This paper synthesizes scholarship from several academic disciplines to identify and analyze five major ethical challenges facing data-driven policing. Because the term “data-driven policing” emcompasses a broad swath of technologies, we first outline several data-driven policing initiatives currently in use in the United States. We then lay out the five ethical challenges. Certain of these challenges have received considerable attention already, while others have been largely overlooked. In many cases, the challenges have been articulated in the context of related discussions, (...) but their distinctively ethical dimensions have not been explored in much detail. Our goal here is to articulate and clarify these ethical challenges, while also highlighting areas where these issues intersect and overlap. Ultimately, responsible data-driven policing requires collaboration between communities, academics, technology developers, police departments, and policy-makers to confront and address these challenges. And as we will see, it may also require critically reexamining the role and value of police in society. (shrink)

Scientists regularly invoke broadly aesthetic properties like elegance and simplicity when evaluating theories, but why should we expect aesthetic pleasure to signal an epistemic good? I argue that aesthetic judgements in science are best understood as a special case of affective cognition, and that the feelings on which these judgements are based are the upshots of metacognitive monitoring of the quality of our engagement with theory and evidence. Finding a theory beautiful fallibly signals that it fits well with our background (...) knowledge and that it’s neither artificially adjusted to accommodate otherwise disconfirming evidence nor fitted to noise in the data, which makes aesthetic pleasure a good heuristic for theory evaluation. (shrink)

The realm of non-rational influence, which includes nudging, is home to many other morally interesting phenomena. In this paper, I introduce the term bumping, to discuss the category of unintentional non-rational influence. Bumping happens constantly, wherever people make choices in environments where they are affected by other people. For instance, doctors will often bump their patients as patients make choices about what treatments to pursue. In some cases, these bumps will systematically tend to make patients’ decisions worse. Put another way: (...) doctors will sometimes harm their patients by bumping them in systematic ways. I use the case of medical overuse, the provision of medical services where the likely harm outweighs the likely benefit to the patient, as a touchstone for arguing that doctors who systematically bump their patients towards harm can be blameworthy for their unwitting influence. (shrink)

The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity (as writing that displaces the voice), together with but distinct from its political potentiality as a collective mediality (as a ‘means without end’). Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

This special issue aims to explore what is educational in the seemingly humble gesture of making notes: not only how and why the practice of note-taking is educative in and of itself, but also what it says about education as such. The contributions to the issue each highlight different aspects of note-making and approach it differently, but all assume that note-making is an educational practice that merits philosophical study. Interestingly, they mostly focus on note-making as a non-digital practice (putting aside (...) the use of laptops for note-making in class), perhaps because most were written prior to the great digitisation ushered in by educational institutions’ responses to the COVID-19 pandemic. Let us first address how we see the different aspects of note-making highlighted by the contributions to the issue. (shrink)

Der endliche Mensch hat Probleme bei W a h r n e h m u n g oder V o r s t e l l u n g eines „unendlichen“ Raumes: als gleichzeitig oder als nacheinander. Die Vorstellung eines solchen Raumes führt für Paul Sturm zu einem Widerspruch. Dabei will er nicht stehen bleiben. Die Vorstellung dieses Raumes möchte er durch das D e n k e n „erweitern und vervollständigen“. Darin sieht er die Lösung dieses Konfliktes. Er (...) möchte das Bewusstsein dafür schärfen, dass sich das „Unendliche“ nicht vorstellen, sondern nur denken lässt. In der richtigen Formulierung der Problemstellung sieht Sturm ihre Lösung. Er legt dar, dass eine falsche Methode in der Vergangenheit stets zu einem Widerspruch führte, der sich als Sophisma (irrtümliche Schlussfolgerung) erweist. (Zusammenfassung verfasst von Michael Sturm-Berger und Beate Sturm). (shrink)

The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity (as writing that displaces the voice), together with but distinct from its political potentiality as a collective mediality (as a ‘means without end’). Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

Johann Sturm was a Reformed pedagogic innovator, who established a teaching curriculum for gymnasia in order to provide an education based on the humanist ideals and on evangelical piety. This model described the contents and the method of learning for boys from 7 to 16 years and consisted mainly of the study of grammar, rhetoric, and dialectic (based on Cicero and on classic literature). His method of learning was based on memorization and imitation rather than on the understanding of (...) formal rules of reasoning. This model, rather than to introduce students to religion, was intended to prepare them to the autonomous understanding of Scripture. Sturm was important also as he contributed to the innovation of biography as a genre, which he intended as more realistic than the typified premodern biographies. (shrink)

The main aim of the French logician and philosopher Petrus Ramus was to provide a method of teaching the liberal arts enabling the completion of the undergraduate program of studies in 7 years. This method was based on a new logic, in which the complex structure of Aristotle’s Organon and of the Summulae logicales of Peter of Spain is reduced to two main doctrines: the invention of arguments, by which it is possible to find the notions for reasoning and disputing (...) in any discipline, and the disposition of arguments in judgment, i.e., in propositions and syllogisms. Since this logic applies both to demonstrative and to probable reasoning, Ramus and Rudolph Agricola, who first introduced it, labeled it as dialectic. Ramus completed this twofold dialectic with a method, according to which disciplines have to be taught by providing general definitions, to be explained by subsequent dichotomous divisions. According to Ramus, this method ensures a well-ordered hierarchy and division of disciplines, and an efficient means to teach them in a shorter time than in the pedagogical programs of Juan Luis Vivès, Johann Sturm, and Philipp Melanchthon. This method had its main diffusion in the pre-university institutions such as the German gymnasia and gymnasia illustria (e.g., of Herborn), while in Reformed and Catholic universities the acceptance of Ramism was hindered by the predominance of the Aristotelian curriculum. (shrink)

