Podcasts about stanford humanities center

Ramzi Fawaz is an award-winning queer cultural critic, public speaker, and educator. He is the author of two books, including "The New Mutants: Superheroes and the Radical Imagination of American Comics" (2016), and "Queer Forms." (2022). In 2019-2020, Fawaz was a Stanford Humanities Center fellow. He is currently a Romnes Professor of English at the University of Wisconsin, Madison. Please be warned: this conversation is a firehose of brilliance. We cover a frankly outrageous number of topics, including: The politics and poetics of gender/ The radical imagination of the 1960s and 70s/ What happens when college students of today read manifestos from the 1970s and discover just how fiery, and fearless those voices actually were/ How feminist and gay liberation were deeply intertwined... and yet different/ The dark seduction of wounded identity and the political dead-end of suffering as a personality/ What the Beatles, postwar masculinity, and femme androgyny have to do with trans desire and cultural anxiety/ How trans liberation actually predates gay liberation in the U.S. / Teaching as ego dissolution: what it means to use the classroom like a psychedelic space. / And the idea that pluralism — true, radical pluralism — begins by accepting that you will be changed by contact with people who are radically different from you. Ramzi Fawaz is bold, funny, passionate about teaching, absurdly articulate, and I think you'll find he is deeply attuned to the moment we're living in. https://www.ramzifawaz.com/ Ramzi's Esalen offering: Thinking Like a Multiverse: Embracing a Diverse World June 23–27, 2025 Register now: https://www.esalen.org/workshops/thinking-like-a-multiverse-embracing-a-diverse-world-06232025 A quick note on AI: I use LLMs (often the multi-purposse ChatGPT, sometimes other models) to help me with various tasks associated with podcast production, including help with writing my intros, generating questions for my guests, and episode titles. Occasionally I create episode graphics, too. I almost never take the AI output as-is; I subscribe to Ethan Mollick's notion of co-intelligence, in that I edit what's been given me, add my own creativity, and aim for the best possible output in the end. My hope is that this will create a better Voices of Esalen. - SS

Humanities West completes its 2023–24 season by searching for the real Marcel Proust―featuring Adam Gopnik, who will give our first Vance E. Carney Memorial Lecture. Gopnik has been writing for The New Yorker for more than three decades and has often riffed poetic on Proust. From the September 17, 1990 issue: “. . . watching our building go co-op has been . . . a lot like the experience of reading Proust. You begin hopefully, you dream of new vistas of pleasure opening up before you, you think that your friends will think better of you for having done it . . . and then you get bogged down and the whole thing seems to go on forever.” From the June 14, 1999 issue: “As late as the nineteen-fifties, when most Americans already took it for granted that he was among the greatest of modern writers, a lot of people in France saw Proust as a slightly secondary figure―the way we might have seen a long-winded Scott Fitzgerald, or a Truman Capote who actually got his book written. In the past twenty-five years, though, all that has changed, and Proust has taken his deserved place among the French as at once the most magnanimous and the most exquisite of their novelists . . .” From the March 30, 2015 issue: “Everybody tries to climb Mt. Proust, though many a stiff body is found on the lower slopes, with the other readers stepping over it gingerly.” And from the May 3, 2021 issue: “If Proust, for Updike in the God-haunted nineteen-fifties, was the last Christian poet, we may see him now in more secular terms, as a writer who, perversely, sought serenity not in detachment and self-removal but in attachment and reattachment—a monk within a metropolitan monastery. 'Be here now' is the mystic's insistence. 'Don't be here now' is Proust's material motto: be there then, again. Enjoy, emote, repeat, remember: there are worse designs for living.” Joshua Landy has also been writing and thinking about and teaching Proust for decades. He will explore several Proustian questions: How can we feel at home in the world? How can we find genuine connection with other human beings? How can we find enchantment in a world without God? Does an artist's life shed light on her work? What can we know about reality, other people, and ourselves? When is not knowing better than knowing? Who are we really, deep down? And why does it matter to read about all this in a novel? Dora Zhang will focus on the famous Proust observation that "the only true voyage . . . would not be to visit new lands but to possess other eyes, to see the world with the eyes of another." In Proust's novel the camera provides a crucial means for the narrator to step outside his habitual gaze and to possess other eyes, to look anew on familiar scenes and to see hidden truths therein. Zhang will explore this theme of estranging our vision by highlighting the role of photography in In Search of Lost Time. MLF ORGANIZER George Hammond   A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. In association with Humanities West, the Stanford Humanities Center, and the Townsend Center for the Humanities at UC Berkeley. This program contains EXPLICIT content. Learn more about your ad choices. Visit megaphone.fm/adchoices

