Hard-nosed physicists are content with elementary quantum mechanics as it is. Deep searchers desire a deeper comprehension of the theory or rather of reality. Observable internal correlations in micro-systems and external correlations between widely separated parts can be calculated at the office. But how can for that purpose indispensable information be observed, coded and stored and transmitted in the real systems?A spectacular example is Einstein-Podolsky-Rosen entanglement. How can one part know what has been or will be happening at the other (...) distant part? (shrink)

Nigerian Hip-Hop examines questions lying at the intersection of rap poetics, race, knowledge, and popular culture. Troubling the conventional paradigm of reading in which hip-hop in Nigeria stands for imperial machinery, it directs attention to the culture’s provocative meditations on the afterlives of slavery and colonialism. The book tracks these meditations across a wide range of sources, including lyrics, music videos, cover arts, liner notes, photographs, social media, archival materials, and oral interviews with dozens of the key figures at the (...) center of the culture. Placing these sources in conversation with one another, it examines them closely for what they reveal about the contemporary trajectories of African poetry, popular culture, transnational media flows, youth resistance, and pan-African solidarity. The first comprehensive and systematic account of Nigerian hip-hop—one of the world’s oldest and most vibrant of such scenes—this book attends to the literary forms, the density of ideas, historical encounters, ideological struggles, and the lively internal debates that have animated the culture for more than four decades. (shrink)

Hip-Hop is the soundtrack of Black Lives Matter protests, evident in scenes where songs from the genre are played and sung throughout the protests. Max Tretter adopts an interdisciplinary approach to create a framework for precisely assessing the impact of such aesthetic expressions in public and for taking grounded normative positions on them.

In Hip-Hop in Africa, Msia Kibona Clark examines some of Africa's biggest hip-hop scenes and shows how hip-hop helps us understand specifically African narratives of social, political, and economic realities. Clark looks at the use of hip-hop in protest, both as a means of articulating social problems and as a tool for mobilizing listeners around those problems. She also details the spread of hip-hop culture in Africa following its emergence in the United States, assessing the impact of urbanization and demographics (...) on the spread of hip-hop culture. Hip-Hop in Africa is a tribute to a genre and its artists as well as a timely examination that pushes the study of music and diaspora in critical new directions. (shrink)

This book puts forth the concept and practice of hip-hop mindfulness as a way for minoritized communities to take creative risks in the face of cultural oppression within educational institutions. Written for students of social justice and diversity education, foundations of education, and ethnic studies, this book introduces the hip-hop mindset as a professional practice that holds relevance for ambitious leaders in any profession who seek to innovate, trailblaze, and create so much professional magic, that they appear to walk on (...) air. (shrink)

This is the first book-length project to examine the relationship between blackness, queerness, and hip hop. Using aesthetics as its organizing lens, Hip Hop Heresies attends to the ways that hip hop cultural production in New York City from the 1970s through the first fifteen years of the 21st century produced hip hop cultural products (film, visual art, and music) that offer "queer articulations" of race, gender, and sexuality that are contrary to hegemonic ideas and representations of those categories in (...) hip hop production, as well as in writing about hip hop culture. (shrink)

El artículo analiza el proceso de organización de un grupo de hip-hop, basado en el análisis central de los significados del “lazer” para sus participantes, en la búsqueda de una nueva perspectiva de inserción social. Ha sido realizado mediante la combinación de investigación bibliográfica, documental y de campo. El método utilizado ha sido el estudio de caso, en la Organização dos Novos Quilombos (ONQUI), “posse” de hip-hop, teniendo la observación participante como principal técnica de recolección de datos. Entre los resultados (...) es posible afirmar que el “lazer” desarrollado por medio de las actividades relacionadas al movimiento hip-hop contribuye a la conquista de la ciudadanía para las personas de la periferia de la ciudad. Organizaciones como la ONQUI, basadas en la relación y movilización en actividades culturales conectadas al hip-hop, desarrollan políticas públicas sociales, de forma no-gubernamental, acciones que son fruto de procesos formales e informales de asociacionismo, entendidas como un contrapunto, una respuesta a las acciones del poder público municipal. (shrink)

