bluuebunny/crossref_metadata_2025_split huggingface dataset:
Medicalizing the Folk
Authors: Drake Jamil W. 
Published: January 2022

Abstract
Chapter 3 explores the fieldwork of Charles S. Johnson within the Julius Rosenwald Fund and United States Public Health Service’s syphilis treatment program for tenant farmers and sharecroppers in Macon County, Alabama, during the early years of the Franklin D. Roosevelt administration. A Black sociologist and chair of the Social Science Department at Fisk University, Johnson used the folk category to challenge the idea that America did not have a peasant class and a feudal order in the Jim Crow South. He and members affiliated with Fisk University documented the conjure practices and “social taboos” among tenant farmers and sharecroppers. Johnson concluded that these spiritual practices and social customs were indicators that these poor workers occupied a lower stage of mental and moral development. Rejecting racial traits, Johnson and his research team focused on the racial prejudice and cotton system that stunted not only their religion, but equally, their health maturation. Moreover, he concluded that their folk religion was outside modern health and familial structure. Johnson joined the Rosenwald Fund in an effort to reform their folk religion by organizing the treatment program to extend modern healthcare to them. But Johnson recycled the racial logics that he sought to get away from by accenting their immoral sexual habits, “bad” family structure, and outmoded beliefs. This chapter argues that he considered the religion of Black rural “folk” to have developed in isolated from modern medicine as well as proper forms of family and sex. He concluded that it hindered their mental, moral, and medicinal progress.
Conclusion
Authors: Drake Jamil W. 
Published: January 2022

Abstract
This chapter concludes with the importance of religion in shaping the perceptions of the Black poor in American social and political thought. This importance was captured in the use of the folk category by social scientists in the early twentieth century. But the Conclusion gestures toward the significance of the book by showing how the creation of the southern folk was the precursor to the underclass concept in the latter twentieth century. Famed journalist Nicholas Lemann explained that to understand the urban underclass in Chicago required knowledge about the cultural behavioral pathologies developed in rural Mississippi. Lemann posits a “southern continuity” narrative to understand the urban poor. In the end, the folk category in the social sciences was the part of the moral and cultural framing of the Black poor that took attention away from the deeper structural issues that perennially plagued the Black and lower-class communities.
Birdsong over the trenches
Authors: Guida Michael 
Published: January 2022

Abstract
This chapter examines the importance of listening in the trench environment of the Western Front to argue that in spite of the disorder and cacophonous noise, and perhaps because of it, soldiers drew out of the air the chiming musicality of birdsong. They found such sounds cleared and purified the defiled atmospheres of the frontline and provided solace and a sense of future continuity that they might be part of. The chapter shows how an appreciation of the sounds of the many species of bird living close to soldiers was cultivated at the same time as knowledge of the sounds of exploding weaponry. The sounds of danger and the sounds of relief were learned together, and both were needed for survival. The familiar rituals of the lark ascending in the morning and the nightingale’s liquid notes in the darkness gave order and rhythm to the unpredictable trench scene.
Pastoral quietude for shell shock and national recovery
Authors: Guida Michael 
Published: January 2022

Abstract
The pastoral quietude emanating from the English countryside was used as a primary therapeutic milieu for soldiers and the nation in recovery after WWI. The archives of Enham Village Centre in Hampshire, a model village experiment for ordinary ex-servicemen, have been brought to light to show how country peace and quiet was part of a national ideology not just for soldiers but for all those shocked by world conflict. Quiet as a sonic category has received scant attention in scholarship. Yet, here its perception and its construction articulate more than simply an absence of meaningful sound. Quiet was a container within which small sounds could expand and take on significant meanings. When the invention of the Armistice silence brought so many together to pause and remember, even those two sacred minutes were given over to the sound of leaves and pigeon wings to inhabit.
Broadcasting nature
Authors: Guida Michael 
Published: January 2022