On November 8, 1623, just seven years after Shakespeare's death, his plays were collected and published in what is now known as The First Folio. It is surmised that half his plays might have been lost if the First Folio had not been created when it was, and Humanities West is celebrating not losing that much literary gold with a 400th anniversary program on Shakespeare's cultural contributions. Roland Greene will speak on "The First Folio as Cultural Engine." If the Folio had not been published, we would have been left without several famous plays, but also without many other cultural influences that still resonate centuries later. Shakespeare's plays continue to have such a strong effect on our world today that it is hard to imagine our culture without them. But imagine that; Professor Greene will. Kip Cranna will speak on "Shakespeare in Song: Operas Inspired by the Bard." Shakespeare has been the source of more operas than any other writer. Generations of composers have brought his dramas to musical life in fascinating ways in a vast variety of styles. Cranna will explore some of these intriguing page-to-stage transformations using video examples (with subtitles) that will take you on a brief literary tour of Shakespearean operas. To quote the Bard, “If music be the food of love, sing on till I am fill'd with joy!” A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. In association with Humanities West and the Stanford Humanities Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lalita du Perron welcomes Karthick Ram Manoharan to discuss his latest book Periyar: a study in political atheism (Orient Black Swan, 2022) and his new research while a visiting fellow at the Stanford Humanities Center. Apologies for occasional sound issues.

The seventh and final episode of Season 1 of The Sounding Jewish Podcast features Dr. Kay Kaufman Shelemay. We discuss her ethnographic fieldwork with the Syrian Jews of Brooklyn and Israel as well as the "Beta Israel" Jews of Ethiopia (also called "Falashas"), as well as her ongoing study of the connections between the African and Jewish musical diasporas.Kay Kaufman Shelemay is the G. Gordon Watts Professor of Music at Harvard University and a former Chair of the Department of Music. An ethnomusicologist specializing in both Jewish and African musics, she received her Ph.D. in Musicology from the University of Michigan. The author of numerous articles and reviews, Shelemay's books include Music, Ritual, and Falasha History (1986; winner of both the ASCAP-Deems Taylor Award in 1987 and the Prize of the International Musicological Society in 1988); A Song of Longing: An Ethiopian Journey (1991); and Let Jasmine Rain Down. Song and Remembrance among Syrian Jews (1998). In 2022, Shelemay published a book about musicians from the Horn of Africa who have migrated to communities across North American titled Sing and Sing On. Sentinel Musicians and the Making of the Ethiopian American Diaspora. She has a number of other books as well as the WW Norton textbook, Soundscapes. Exploring Music in a Changing World, now in its 3rd edition. Shelemay has been awarded major fellowships, including from the Guggenheim Foundation, the National Endowment for the Humanities, the American Council of Learned Societies, the Stanford Humanities Center, and the Radcliffe Institute. She is Past-President of the Society for Ethnomusicology and in 2012, completed terms as a congressional appointee to and chair of the Board of Trustees of the American Folklife Center at the Library of Congress. Shelemay has been elected a member of the American Academy of Arts and Sciences (2000), the American Academy of Jewish Research (2004), the American Philosophical Society (2013), and the Ethiopian Academy of Sciences (2014). She held the Chair for Modern Culture at the Library of Congress (2007- 2008) and was the national Phi Beta Kappa/Frank M. Updike Memorial Scholar (2010-2011). At Harvard University, Shelemay has been named a Walter Channing Cabot Fellow and was awarded the Joseph R. Levenson Memorial Teaching Prize, the Phi Beta Kappa Teaching Prize, and the Everett Mendelsohn Graduate Mentoring Prize.