This chapter argues that given affect and emotion’s importance both to the operation of unconscious habit and to a non-reductive, psychologically complex account of human physiology, feminist philosophy and critical philosophy of race need an account of affect and emotion as thoroughly somatic, not something “mental” or extra-biological, layered on top of the body. They also need an account of human physiology that appreciates how emotion and affect are interpersonal, social, and can be transactionally transmitted between people. Developing that account, (...) Chapter 1 takes the hips and pelvis as a case study, using an example of tight pelvic and hamstring muscles to argue for the transactional physiology of affect and emotion. Setting the stage for subsequent chapters, “The Hips” draws on William James to develop an account of the affective body as the psychosomatic substrate from which biologically unconscious habits develop. (shrink)

El siguiente artículo propone una presentación del Hip Hop en Chile, comprendido como un movimiento plural que puede ser pensado en términos de tácticas y estrategias de resistencia. Para ello se comienza por una caracterización general de esta práctica considerando sus diversos componentes -música, danza y grafiti- seguida de una descripción de sus orígenes históricos y de su contexto social de emergencia asociado a la segregación y a la estigmatización urbanas. Luego, a partir de la revisión de diversas investigaciones provenientes (...) de la historia y de la sociología se aborda su desarrollo en nuestro país, lo que permite indagar sus singularidades y su poder de contestación en nuestra historia reciente. Posteriormente se trata la cuestión del como un arte popular teniendo en cuenta diversas dimensiones en las que se expresa la capacidad creativa de sus autores y de su comunidad de públicos. Por último se aborda el potencial político del Hip Hop explorando sus posibilidades para ser comprendido como un arte de resistencia que opera tácticamente. (shrink)

all the violence in hip hop? Does po-po wield legit authority in the hood? Where does the real Kimberly Jones end and the persona Lil' Kim begin? Is hip-hop culture a "black" thang?

Hip-hop music in Bulgaria is not just a style of popular music but a cultural choice and political stance. This paper explores Bulgarian hip-hop songs and artists as bearers of the communal and political through the poetic. The analyzed songs and videos of Zhluch, Atila and Upsurt from the latest wave of Bulgarian rap are symptomatic examples of the unifying characteristics of the two lines (“joking around”, “folk” and “high”, “intellectual”) of rapping as a pop culture with a dynamic nature (...) of tension and struggle. The musical play and intertextual references illuminate the role of technology as a means and form in the political game: remixes, digital sampling as expressions of the fun, contrasting, parodic, and carnivalesque recreation of reality are catalysts for challenging the status quo. (shrink)

Hip hop has grown into a worldwide genre in recent decades, often being associated with issues of race and class. However, as research on ‘hip hop feminism’ in the US context demonstrates, the categories of gender and sexuality are no less fundamental. In the growing body of international hip hop research, though, questions about gender have been relatively absent, and relatively little is known about how gender norms are negotiated and challenged in hip hop in Europe. This article seeks to (...) contribute to filling this gap in the literature by exploring how women negotiate the gender norms of hip hop in the case of Sweden. To this end, rap lyrics by 12 female rap artists are analysed through poststructuralist discourse analysis. The analysis focuses on intersectionality, feminism within and beyond hip hop, as well as the possibilities and limitations of female masculinity. It is shown how the masculine norms of the genre are simultaneously resisted and resignified as many female rappers incorporate some elements commonly associated with masculinity but mobilize them in their challenging of masculine norms. In this way, complying with the genre interestingly produces a hard and explicit feminism in which ‘all sexist pigs will be slaughtered”. (shrink)

This article introduces the Hyperbole Identification Procedure, a first systematic method for identifying linguistic hyperbole in discourse. We start by comparing existing definitions of linguistic hyperbole. Based on the commonalities shared by these definitions, we provide our operational definition of hyperbole as “an expression that is more extreme than justified given its ontological referent.” The next section argues why it is useful to identify hyperbole, as with metaphor in Metaphor Identification Procedure Vrije Universiteit, at the level of lexical units, and (...) subsequently introduces the steps of HIP. We follow up with two sample analyses of HIP in practice. First, we show how to unitize and analyze one complete sample sentence. Second, we present sample analyses of a number of selected cases. Then we present data showing that HIP can be reliably applied to a sample corpus of Dutch news texts. We end with discussing applications and implications of using HIP in corpus research. (shrink)

