was hitherto attributed to the Russian mathematician Andronov, from correspondence dating to 1929. In the newly discovered Poincaré text there appears to be a strong interaction between science and technology or, more precisely, between mathematical analysis and radio engineering. This feature is one of the main components of the process of developing the theory of nonlinear oscillations. Indeed it is a feature of many of the texts referred to in these chapters, as they trace the significant developments to which France contributed. Scholars in the fields of the history of mathematics and the history of science, and anyone with an interest in the philosophical underpinnings of science will find this a particularly engaging account of scientific discovery and scholarly communication from an era full of exciting developments. (shrink)

Como resultado de búsqueda y recuperación de información registrada en documentos de archivos, libros, revistas y otras fuentes, se confeccionó una obra de referencia, donde se registran pequeñas biografías de 19 camagüeyanos que se desempeñaron como médicos cirujanos, médicos y cirujanos romancistas en los siglos XVIII y XIX. Se dan a conocer los antecedentes que sirvieron de motivación a la realización del estudio y se explica el radio de acción, en el aspecto asistencial, de los que ostentaban estas categorías (...) profesionales. Los datos obtenidos a partir de las fuentes consultadas, fueron el punto de partida para la confección de un material que informa el quehacer de los profesionales de la salud de la región camagüeyana en esa época y que se espera sea de interés y utilidad a los interesados en el tema As a result of the search and collection of information registered in documents, books, magazines and other sources, a reference paper that presents the biographies of 19 Camagüeyan medical surgeons, doctors and surgeons that lived in the XVIII and XIX centuries was made. The antecedents that served as motivation to the realization of the study are made known and the action radius is explained, taking into account their role in medical assistance. This comprises all those that had the above-mentioned professional categories. The data obtained from the sources consulted, constituted the starting point for the making of a material that informs about Camagüeyan health professionals of that time. It is also expected that this scientific paper is of interest and utility for those interested in this topic. (shrink)

Many educators today recognise the importance of online data sources for all sorts of research and writing projects. Some now permit students to include online sources in their work and others actually require their use. There are abundant resources available online, including real-time video; radio stations from around the world; reference tools, such as encyclopaedias, dictionaries, thesauri and collections of quotes; libraries of poetry, short stories, images and music; critical studies and research articles on every conceivable topic; (...) information about authors and historical figures; government and public policy data; current events; interactive software; and much, much more. At the same time, most users quickly see the problems that arise. Issues of privacy, plagiarism, pornography, hate sites, commercialism and simply wasting time arise regardless of the topic. The abundance soon yields thousands of Websites of dubious quality and relevance. (shrink)

Our galaxy contains a remarkable "faster-than-light" object discovered only a few months ago by radio astronomers. The object, a blob of hot radio-emitting matter thrown off from gamma ray source GRS1915+105, was observed to separate from its larger parent object at an apparent speed of 1.25 times the velocity of light. The operant word here is "apparent". The faster-than-light separation speed (separation distance divided by time) is believed to be a consequence of the same relativistic illusion previously observed (...) for radio objects ejected by quasars. We will start with some facts about quasars. (shrink)