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Lalita du Perron talks to Elspeth Iralu, 2022-23 Mellon Fellow at the Stanford Humanities Center, about her work on Indigenous mapping, Indigeneity, surveillance, and her identity as Angami Naga.

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

In this episode of High Theory, Eli Cook tells us about choice architecture. The term was invented by behavioral economists in 2008 who proposed it as a soft-power model of “libertarian paternalism” to influence consumer choice. Eli traces their concept through a twentieth-century history of structured choices, from personality tests and the five-star rating to the swipes and likes of platform capitalism. He shifts our attention from the rhetoric of consumer choice as freedom to the power of “choice architects” who determine the options for us. Eli takes the term “choice architecture” from Richard Thaler and Cass Sunstein's book Nudge: Improving Decisions About Health, Wealth, and Happiness (Yale UP, 2008). He mentions the industrial psychologist Walter Dill Scott and the inventors of behavioral economics, Amos Tversky and Daniel Kahneman. Amusingly, there is a New Yorker article about Tversky and Kahneman written by Thaler and Sunstein, called “The Two Friends Who Changed How We Think About How We Think.” (New Yorker 7 Dec 2016). In the full version of our conversation, Eli referenced the work of Sophia Rosenfeld on the longue durée history of choice. Eli Cook is a historian of American capitalism. He works as a Senior Lecturer in History and as head of the American Studies Program at the University of Haifa in Israel. His first book The Pricing of Progress: Economic Indicators and the Capitalization of American Life was published by Harvard University Press in 2017. Last year, he was a fellow at the Stanford Humanities Center where he worked on his new book about choice architecture. Image: © 2023 Saronik Bosu Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Laura Wittman tells us about near death experiences. The central feature of these experiences is a vision and a story, which it turns out are a lot stranger than the “best seller” version. These narrative encounters with death often inspire people to make dramatic moves in search of a more meaningful life, from newfound religious faith or activist commitments to career changes and divorce. In the episode, she talks about the changes in what makes a good death, from the nineteenth to the twentieth centuries, and how the narratives of near death experiences reflect our desires for older forms of sociality around life's passing. She references Oliver Sacks's book Hallucinations (Random House, 2012) in regards to the visions patients experience in hospitals, and their desire for a witness in the moments of lucidity that often occur before death. Laura Wittman is an associate professor of French and Italian at Stanford University. She teaches nineteenth and twentieth century literature, and her research focuses on what happens to religious experience in the so-called secular modern age. Her book, The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body (Toronto UP, 2011) has recently been translated into Italian as Il Milite ignoto. Storia e Mito. (LEG, 2021) She also coordinates the Medical Humanities Working Group at the Stanford Humanities Center. This week's image is a photograph of the Ellen Browning Scripps Memorial Pier in La Jolla, California, taken by Kim Adams in November 2022. On the top of the pier is a research site for the Scripps Institution of Oceanography, UC San Diego. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Laura Wittman tells us about near death experiences. The central feature of these experiences is a vision and a story, which it turns out are a lot stranger than the “best seller” version. These narrative encounters with death often inspire people to make dramatic moves in search of a more meaningful life, from newfound religious faith or activist commitments to career changes and divorce. In the episode, she talks about the changes in what makes a good death, from the nineteenth to the twentieth centuries, and how the narratives of near death experiences reflect our desires for older forms of sociality around life's passing. She references Oliver Sacks's book Hallucinations (Random House, 2012) in regards to the visions patients experience in hospitals, and their desire for a witness in the moments of lucidity that often occur before death. Laura Wittman is an associate professor of French and Italian at Stanford University. She teaches nineteenth and twentieth century literature, and her research focuses on what happens to religious experience in the so-called secular modern age. Her book, The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body (Toronto UP, 2011) has recently been translated into Italian as Il Milite ignoto. Storia e Mito. (LEG, 2021) She also coordinates the Medical Humanities Working Group at the Stanford Humanities Center. This week's image is a photograph of the Ellen Browning Scripps Memorial Pier in La Jolla, California, taken by Kim Adams in November 2022. On the top of the pier is a research site for the Scripps Institution of Oceanography, UC San Diego. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Laura Wittman tells us about near death experiences. The central feature of these experiences is a vision and a story, which it turns out are a lot stranger than the “best seller” version. These narrative encounters with death often inspire people to make dramatic moves in search of a more meaningful life, from newfound religious faith or activist commitments to career changes and divorce. In the episode, she talks about the changes in what makes a good death, from the nineteenth to the twentieth centuries, and how the narratives of near death experiences reflect our desires for older forms of sociality around life's passing. She references Oliver Sacks's book Hallucinations (Random House, 2012) in regards to the visions patients experience in hospitals, and their desire for a witness in the moments of lucidity that often occur before death. Laura Wittman is an associate professor of French and Italian at Stanford University. She teaches nineteenth and twentieth century literature, and her research focuses on what happens to religious experience in the so-called secular modern age. Her book, The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body (Toronto UP, 2011) has recently been translated into Italian as Il Milite ignoto. Storia e Mito. (LEG, 2021) She also coordinates the Medical Humanities Working Group at the Stanford Humanities Center. This week's image is a photograph of the Ellen Browning Scripps Memorial Pier in La Jolla, California, taken by Kim Adams in November 2022. On the top of the pier is a research site for the Scripps Institution of Oceanography, UC San Diego. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode of High Theory, Laura Wittman tells us about near death experiences. The central feature of these experiences is a vision and a story, which it turns out are a lot stranger than the “best seller” version. These narrative encounters with death often inspire people to make dramatic moves in search of a more meaningful life, from newfound religious faith or activist commitments to career changes and divorce. In the episode, she talks about the changes in what makes a good death, from the nineteenth to the twentieth centuries, and how the narratives of near death experiences reflect our desires for older forms of sociality around life's passing. She references Oliver Sacks's book Hallucinations (Random House, 2012) in regards to the visions patients experience in hospitals, and their desire for a witness in the moments of lucidity that often occur before death. Laura Wittman is an associate professor of French and Italian at Stanford University. She teaches nineteenth and twentieth century literature, and her research focuses on what happens to religious experience in the so-called secular modern age. Her book, The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body (Toronto UP, 2011) has recently been translated into Italian as Il Milite ignoto. Storia e Mito. (LEG, 2021) She also coordinates the Medical Humanities Working Group at the Stanford Humanities Center. This week's image is a photograph of the Ellen Browning Scripps Memorial Pier in La Jolla, California, taken by Kim Adams in November 2022. On the top of the pier is a research site for the Scripps Institution of Oceanography, UC San Diego. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