This chapter argues that Hip Hop scholars must not only distinguish the more nuanced, complex, and historically informed philosophies of post-structuralism from the one-dimensional ‘reactionary postmodernism’ or ‘perverse modernism’ that dominates much of the academic humanities; they should, moreover, reject the latter framework in favor of approaches that allow for an accurate understanding of the ongoing evolution of the culture, in order to both reveal and assess the values and lessons it has long preached. It concludes, not with some ‘final’ (...) or ‘authentic’ account of Hip Hop culture or rap music, but with a call for a more diverse—and, crucially, more culturally respectful—approach to Hip Hop Studies. (shrink)

This book argues that Hip Hop’s early history in the South Bronx charts a course remarkably similar to the conceptual history of artistic creation presented in Hegel’s Lectures on Aesthetics. It contends that the resonances between Hegel’s account of the trajectory of art in general, and the historical shifts in the particular culture of Hip Hop, are both numerous and substantial enough to make us re-think not only the nature and import of Hegel’s philosophy of art, but the origin, essence (...) and lesson of Hip Hop. As a result, the book articulates and defends a unique reading of Hegel’s Aesthetics, as well as providing a philosophical explanation of the Hip Hop community’s transition from total social abandonment to some limited form of social inclusion, via the specific mediation of an artistic culture grounded in novel forms of sensible expression. Thus, the fundamental thesis of this book is that Hegel and Hip Hop are mutually illuminating, and when considered in tandem each helps to clarify and reinforce the validity and power of the other. (shrink)

The author defends the philosophical value of underground hip-hop through illustrating how the culture significantly contributes to debates in multiple academic fields. She also examines the exclusion of hip-hop from discourses on knowledge, racism, genocide, and trauma as a reflection of the neoliberal sensibility that hip-hop exposes and opposes.

This essay undertakes a phenomenological inquiry into the ‘experiential structure of hip-hop’ – a structure that hip-hop artist Jay-Z (Shawn Carter) gestures towards in his text Decoded. In this book, Jay-Z argues that hip-hop has a particular power to act as the vehicle for the communication of a specific type of experience, i.e. contradictory experiences, or those which do not seem possible under the principle of non-contradiction. For instance, Tupac Shakur says of his mom that “…even as a crack fiend, (...) mama / You always was a Black Queen, mama.” The way in which hip-hop is a powerful vehicle for this communication lies, according to Jay-Z, in its very structure, which he describes using two sets of terms: rhythm/flow and music/rhyme. Using Jay-Z’s general outline, this essay attempts to complete a phenomenological analysis of hip-hop, in the effort to (1) isolate the experiential structure of hip-hop and (2) isolate, within this structure, the way in which hip-hop is able to communicate contradictory experiences. In the final analysis, the author isolates the experiential structure of hip-hop and shows how its multiple layers work to draw listeners in and induce them to experience-with the artist. (shrink)

Asynchronous discussion boards are a common pedagogical tool used by history faculty to promote engaged learning, content comprehension, and historical thinking, writing, and research skills in online courses. Although many higher education institutions are increasing their online history course offerings, there is a gap in the literature about the effectiveness of online teaching on student learning. As initiatives aimed at promoting HIPs at colleges and universities continue to grow, there is a need to examine whether the implementation of the asynchronous (...) discussion board can be considered a HIP, especially when promoting writing intensity and undergraduate research in online history courses. Therefore, the purpose of this study is to examine whether the facilitation of asynchronous discussion boards serves as a HIP. The researcher conducted this study with a total of 167 undergraduate students enrolled in three sections of an online survey United States history course where she taught at a large four-year university in a metropolitan region of the Southeast. (shrink)