The Useless Mouths" and Other Literary Writings brings to English-language readers literary writings--several previously unknown--by Simone de Beauvoir. Culled from sources including various American university collections, the works span decades of Beauvoir's career. Ranging from dramatic works and literary theory to radio broadcasts, they collectively reveal fresh insights into Beauvoir's writing process, personal life, and the honing of her philosophy. The volume begins with a new translation of the 1945 play The Useless Mouths, written in Paris during the (...) Nazi occupation. Other pieces were discovered after Beauvoir's death in 1986, such as the 1965 short novel "Misunderstanding in Moscow," involving an elderly French couple who confront their fears of aging. Two additional previously unknown texts include the fragmentary "Notes for a Novel," which contains the seed of what she later would call "the problem of the Other," and a lecture on postwar French theater titled Existentialist Theater. The collection notably includes the eagerly awaited translation of Beauvoir's contribution to a 1965 debate among Jean-Paul Sartre and other French writers and intellectuals, "What Can Literature Do?". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 224-238 [Access article in PDF] Bookmarks A Hanging Judge Denis Dutton "CORNERING THE MARKET ON CHUTZPAH," blared the headline on one review, and in tone it wasn't alone. It's not often that a book by a public intellectual has received as much media attention—mostly vilification and scorn—as Richard A. Posner's Public Intellectuals: A Study of Decline (Harvard University Press, $29.95). Three reasons for this (...) stand out. First, there's the sheer audacity of including a list of the top hundred public intellectuals, drawn from a larger list of 546 names. This invites endless dispute over how the list was generated, who is on it, who is left off, where each one stands, and why. Second, there is the fact that Posner has managed in the book to offend half of the public intellectuals you'd expect to be called on to review it—almost as though he made a list of potential reviewers and worked in a swipe at each. Finally, he has tapped into the deep antipathy humanist intellectuals have to seeing a beloved topic treated quantitatively, with statistics and applications of social and economic theory, replete with graphs and algebraic formulae. And after all, what topic is more beloved by the intellectuals than they themselves? That Posner would actually treat such important people as a demographic type, sorting them in terms of race, age, field, politics, sex—why, he even asks why so many are Jews. It's outrageous... and delicious.Definitions first. The idea of an intellectual, Posner says, should not be identified merely with having highbrow, cultivated tastes, being especially creative, or having high intelligence. All of these things are possible without being an intellectual, which Posner thinks ought to denote the application of the mind to "political matters in the broadest sense of that word, a sense that includes cultural matters when they are [End Page 224] viewed under the aspect of ideology, ethics, or politics (which may all be the same thing)." There is therefore a vague redundancy in the term "public intellectual," since the placing of ideas in a larger public context, acting as social critic, is what the intellectual most essentially does. In our age of vast communication media, it is also done con-spicuously in public, through op-eds, public radio interviews, and on TV clips with the regulation public-intellectual bookcase as a backdrop. This concern with larger moral issues means that for Posner paradigm individuals would therefore include the likes of John Dewey, Bertrand Russell, Hannah Arendt, Arthur Koestler, Edmund Wilson, Susan Sontag, and most powerfully in Posner's mind, George Orwell: people who write about literature, art, science, and so forth from a broadly political or ideological perspective. For example, when Allan Bloom writes about rock and roll, he is not doing so as a music critic but as a philosopher who sees it as a symptom and source of social degradation. That's echte public intellectual work (and rather bad work in this particular case, Posner believes). That it is done for a broader public is also a crux for Posner, who leaves omits John Rawls from his list, because as influential as Rawls is as a philosopher, he does not address a larger public in the way that Richard Rorty and Martha Nussbaum do.The decline referred to in Posner's title is a decline in the actual worth of public intellectuals' work, not in their media celebrity, which has grown roughly inversely to the value of what they do. This invidious situation has followed, in Posner's view, the proliferation of academics in the ranks of public intellectuals. From the nineteenth century, with such names as Thoreau, J. S. Mill, Herbert Spencer, Matthew Arnold, and Tocqueville, to well into the twentieth, with the likes of Max Eastman, Edmund Wilson, H. G. Wells, and Dwight Macdonald, the great tradition of public intellectuals had its life outside of universities. Although there remain nonacademic public intellectuals today—Susan Sontag, Roger Kimball, Tom Wolfe, Gore Vidal—they are a severely diminished species. Universities, which have expanded... (shrink)

This article argues that theorists of black/african diasporas should interrogate the specific ways in which ‘race’ is used to engage people in diasporic projects, and that such projects are intimately intertwined with specifically gendered, sexualized, and generational class relations and positionalities in specific national contexts and spaces. Attention to these intersections can help us better understand hierarchies of power between and among diasporic individuals and communities. This article focuses on historically specific Swedish meanings of racialized femininities and the different forms (...) of agency women use to negotiate the gendered processes of racialization they encounter in a variety of settings and sources. It draws on interviews and fieldnotes conducted between 1994 and 2007, together with analysis of popular culture (music and radio programmes) and ethnographic material collected by Swedish ethnologist Viveca Motsieloa, and maps out some of the complexities utilized by different generations of Swedish women of African heritage in a changing Swedish landscape of racial formations. Their negotiations show how tensions and differences between ‘second-generation’ migrants and those of the ‘first generation’ are expressed through gender, sexuality, and differing understandings of ‘race’ (and the place of ‘racial mixture’). (shrink)

Journalistic Ethics: Moral Responsibility in the Media examines the moral rights and responsibilities of journalists to provide what Dale Jacquette calls "truth telling in the public interest." With 31 case studies from contemporary journalistic practice, the book demonstrates the immediate practical implications of ethics for working journalists as well as for those who read or watch the news. This case-study approach is paired with a theoretical grounding, and issues include freedom of the press, censorship and withholding sensitive information for the (...) greater public good, protection of confidential sources, journalistic respect for privacy, objectivity, perspective and bias, and editorial license and its obligations. This is a book for anyone who now works in journalism, or is considering a career as a journalist. It is also important groundwork for everyone who follows the day's events in newspapers, radio, television, or on the internet. (shrink)