Abstract
The BBC’s leading figure, John Reith, formulated a vision of broadcasting that was underpinned by the idea that the medium of radio and its programme content could give the nation access to sublime earthly and cosmic silences. In a new reading of the well-known live nightingale transmissions that from 1924 became an annual event every May, the paradox of a silent broadcasting system is explored. Reith, who described the nightingale’s song as a silence that the busy world craved, also saw it as symbolic of the culturally unifying force that his public service broadcasting should be, with an emotional appeal to every citizen. More than this, Reith mixed scientific and mystical ideas to articulate his belief that radio waves connected all humans to the perfect stillness of the heavens and the grand scheme of nature, presided over by a silent God.
Soup Is an Anagram of Opus
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter discusses the Andy Warhol exhibition at New York's Museum of Modern Art in 2015. In particular, it provides commentary on Warhol's Campbell's soup can paintings. First painted and shown in 1962, in Los Angeles, the thirty-two paintings have seldom been brought together for display. Warhol worked not from actual cans with actual labels but from promotional materials that Campbell's sent out. In other words, these are not so much pictures of either cans or labels as they are reproductions or copies of the commercial graphics itself, blending design and text. At least part of what is put on display, part of what is exhibited in a condensed form, is this distinctive and recognizable form of collector's mentality. Warhol is putting the human mind, or at least one of its species, on exhibition. It is not about soup cans; it is not about pop culture. It is about us.
I Am Sitting in a Room
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter analyzes Alvin Lucier’s performance of his twentieth-century masterpiece, “I Am Sitting in a Room. The performer—in this case the composer himself—records his voice making a statement about what he is doing. This is then played back and recorded again. This new recording is then played back and recorded again. Each playback sounds like a pretty faithful rendition of what came before. After about sixteen rounds of this, however, what the audience is given is sound that bears no recognizable relation to the original utterance. The subtle degradations of each recording cycle get compounded in the iteration and reiteration. At the end one must wonder: are we getting a degraded signal, or is the final message a signal imbued with unimagined new content—a disclosure of the room's very own resonant nature, as the artist himself suggests, or of the true essence of sound, or, indeed, of speech? The composition is also an interesting example of the way technology and art work together. Tape is an old technology, yet the work would be impossible without tape recording. In a way, this is a kind of investigation of what tape recording actually is.
Forty Speakers in a Room
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter examines Janet Cardiff’s 2001 art installation, The Forty Part Motet, which was on view at the Nelson-Atkins Museum in Kansas City, Missouri, in the winter of 2017. In this art installation, one enters the room and encounters forty speakers, arranged in an oval, playing a recording of the Salisbury Cathedral Choir singing “Spem in alium” (Hope in any other), which was composed by the English composer Thomas Tallis in 1556. One could opt to sit in the middle of the room and listen to the wall of sound created by the joint effect of each speaker, but one could also move about the room, causing one voice to pop out and another to be drowned out. In this way, the work invites the audience not only to enjoy the music but to remix it by sampling voices. The whole work is less an opportunity for deep listening than it is an opportunity for manipulating sound by moving around. The work itself is a supercharged technical remaking of the music. And the distortions one produces through one's own movements are the direct result of the fact that recording technology makes separate what was, in the making, collective.
Rock Art
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter focuses on Kevin Sudeith’s rock carvings, which he refers to as petroglyphs. There is something straight-shooting and straightforward about Sudeith’s work. The figures are intelligible and the sentiments that lie behind them are suitable for children and grandparents—downright patriotic, almost. But spend a bit more time in the space carved out by Sudeith’s work and the postmodern character of his work, along with its bright wit, jumps into focus. Sudeith’s work not only is site-specific but makes unusually specific geological and cultural demands. First, he had to find good boulders in more or less accessible locations. Second, he had to get permission to make an artwork out of them. The rocks may be on public or private land. What is required, third, is not just permission to make the work but permission to make a work that will take months to complete and so will require the artist's long-term presence on the land and, in effect, in the community. The very project, then, is a social experiment; the artist works with rock and carving, but he also works with this more immaterial material of delicate social relations and community.
Cheap Thrills at the Whitney
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter addresses Jeff Koons’s work, which was on displayed at the old Whitney Museum of American Art in 2015. The Koons show puts lots of sex and celebrity on display. Against the background of the sad details of Koons’s failed marriage to the ready-made love of his life, the porn icon La Cicciolina, the exhibition even puts the tragic on display. Each of his pieces comes packaged, as it were, with important questions for the audience to ask about their feelings about toys, or cheap consumer goods, or luxury and celebrity. Indeed, Koons attends not only to the material detail but to the intellectual detail as well. Ultimately, however, what makes Koons’s work so accessible and so likable is not its engagement with interesting questions but its pornographic pandering. It provides cheap thrills.
Making the Work Work
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter reflects on an article in the New York Times that highlighted the concern of museum curators and event planners with finding ways to make works of art accessible to the viewing public. The director of Harvard's Peabody Museum has turned to brain science for clues to the way art manages—or, as is often the case, fails to manage—to ignite the imagination and pleasure centers of the viewing public. The chapter argues that the turn to neuroscience is an abdication of the museum's real mission, which is not to cause this or that to happen in the brains of unsuspecting visitors but rather to afford motivated, interested, curious individuals the opportunity to appreciate what is on display. It then looks at the Matisse/Diebenkorn exhibition that was on view at the San Francisco Museum of Modern Art in 2017. The logic of the comparison between the two is compelling. Henri Matisse was one of Richard Diebenkorn's heroes; Diebenkorn's encounters with the senior artist's work made an impression, not only in the younger artist's rumination but also in the work itself.
The Camera and the Dance
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter explores the relationship between the camera and dance. As a general rule, film destroys dance. Dance as a performance is a contact sport, an encounter of audience and performers. One cannot film it, because all one can film is something that can be seen. When it comes to dance, it is not what one sees but the seeing itself that is where the action is. The chapter then considers Wim Wenders's Academy Award–nominated film Pina: Dance, Dance, Otherwise We Are Lost, which contains a segment of Lutz Förster's marvelous solo from Bausch's Für die Kinder von Gestern, Heute und Morgen (For the Children of Yesterday, Today and Tomorrow). Dance for film is another story altogether. For these are works where the camera is itself choreographed by the dance itself, or rather, it is a collaboration, a duet, between the dancer and the camera. Dance on film, in contrast with dance for film, is usually a disappointment.
This Is No Zoo
Authors: Noë Alva 
Published: January 2022