Translation from German to English by Daniel Fidel Ferrer -/- What Does it Mean to Orient Oneself in Thinking? -/- German title: "Was heißt: sich im Denken orientieren?" -/- Published: October 1786, Königsberg in Prussia, Germany. By Immanuel Kant (Born in 1724 and died in 1804) -/- Translation into English by Daniel Fidel Ferrer (March, 17, 2014). The day of Holi in India in 2014. -/- From 1774 to about 1800, there were three intense philosophical and theological controversies underway in (...) Germany, namely: Fragments Controversy, the Pantheism Controversy, and the Atheism Controversy. Kant’s essay translated here is Kant’s respond to the Pantheism Controversy. During this period (1770-1800), there was the Sturm und Drang (Storm and Urge (stress)) movement with thinkers like Johann Hamann, Johann Herder, Friedrich Schiller, and Johann Goethe; who were against the cultural movement of the Enlightenment (Aufklärung). Kant was on the side of Enlightenment (see his Answer the Question: What is Enlightenment? 1784). -/- What Does it Mean to Orient Oneself in Thinking? / By Immanuel Kant (1724-1804). [Was heißt: sich im Denken orientieren? English]. (shrink)

Hearing has traditionally been regarded as the second sense--as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality. For the past four hundred years, hearing has been understood as involving the sympathetic resonance between the vibrating air and various parts of the inner ear. But the emergence of resonance as the centerpiece of modern (...) aurality also coincides with the triumph of a new type of epistemology in which the absence of resonance is the very condition of thought. Our mind's relationship to the world is said to rest on distance or, as the very synonym for reason suggests, reflection. Reason and Resonance traces the genealogy of this "intimate animosity" between reason and resonance through a series of interrelated case studies involving a varied cast of otologists, philosophers, physiologists, pamphleteers, and music theorists. Among them are the seventeenth-century architect-zoologist Claude Perrault, who refuted Cartesianism in a book on sound and hearing; the Sturm und Drang poet Wilhelm Heinse and his friend the anatomist Samuel Sömmerring, who believed the ventricular fluid to be the interface between the soul and the auditory nerve; the renowned physiologist Johannes Müller, who invented the concept of "sense energies"; and Müller's most important student, Hermann von Helmholtz, author of the magisterial Sensations of Tone. Erlman also discusses key twentieth-century thinkers of aurality, including Ernst Mach; the communications engineer and proponent of the first nonresonant wave theory of hearing, Georg von Békésy; political activist and philosopher Günther Anders; and Martin Heidegger. (shrink)

The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, Anderen und (...) Fremden im Bild. Eine Einführung, 4 - Barbara Margarethe Eggert: Das andere Geschlecht im Altarraum – exklusive Textilien als inklusive Medien. Studien zum Gösser Ornat, 7 - Birke Sturm: Politik der Schönheit: Zur Konstruktion einer ›wissenschaftlichen‹ Bildästhetik schöner weiblicher Körper um 1900 am Beispiel des Gynäkologen Carl Heinrich Stratz, 22 - Melis Avkiran: Das rassifizierte Fremde im Bild. Zur Genese differenzbildender Konzepte in der Kunst des 15. Jahrhunderts am Beispiel des Malers Hans Memling, 40 - Leonie Licht: weiß zwischen schwarz zwischen weiß – Geschichten von Identität im Bild, 75 - Julia Austermann: Queere Interventionen im kommunistischen Polen – Krzysztof Jung und sein ›plastisches Theater‹, 91 - Sabine Engel: Tizians Porträt der Laura Dianti. Aneignung und Transformation zwischen Orient und Okzident, 111 - Anna Christina Schütz: Osman Hamdi Beys Türkische Straßenszene. Der Teppich als Verhandlungsort kultureller Identitäten im ausgehenden 19. Jahrhundert, 146 - Benjamin Häger, Claudia Jürgens: Ikonische Stadtstrategien. Das Fassadenplakat und die Musterfassade als Instrumente machtpolitischer Repräsentation, 175 - Irene Schütze: Fehlende Verweise, rudimentäre ›Markierungen‹: aufgeweichte Grenzverläufe zwischen Kunst und Alltag, 204 - Stefan Römer: Interesse an und in einem Bildarchiv für Migrant/innen und Flüchtlinge, 221 - Viola Nordsieck: Von der Fähigkeit, einen Stuhl zu ignorieren. A. N. Whiteheads Konzept der Wahrnehmung als symbolisierender Tätigkeit und die Art, wie wir Bilder als Bilder sehen, 239 - David Jöckel: Mythos und Bild. Roland Barthes’ Semiologie bildlicher Stereotypisierung, 255 -/- - Kurzbiographien der Autorinnen und Autoren, 274 - Impressum, 278. (shrink)