In June 1928, Captain Barnett W. Harris, an amateur naturalist from Indiana, arrived in Zululand to experiment on wild animals with his invention – the mercy bullet. This “bullet”consisted of a hypodermic needle filled with anesthetic drugs that could render an animal unconscious – an early model of what is now known as the tranquilizer gun. The history of this gun typically begins with Colin Murdoch, a New Zealand pharmacist and veterinarian, who patented the invention in 1959. While largely absent (...) in the archives, through tracing popular science publications and press, this article exposes a longer history of animal tranquilizers from an unlikely source. Tracing Harris’s story allows this article to speak to different historical discourses that influenced his rise as a celebrated inventor, and later to his disappearance from the scientific arena. This article argues that debates about pain relief (for both humans and nonhuman animals) and developments in military technology at the turn of the twentieth century resulted in experiments with narcotic bullets, a precursor to this “mercy bullet moment.” While hailed across the press as the man who might transform animal capturing into a humane practice, the workings of Harris’s bullet remained ambiguous. Despite this, he promoted his invention through several lecture series and radio presentations to the American public in the 1930s, where elements of scientific showmanship can be observed. Overall, Harris’s omission from the history of animal tranquilizing demonstrates the multiple contingencies that define a moment of scientific “success” – or, in this case, push some into relative obscurity. (shrink)

This article examines naked protests as efforts to advocate for social justice, particularly against patriarchal oppression and state violence. It explores ways in which women use naked body protests as a form of resistance, thereby negating dominant narratives of its impropriety. Naked protests are examined for how they might be mobilised against patriarchy and institutional oppression. This is done through the use of three data sources, namely a radio podcast interview of two women student protestors who staged a (...) naked body protest during the #FeesMustFall violence in 2016; a video recording of a protest staged by working class women against the destruction of their homes in Dobsonville, Soweto on 12 July 1990; and interviews conducted with 14 women who participated in naked body protests. The article employs critical discourse analysis to understand women’s role in advocating for social change and decoloniality. In addition, it delves into different affective registers experienced by women protesters during protests and interviews. Findings suggest that politics of protests are saturated with affective registers that range from anger to rage, fear, sadness, pain, joy and a sense of power. African women’s naked bodies in protest are a link to generational power that creates a rupture, which interrupts violence and coloniality. Moreover, the analysis suggests that naked protest is a powerful form of protest that transforms a woman’s body from social constructions of vulnerability and consumption to a site of militancy, defiance and one that speaks back from a position of solidarity and strength. These protests demonstrate a grounded African feminism, which enables African women to speak from their location and reality. (shrink)

This article proposes a typology of the epistemology of live blogging through an analysis of two live news blogs: Radio New Zealand News’ live blog of a significant earthquake in Aotearoa New Zealand in November 2016 and BBC News’ live blog of the Brexit referendum result in June 2016. We use these cases to draw out five features of the genre that we suggest may characterise other live news blogs. We demonstrate that these blogs tend to produce a fragmentary (...) narrative that reflects particular moments in time, curate an array of textual objects from a range of information sources to produce ‘networked balance’, gain coherence from an often informal authorial voice or voices and generate claims to knowledge of events which are simultaneously dynamic and fragile. This typology contributes to understanding journalism’s position within networked information spaces. (shrink)

John Paul II emphasized the role of culture in the process of integration in Europe. It is culture and values that allow to find and strengthen the common identity of Europe. John Paul II believed them to be more important than economics and institutional ways of integration. Mass media play the important part in today’s culture. The press, radio, television and other electronic media are sources of knowledge, places for exchanging ideas and sharing experiences. The most important collocations (...) of media in papal thought are: service (duty), responsibility, dialogue and formation. Media should serve people by showing them the objective truth, defending human rights, promoting freedom, justice, solidarity and peace. The responsibility of mass media concerns reliability and integrity, care for customers, especially young and disdained. Dialogue, as John Paul II perceived it, has several dimensions: exchanging ideas and finding the best way of development, sharing experiences and abolishing discriminatory stereotypes, ecumenical and inter-religious meetings. Those assignments should be conducted by personal development of a journalist, which includes professional skills and formation: ethical and spiritual, courage and wisdom. John Paul II saw a great role of social communication in the process of integration, especially in the important task of uniting Europe. The truth and dialogue provided by responsible and reliable media should help people abolish the walls in people’s hearts and establish united Europe open to all inhabitants, who differ but are connected by love, values and culture. (shrink)