More at https://www.philosophytalk.org/shows/changing-face-antisemitism. Antisemitism is an old problem with roots that reach back to medieval Europe. While earlier forms focused more on religious bigotry, antisemitism in the modern period became increasingly racialized and politicized. So what is the connection between older ideas about Jews and Judaism, and contemporary antisemitic tropes and stereotypes? How are conspiratorial fears about Jewish invisibility and global control related to the emergence of finance capitalism? And what can history teach us about how to confront antisemitism today? Josh and Ray ask historian Francesca Trivellato from the Institute for Advanced Study, editor of "Jews in Early Modern Europe" (forthcoming), in a program recorded live at the Stanford Humanities Center.

More at https://www.philosophytalk.org/shows/changing-face-antisemitism. Antisemitism is an old problem with roots that reach back to medieval Europe. While earlier forms focused more on religious bigotry, antisemitism in the modern period became increasingly racialized and politicized. So what is the connection between older ideas about Jews and Judaism, and contemporary antisemitic tropes and stereotypes? How are conspiratorial fears about Jewish invisibility and global control related to the emergence of finance capitalism? And what can history teach us about how to confront antisemitism today? Josh and Ray ask historian Francesca Trivellato from the Institute for Advanced Study, editor of "Jews in Early Modern Europe" (forthcoming), in a program recorded live at the Stanford Humanities Center.