Abstract
This chapter reviews the collection of dioramas at the Civic Museum of Natural History in Milan. Diorama dates back to the era before widespread access to color photography, not to mention to a time when free digital access to information and graphical media would have been considered science fiction. Indeed, everything one sees in a diorama is a collaboration of science and craft or science and art. Yet the diorama form is very much alive and well in natural history museums around the world. The chapter then considers the role of the plane of glass that separates the audience from the world of the diorama. Ultimately, it may be that the quaintness and old-world quality of dioramas have something to do with the way they invite pretend to happen, and with it play. This may also explain the remarkable fact that, despite their quaintness, diorama thrives as an exhibition mode in today's high-tech culture.
Conclusion
Authors: Zaharna R.S. 
Published: January 2022

Abstract
The conclusion brings readers full circle from the all-thumbs, limited view of communication outlined in Chapter 1 to a mindset of connectivity that views the logics working in unison to enhance our capacity for global collaboration. This final chapter highlights key take-away points for Boundary Spanners and suggests an agenda for future research and practice of humanity-centered diplomacies. Points discussed include adopting a humanity-level perspective as the key to cultivating a mindset of connectivity; developing a proficiency across the three logics, especially in areas that have been overshadowed by dominant understandings of global communication and public diplomacy; blending the communication logics, rather than segmenting publics, to navigate the twin challenge of global interconnectivity and diversity; moving from a capacity to cooperate to a capacity for collaboration; searching for commonality; and expanding humanity-centered public diplomacy to a global mandate for problem-solving, identity mediation, and empathetic public diplomacy.
Healthy Eating Policy and Political Philosophy
Authors: Barnhill Anne , Bonotti Matteo 
Published: January 2022

Abstract
This book develops a ‘public reason approach’ to healthy eating efforts. Public reason is the view that political rules are legitimate only if they are justified on the basis of reasons that are public, i.e. reasons that all citizens can accept at some level of idealization despite their different values and worldviews. The book applies the idea of public reason to healthy eating efforts and develops a framework that can be used in the assessment of such efforts in the real world. By doing so, the book adopts a ‘farm to fork’ approach to the ethics of healthy eating efforts: it engages with rather abstract theories and debates in political philosophy, considers the implications of different theoretical positions for healthy eating efforts, and then develops a concrete tool for assessing healthy eating efforts that will be of interest to both scholars and policymakers. The book also serves another purpose: it brings not just public reason but political philosophy more generally to bear on healthy eating efforts and the debates about it. This will be of interest to two audiences. The first audience consists of those who are familiar with healthy eating efforts but may have little experience with political philosophy—it might include public health researchers and practitioners, public health ethicists, and other researchers who take an interest in healthy eating efforts. The second audience comprises political philosophers, who will be already familiar with the concepts and theoretical debates the book considers but may find their concrete application to healthy eating efforts to be of interest.
Introduction
Authors: Barnhill Anne , Bonotti Matteo 
Published: January 2022