One of the most significant aspects of Internet, in comparison with other sources of information, such as libraries, books, journals, television, radio etcetera, is that it makes expert knowledge much more accessible to non‐experts than the other traditional sources. This phenomenon has often been applauded for its democratizing effects. Unfortunately, there is also a disadvantage. Expert information that was originally intended for a specific group of people ‐ and not in any way processed or adapted to make (...) it fit for a broader audience ‐ can easily be misunderstood and misinterpreted by non‐experts and, when used as a basis for decisions, lead to unhappy consequences. Can these risks be diminished without limiting the informational freedoms of the information providers and without imposing paternalistic measures regarding the receivers of the information? (shrink)

Non-perturbative quantum gravity prevents the formation of curvature singularities and may allow black holes to decay with a lifetime shorter than evaporation time. This, in connection with the existence of primordial black holes, could open a new window for quantum-gravity phenomenology. I discuss the possibility of observing astrophysical emissions from the explosion of old black holes in the radio and in the gamma wavelengths. These emissions can be discriminated from other astrophysical sources because of a peculiar way the (...) emitted wavelength scales with the distance. The spectrum of the diffuse radiation produced by those objects presents a peculiar distortion due to this scaling. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

Pieper collects his contributions to radio programs and to a number of journals and periodicals. The book also includes a selection of notes and comments. The contributions fall into two main groups: the period which encompasses the immediate pre-war period as well as the war period itself, and the post-war period up to 1953.The reader becomes witness, first, to Pieper's problems with the National Socialist regime and, second, to his problems with the ensuing challenges to religious life as it (...) is exposed to increasing secularization. As with his later works, Pieper draws on traditional wisdom which, for him, dates back to Plato and Aristotle, and in these contributions we also see his early preoccupation with the wisdom of St. Thomas Aquinas. The normal boundaries between philosophy and theology are here not clearly drawn. Pieper is preoccupied with the mystery of our world and its importance as a source of symbols signifying deeper levels of reality. He sees the sacraments as achieving their fundamental effect from divine intervention, but he also highlights the need for careful observance of the rituals, so that their meaning is not obscured. Proper execution of the sacrament should enable the faithful to enjoy the existential fruits of their participation in the ritual. This work manifests the organic cohesion of Pieper's thinking, and it reflects his profound awareness of the role to be played not so much by the professional (academic) philosopher as by the existential Philosophizer. (shrink)

_Purpose._ The article aims to analyse the consciousness of masses in the communication system of the 20th century projecting the individual level onto the social one. _Theoretical basis._ In the fields of philosophy and other humanities since the middle of the last century there has dominated an opinion that the category of mass and its communication are second-rate and non-elitist phenomena. Condensing the experience of human history (especially – the nineteenth century – the time of the bourgeois revolutions and the (...) two world wars), such parameters were set by the creators of social psychology Gustave Le Bon and Sigmund Freud in their basic research "The Crowd: A Study of the Popular Mind", "Group Psychology and the Analysis of the Ego". Since ancient times the masses have really resembled immoral emotional neoformations, which minimized the individual qualities of the components of the whole and showed the features of a predominantly animal nature. It is no coincidence that those masses were called emotional, or just a crowd, regardless of the topos of existence: streets and squares, or the infospace of the first mass media (newspapers, radio, cinema, television). However, analysing the crowd, the scientists noted that this is only an extreme modification of the mass, and, in addition to it, there may be others – quite the opposite in their nature. With the advent of the World Wide Web, the situation has changed: scientists and futurists have been talking about the mass of intellectuals, which seems to be formed and combined in the field of information technology. And it surpasses the traditional elite in many respects. _Originality._ Having analysed the works of classic and modern researchers, we came to the conclusion that in fact the masses, like individuals (according to C. G. Jung), are divided into four types. Correspondingly, each of them has its own behaviour, psychology, philosophy etc. This article focuses on beliefs and ideological positions as the basis for the functioning of emotional, sensory, intuitive and rational masses in the context of 20th century philosophy. The object of our analysis was the philosophical schools of neo-positivism, hermeneutics, psychoanalysis, existentialism, pragmatism, anthropology, phenomenology, and others. _Conclusions._ According to our assumption, regardless of the type of mass and direction of modern philosophy as a field of its implementation, rationalism comes to the fore everywhere (as a primary source and theoretical basis or motivation). Thus, it can be concluded that the rational mass now dominates, not emotional (which was thoroughly described by Le Bon and Freud). And this is quite natural in the age of digital technology. (shrink)

Patronizing the Public is the first detailed and comprehensive examination of how American philanthropy has transformed culture, communication, and the humanities. Drawing on an impressive range of archival and secondary sources, the chapters in the volume shed light on philanthropic foundations have shaped numerous fields, including film, television, radio, journalism, drama, local history, museums, as well as art and the humanities in general.