Revolution of a next kind : building black London from the bottom -- On the bus my oyster card goes ding de diing de ding ding : transforming the space of London's public transport -- I see the glow in you : summoning the aura in London's post hip-hop culture -- That there kind of sumthin' sounds strange to me : social representation and the recorded soundscape -- From a junior spesh to the keys to the Bentley : the routes (...) of grimey London -- Conclusion. Take back the scene. (shrink)

This paper draws attention to gendered dimensions of surgical device failure, focusing on two case studies—hernia repair mesh for pelvic organ prolapse, and metal-on-metal hip implants. We explore possible reasons for higher rates of harms to women, including systematic biases in health research and device regulation. Given that these factors are readily identifiable, we look to feminist scholarship to understand what might maintain them, including the role of cultural factors within surgery, such as gendered communication patterns and sexism. We then (...) canvas potential measures to mitigate the increased risk of harms faced by women who use implanted devices. (shrink)

Cross-cultural understanding stands as one of the great pillars of multicultural education and yet rarely do multiculturalists provide a full account of what it is and how it takes place. This paper will serve as an initial investigation into the complex nature of cross-cultrual understanding. Drawing on the philosophical hermeneutics of Hans-Georg Gadamer, I will layout the framework for a theory of understanding and provide a concept of culture that avoids the pitfalls of essentialism and instrumentalism. I will then raise, (...) as the backdrop for my examination, the issue of authenticity in the hip hop world. This will allow me to put these hermeneutic theories to work by illuminating the interpretive process through which a hypothetical middle-aged teacher might go about gaining an apprecitaion for rap music to better understand his suburban students who, for him, embody hip hop culture. This phenomenological account of cross-cultural understanding will in turn raise thought-provoking questions about human agency, translation, and the various implications of cross-cultural understanding in the classroom. (shrink)

Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large.

This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, and philosophy had for (...) me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

I defend the continuing importance, and attraction of, moral saints. The objective of this paper is twofold; firstly, to critique Wolf’s definition of sainthood, and secondly, to argue against her view that one should not desire to be a moral saint, nor emulate them. In section 1, I argue that moral saints are highly complex moral agents, and that Wolf’s definition does not capture this complexity. My second argument is that Wolf’s account that there are two kinds of saints, loving (...) and rational, leads to a tension. Either: (1) the distinction between loving and rational saints is justifiable; but then argu- ments against the benefits of sainthood ought to be directed independently against each kind of saint which, Wolf does not do; or (2) the distinction is not justifiable, in which case the division is explanatorily impotent. In section 2, I will present Wolf’s argument for why one should not want to be a moral saint, nor even know one. I counter that Wolf over-emphasises non-moral values, to the point that these values have a monopoly on what constitutes a well-rounded life. Wolf must provide a more definitive scope for non-moral values, as the distinction between moral and non-moral values is ambiguous. Finally, I argue that moral saints can serve as moral exemplars and visionaries. By admir- ing and emulating them, we can adapt our own moral behavior, and by example, moral saints can discover new and better ways of pursuing moral goods. (shrink)

This article applies Lacanian psychoanalysis to explore race as a psychotic structure, marked by delusion, paranoia, and symbolic failure. Focusing on the hip-hop genre, and the music of Kendrick Lamar, it examines how Lamar’s music exposes and unsettles racial certainties by emphasizing lack and doubt. Through an analysis of “Mortal Man”, and Lamar’s imagined interview with Tupac Shakur, the article highlights how silence and absence disrupt fixed racial meanings. It argues that dismantling racism requires confronting the libidinal and ideological investments (...) in race, while positioning Lamar’s work as a vital for a radical, anti-racist critique grounded in psychoanalytic theory. (shrink)

Anders Ackfeldt’s Islamic Themes in US Hip-Hop Culture represents yet another welcome example of the increasing scholarly attention being paid to the representation of Islam in popular culture. Combining his expertise in the history of religions and Islamic Studies with a range of tools stemming from Media Studies and social semiotics, Ackfeldt produces a multi-layered investigation into the Islamic symbolism and Muslim identities in U.S. hip-hop. Ackfeldt’s book portrays the religion as a creative resource for the articulation of social, cultural, (...) and political expressions, especially among Black American artists. (shrink)