Abstract
The introduction illustrates how contemporary states are increasingly adopting efforts aimed at changing people’s dietary habits, such as sugary drink taxes and food bans. These kinds of measures have often been criticized as instances of government paternalism, i.e. efforts aiming to make people better off that are motivated by a negative judgment of the individual and/or interfere with their freedom without their consent. The introduction explains how the book moves away from this focus and examines instead healthy eating efforts through the lens of public reason. According to this view, healthy eating efforts should be publicly justified based on reasons that all citizens of a liberal society could accept at some level of idealization despite their diverse conceptions of the good. The introduction concludes by providing a roadmap of the book.
Healthy Eating Efforts and Millian Liberalism
Authors: Barnhill Anne , Bonotti Matteo 
Published: January 2022

Abstract
This chapter examines the implications of John Stuart Mill’s liberalism for healthy eating efforts. Mill is one of the key representatives of perfectionist liberalism, a strand in liberalism that is centred around the value of individual autonomy and the importance for the state to legislate in ways that advance citizens’ autonomous flourishing in all aspects of their lives. Mill’s ideas are often appealed to by critics of state paternalism, including those who challenge healthy eating efforts. First, the chapter explores whether and to what extent Mill’s ‘harm principle’ justifies social and legal non-paternalistic penalties against unhealthy eaters. Second, it shows that Mill’s account warrants taxing unhealthy foods, thus de facto justifying some degree of paternalism in the area of healthy eating policy. Finally, it argues that Mill’s account warrants some restrictions on food advertising and justifies various forms of food labelling.
Healthy Eating Efforts and Paternalism
Authors: Barnhill Anne , Bonotti Matteo 
Published: January 2022

Abstract
This chapter introduces and critically examines debates about paternalism and healthy eating efforts in bioethics and political philosophy. These debates normally emphasize views about autonomy, including controversial substantive views about the importance of autonomy in the good life. The chapter focuses instead on an objection to paternalism advanced by Jonathan Quong which is not rooted in a perfectionist view about the importance of autonomy but instead in the Rawlsian demand that citizens ought to be regarded as free and equal, and as capable of forming, revising, and rationally pursuing a conception of the good. The chapter critically evaluates Quong’s view in relation to healthy eating efforts. Contrary to Quong, who argues that the Rawlsian ideal requires policymakers to assume that citizens always behave rationally, the chapter contends that regarding citizens as free and equal does not require this but instead requires recognizing and respecting diverse conceptions of the good and diverse perspectives and practises vis-à-vis eating and health.
Designing Publicly Justified Healthy Eating Efforts
Authors: Barnhill Anne , Bonotti Matteo 
Published: January 2022

Abstract
This chapter develops an ethics framework that can be used by public health policymakers, and others, to help them to navigate the complex empirical and moral issues surrounding healthy eating efforts discussed in the previous chapters. First, the chapter sketches a ‘public reason framework for healthy eating efforts’ that public health officials, legislators, and others can use to assess proposed or existing healthy eating efforts. This framework consists of questions that public health officials and legislators should ask themselves when designing new healthy eating efforts, or evaluating existing ones with an eye toward reforming or repealing them if necessary. Second, the chapter makes recommendations about institutionalizing the use of this framework (and, by extension, institutionalizing the public justification of healthy eating efforts), by incorporating into policymaking a process of consultation and deliberation that includes public health officials, ordinary citizens, advocacy groups, and representatives of affected groups.
Push
Authors: D'Errico Mike 
Published: January 2022

Abstract
This book shows how changes in music software design in the first decades of the twenty-first century shaped the production techniques and performance practices of artists across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations (DAWs) such as FL Studio and Ableton’s Live encouraged rapid music-creation workflows through flashy, user-friendly interfaces. Meanwhile, software such as Avid’s Pro Tools attempted to protect its status as the industry-standard “professional” DAW by incorporating design elements from predigital technologies. Other software, such as Cycling ’74’s Max, asserted its alterity to “commercial” DAWs by offering users just a blank screen. The book examines the social, cultural, and political values designed into music software and how those become embodied by musical communities through production and performance. It reveals ties between maximalist design in FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max and iZotope’s innovations in artificial intelligence with the cultural politics of Silicon Valley’s “design thinking.” Finally, it examines what happens when software becomes hardware and users externalize their screens using musical instrument digital interface (MIDI) controllers, mobile media, and video-game controllers. Amid the perpetual upgrade culture of music technology, Push the book provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives.