The Space of Reception: Framing Autonomy and Collaboration

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (iii) the conditions for inter-subjectivity are met

Towards a Unified Theory of Beauty

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary and sufficient conditions for beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do

Therapists\u27 use of the graded repetitive arm supplementary program (GRASP) intervention: A practice implementation survey study

The aims of this study were: (1) to explore the extent of practice implementation of GRASP in the United Kingdom; (2) using an implementation framework, to explore UK therapists\u27 opinions of implementing GRASP; and (3) if GRASP is found to be used in the United Kingdom, to investigate differences in opinions between therapists who are using GRASP in practice and those who are not

The Lived and Living Bodies of Two Health and Physical Education Tertiary Educators: How Embodied Consciousness Highlighted the Importance of their Bodies in their Teaching Practice in HPE

This paper reports on narrative research that focuses on two tertiary Health and Physical Education (HPE) educators’ bodies. In particular, it explores how their lived encounters impacted upon their everyday teaching practice. Narrative accounts are used to present their lived and living bodies in this research. Findings suggest that they were enacting body pedagogies and embodied experiences in various ways influencing pedagogical practice and at times colliding with pre-service teachers’ bodies. ‘Embodied consciousness’ highlights an importance for all educators to better understand how their bodies are positioned and thus influence their practice. This research acknowledges the body as a site through which lived experience can be perpetuated and/or enacted in and through the living body

Health and Physical Education and the Online Tertiary Environment at Two Universities: Pre-service Teachers’ Perceived ‘Readiness’ to Teach HPE

In recent years in tertiary institutions in Australia, there has been a large increase of enrolments in Education courses delivered via an online/external mode. This has raised a number of concerns around the nexus of theory and practice and whether pre-service teachers feel ready to teach after completing Education study online. The purpose of this study is to examine pre-service teachers’ perceived readiness to teach Health and Physical Education (HPE) after engaging with the subject fully in an online tertiary environment. 26 pre-service teachers studying education online from two separate were involved in this study. Upon completion of the University semester and also after a practicum placement, qualitative data was collected detailing the pre-service teachers’ perceptions in regard to their readiness to teach HPE. Pre-service teachers’ perceptions are used as the primary data highlighting the varying levels of readiness to teach HPE

Between Philosophy and Art

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction

Potent CRISPR-Cas9 inhibitors from Staphylococcus genomes.

Anti-CRISPRs (Acrs) are small proteins that inhibit the RNA-guided DNA targeting activity of CRISPR-Cas enzymes. Encoded by bacteriophage and phage-derived bacterial genes, Acrs prevent CRISPR-mediated inhibition of phage infection and can also block CRISPR-Cas-mediated genome editing in eukaryotic cells. To identify Acrs capable of inhibiting Staphylococcus aureus Cas9 (SauCas9), an alternative to the most commonly used genome editing protein Streptococcus pyogenes Cas9 (SpyCas9), we used both self-targeting CRISPR screening and guilt-by-association genomic search strategies. Here we describe three potent inhibitors of SauCas9 that we name AcrIIA13, AcrIIA14, and AcrIIA15. These inhibitors share a conserved N-terminal sequence that is dispensable for DNA cleavage inhibition and have divergent C termini that are required in each case for inhibition of SauCas9-catalyzed DNA cleavage. In human cells, we observe robust inhibition of SauCas9-induced genome editing by AcrIIA13 and moderate inhibition by AcrIIA14 and AcrIIA15. We also find that the conserved N-terminal domain of AcrIIA13-AcrIIA15 binds to an inverted repeat sequence in the promoter of these Acr genes, consistent with its predicted helix-turn-helix DNA binding structure. These data demonstrate an effective strategy for Acr discovery and establish AcrIIA13-AcrIIA15 as unique bifunctional inhibitors of SauCas9

Aesthetics is the grammar of desire

This essay presents (i) the nature of aesthetic judgment, (ii) the significance of aesthetic judgment and finally, (iii) the relevance of art to understanding aesthetic judgment.Jennifer A. McMaho