Philosophy and Hip-Hop: Ruminations on Postmodern Cultural Form opens up the philosophical life force that informs the construction of Hip-hop by turning the gaze of the philosopher upon those blind spots that exist within existing scholarship. Traditional Departments of Philosophy will find this book a solid companion in Contemporary Philosophy or Aesthetic Theory. Inside these pages is a project that parallels the themes of existential angst, corporate elitism, social consciousness, male privilege and masculinity. This book illustrates the abundance of philosophical (...) meaning in the textual and graphic elements of Hip-hop, and thus places Hip-hop within the philosophical canon. (shrink)

The article is based on lyrics from 2007 to 2017 involving 18 hip-hop artists. All the songs I studied were by male singers apart from one entitled, “Maga no need pay,” which involved seven multiple artists. In all the songs, the glamorization of cybercrime and cybercriminals was one of the most significant themes. The implications are discussed.

Critics of mass culture often identify 1950s-style status competition as one of the central forces driving consumerism. Thomas Frank has challenged this view, arguing that countercultural rebellion now provides the primary source of consumerism in our society, and that ‘cool’ has become its central ideological expression. This paper provides a rearticulation and defense of Frank's thesis, first identifying consumerism as a type of collective action problem, then showing how the ‘hip consumer’ is one who adopts a free-rider strategy in this (...) context. (shrink)

The western consensus is that obese women are considered attractive by Afro-Americans and by many societies from nonwestern developing countries. This belief rests mainly on results of nonstandardized surveys dealing only with body weight and size, ignoring body fat distribution. The anatomical distribution of female body fat as measured by the ratio of waist to hip circumference (WHR) is related to reproductive age, fertility, and risk for various major diseases and thus might play a role in judgment of attractiveness. Previous (...) research (Singh 1993a, 1993b) has shown that in the United States Caucasian men and women judge female figures with feminine WHRs as attractive and healthy. To investigate whether young Indonesian and Afro-American men and women rate such figures similarly, female figures representing three body sizes (underweight, normal weight, and overweight) and four WHRs (two feminine and two masculine) were used. Results show that neither Indonesian nor Afro-American subjects judge overweight figures as attractive and healthy regardless of the size of WHR. They judged normal weight figures with feminine WHRs as most attractive, healthy, and youthful. The consensus on women’s attractiveness among Indonesian, Afro-American, and U.S. Caucasian male and female subjects suggests that various cultural groups have similar criteria for judging the ideal woman’s shape. (shrink)

Shoot From The Hip - Professional Intuition In Decision-Making -/- Why do eighty percent of decision-makers say that they use intuition often or very often in their decision-making? What is intuition? How does it function? How can we achieve becoming more intuitive? How can we apply it in understanding the world and making more ethical decisions?

Ojectives Low energy hip fractures are one of the greatest causes of morbidity and mortality in orthopaedics. This study aims to evaluate written consent forms with respect to basic standards as set out in the Good Practice in Consent Initiative. In particular the stated risks and benefits of each procedure were assessed. Methods 100 consecutive consent forms were reviewed prospectively. The stated procedure, side and complications were recorded. Appropriate signature and legibility was assessed. 13 consultant orthopaedic surgeons were surveyed to (...) identify what risks and benefits they thought should be stated. Results Of 100 consent forms, 31 were for patients who are unable to consent. All 100 consent forms were correctly filled in with patient details and signed. 98% were legible. All stated the side of the operation. The number of complications listed per form ranged from 4 to 11. Infection, bleeding and thromboembolic complications were stated in the majority of consent forms. In total, 30 different complications were recorded; some were only stated once. Discussion and Conclusions This work suggests consent forms are completed well with respect to patient identifiers, legibility and procedure. The variability of complications stated is vast. We suggest standard pre-printed consent forms containing risks and benefits should be used as this may improve standards of informed consent. This has also been recently supported by the British Orthopaedic Association. (shrink)

Financial and nonfinancial conflicts of interest in medicine and surgery are troubling because they have the capacity to skew decision making in ways that might be detrimental to patient care and well-being. The recent case of the Articular Surface Replacement (ASR) hip provides a vivid illustration of the harmful effects of conflicts of interest in surgery.

This article investigates Black American Islam as a semiotically mediated New Religious Movement (NRM), hybrid in nature and emerging from conditions of racialized governance, state surveillance, and social marginalization. Focused on the intersection of NRMs and political environments, the work engages in the reconstruction of a historical and conceptual lineage between Black Muslim movements and their mediated negotiation by Hip Hop artists. Grounded in Hall’s model of encoding/decoding and Hebdige’s subcultural theory, the transition of Islam-inspired semiotic markers from esoteric subcultural (...) opacity to explicit orthodox adherence is demonstrated using historical analysis and close reading of symbolic expression in lyrics. The findings support a consideration of religious illegibility as aesthetic negotiation and strategy for political survival in circumstances of state scrutiny, with the subsequent consolidation of orthodox interpretations in Hip Hop signifying a recalibration of religious legibility in the securitized climate of a post-9/11 world. The contribution asserts that Black American Islam exemplifies NRMs’ instrumentalization of doctrinal elasticity and semiotic mediation in challenging socio-political surroundings, and its impact on negotiations of citizenship, political opposition, and religious identity. (shrink)

Feminist, critical race, and postcolonial theories have established that social identities such as race and gender are mutually constitutive—i.e., that they “intersect.” I argue that “cultural appropriation” is never merely the appropriation of culture, but also of gender, sexuality, class, etc. For example, “white hipness” is the appropriation of stereotypical black masculinity by white males. Looking at recent videos from black male hip-hop artists, I develop an account of “postmillennial black hipness.” The inverse of white hipness, this (...) practice involves the appropriation, by black men, of stereotypical white gay masculinity and/or non-American, non-white femininity. I also argue that Shephard Fairey’s recent images of (mainly militant) non-Western women of color can be read as a new form of white hipness that revises the traditional logic in two ways: (1) by appropriating non-white femininity rather than masculinity, and (2) by adopting the practice of postmillennial black hipness itself. (shrink)

I will argue that the diminishment of hip hop music as a hermeneutical resource for Black and Latinx persons by white supremacy promotes the ubiquity of ignorance of racial injustice in North America. To this end, I will defend what I call the hermeneutical-diminishment thesis. According to this thesis, white supremacy has diminished hip hop as a hermeneutical resource for Black and Latinx persons. To defend this thesis, I will substantiate two sub-theses. The first is the prescriptive-rap sub-thesis. According to (...) this sub-thesis, white supremacy has caused prescriptive rap to predominate the content of hip hop in comparison to descriptive rap. The second sub-thesis is the descriptive-rap sub-thesis. According to this sub-thesis, if (i) hip hop can have prescriptive or descriptive content; (ii) hip hop with prescriptive content is a poorer hermeneutical resource for Black and Latinx people; and (iii) hip hop is dominated by rap music with prescriptive content; then (iv) hip hop is a poorer hermeneutical resource for Black and Latinx people. The defense that I present of the hermeneutical-diminishment thesis will take the following form. If the prescriptive-rap sub-thesis is true and the descriptive-rap sub-thesis is true, then the hermeneutical-diminishment thesis is true. I here show that both sub-theses are true, and therefore the hermeneutical-diminishment thesis is true. (shrink)

Because the application of the postmodern framework to Hip Hop is usually justified through the use of sampling technology, this chapter turns to the work of Rakim—who introduced sampling to recorded rap music—in order to demonstrate the explicit continuity between the values of original culture, and the aesthetics and politics of the so-called Golden Era of sample-based rap to which his work gave birth. Upholding the fundamental proscription against biting, the diversity of sonic and lyrical perspectives expressed by these artists (...) confutes the exoticizing and constraining image of Blackness detailed in Chap. 4. While the legal crackdown on sampling and the emergence of ‘gangsta’ rap eventually altered both the sound and content of much mainstream music associated with the culture, this chapter demonstrates the continued dominance of Hip Hop’s aesthetic and ethical values in the majority of rap music up through the 1990s and beyond. (shrink)

Hip fractures are common and serious injuries in the geriatric population. Obtaining informed consent for surgery in geriatric patients can be difficult due to the high prevalence of comorbid cognitive impairment. Given that virtually all patients with hip fractures eventually undergo surgery, and given that delays in surgery are associated with increased mortality, we argue that there are select instances in which it may be ethically permissible, and indeed clinically preferable, to initiate surgical treatment in cognitively impaired patients under the (...) doctrine of presumed consent. In this paper, we examine the boundaries of the license granted by presumed consent and use the example of geriatric hip fracture to build an ethical framework for understanding the doctrine of presumed consent. The license to act under presumed consent requires three factors: patient incapacity, clinical urgency and clarity on the correct course of action. All three can apply to geriatric hip fracture. The typical patient frequently lacks capacity. Delays in initiating surgical treatment are associated with markedly increased mortality rates. Last, there appears to be consensus that surgery is the preferred treatment. Nonetheless, because there is a window of safe delay during which treating physicians can stabilize the patient, address reversible causes of cognitive impairment and identify surrogate decision makers, presumed consent should be invoked only as a method of last resort. A medical situation need not be characterized by risk of imminent and certain death for presumed consent to be relevant. Rather, there are two distinct windows that must be considered: the time interval in which action may be delayed without danger, and the time interval needed to obtain a better form of consent. Presumed consent is appropriate only when the latter exceeds the former. (shrink)

In the short decade between 1985 and 1995, the dominant cultural movement of our time, hip-hop culture, has become, seemingly overnight, mainstream American popular culture. This centering of hip-hop art, most specifically rap music, in American popular culture has given young African Americans unprecedented national and international visibility, at a historical time when images via the 21st century’s public square of television, film and the internet are more critical to identity than ever. This visibility, and most certainly the often anti-Black (...) and stereo-typical images that accompany it, forces distinctions to be drawn between today’s Black popular culture and traditional ideas of Black culture, including what is art and what’s at stake in cultural commodification. (shrink)

Richard Shusterman’s aesthetic legitimation of popular art is the part of invented by himself somaesthetics theory, which is devoted to the body and its experience. His meliorative efforts to critically re-evaluate its positive role in human existence focus on hip-hop culture. However, although Shusterman’s characteristics of hip-hop seems to be valid to a large extent, it raises some doubts. It should be noted that all the features of hip-hop mentioned by him are non-specific. Also political engagement or obliteration of the (...) distinction between high and low elements in culture took place in music or popular culture much earlier. Moreover, on the contrary to the Shusterman’s opinion that hip-hop culture serves as the medium for entirely rational and just self-creation, digitally infected sensuality and this kind of aesthetics an unoriginal manipulation and dismantling of the identity aiming at easy satisfaction becomes an ideal option for the entertainment industry. The industry which utilizes the fast food logic of production previously reducing its consumers to the primitive, digitalized level of its products. If body, as Shusterman says, stands as the guarantee of the preservation of our self-grounding”, the hip-hop obliterates its uniqueness offering us the opposite. It samplings body. Key words AESTHETICS, HIP-HOP, SHUSTERMAN. (shrink)

Hip implants have provided life-changing treatment, reducing pain and improving the mobility and independence of patients. Success has encouraged manufacturers to innovate and amend designs, engendering patient hopes in these devices. However, failures of medical implants do occur. The failure rate of the Articular Surface Replacement metal-on-metal hip system, implanted almost 100,000 times world-wide, has re-opened debate about appropriate and timely implant governance. As commercial interests, patient hopes, and devices' governance converge in a socio-technical crisis, we analyse the responses of (...) relevant governance stakeholders in the United Kingdom between 2007 and 2014. We argue that there has been a systemic failure of the governance system entrusted with the safety of patients fitted with medical implants. Commercial considerations of medical implants and the status quo of medical implant governance have been given priority over patient safety despite the availability of significant failure data in an example of uncertainty about what constitutes appropriate precautionary action. (shrink)