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Environmental restoration is a global pursuit and a major political concern. Governments, nonprofits, private corporations, and other institutions spend billions of dollars each year to remove invasive species, build wetlands, and reintroduce species driven from their habitats. But restoration has not always been so intensively practiced. It began as the pastime of a few wildflower enthusiasts and the first practitioners of the new scientific discipline of ecology. Restoration has been a touchstone of United States environmentalism since the beginning of the twentieth century. Diverging from popular ideas about preservation, which romanticized nature as an Eden to be left untouched by human hands, and conservation, the managed use of natural resources, restoration emerged as a “third way.” Restorationists grappled with the deepest puzzles of human care for life on earth: How to intervene in nature for nature's own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? In Wild by Design: The Rise of Ecological Restoration (Harvard University Press, 2022), Laura J. Martin shows how, over time, amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that powerfully influenced what we understand the wild to be. In Wild by Design, restoration's past provides vital knowledge for climate change policy. But Martin also offers something more—a meditation on what it means to be wild and a call for ecological restoration that is socially just. Laura J. Martin is Assistant Professor of Environmental Studies at Williams College. She is a past fellow of the American Council of Learned Societies, the Stanford Humanities Center, and the Harvard University Center for the Environment. She has written for Scientific American, Slate, Environmental History, Environmental Humanities, Trends in Ecology and Evolution, and other publications. Kathryn B. Carpenter is a doctoral candidate in the history of science at Princeton University. She is currently researching the history of tornado science and storm chasing in the twentieth-century United States. She is also the creator and host of Drafting the Past, a podcast on the craft of writing history. You can reach her on twitter, @katebcarp. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lalita du Perron talks to Radhika Koul, 2021-22 Dissertation Prize Fellow in Stanford Humanities Center and Ph.D. candidate in Department of Comparative Literature within Division of Literatures, Cultures, and Languages, about creating conversations between 10th-century Kashmir and 17th-century France as well as between techies and fuzzies.

Lalita du Perron talks to Rushain Abbasi about his fellowship at Stanford Humanities Center, being a lecturer in Religious Studies at Stanford, and his book projects on secularism, worldliness, and the intellectual history of Islam. And we share our love of footnotes!

This week's guest is Jeff Lee, the CEO and Co-Founder of Dibs Beauty, which is all about mistake-proof products you reach for again and again. As someone who has received his Law degree from Yale and has even been a coach on Miss Universe, Jeff Lee talks about his career pivots. He also explains what the similarity is between law and beauty and how he met Courtney Shields (his partner in Dibs Beauty) and why they started this beauty business during Covid. Other topics in this podcast include why Jeff Lee advocates for women leadership, how he lives his life ethically, how to look at things positively and approach life humbly and reminds us all to not live in the moments of the lows, but also to not live in the moments of the high. We close out this episode bringing it back to NYC as Jeff explains his love and hate relationship with NYC and confession regarding Times Square that is definitely one not to be missed! ABOUT JEFF LEE: Prior to becoming CEO and Co-Founder of DIBS Beauty, Jeff was the COO of ARod Corp, where he consulted and helped build multiple household names in beauty and wellness, totaling in the hundreds of millions in revenue. Jeff practiced law at Wachtell, Lipton, Rosen & Katz, the most selective corporate law firm in the U.S., after three years at Sullivan & Cromwell LLP. He has worked on some of the most transformative mergers and acquisitions in the world, as well as numerous first-of-their-kind deals for clients ranging from AT&T and Diageo, and Lands' End. Jeff currently serves on the alumni board of the Stanford Humanities Center (undergrad). Jeff received the Firestone Medal, Stanford's highest research honors, for his work on examining ways to elect more women to presidencies in Latin America, a topic near and dear to him. Jeff received his accreditations in personal training from the National Academy of Sports Medicine and in jewelry from the Gemological Institute of America In his early 30s, Jeff was a Miss Universe coach, check out this GQ article HERE You can connect with Jeff: Website: HERE, Instagram HERE Feel free to leave a positive review on Apple Podcasts if you enjoyed this episode and be sure to share this with a friend! You can also email any questions or feedback to thecityconfessions@gmail.com. --- Support this podcast: https://anchor.fm/thecityconfessions/support

Lalita du Perron talks to Ali Usman Qasmi from Lahore University of Management Sciences and Visiting Fellow at Stanford Humanities Center about his research on the lunar calendar, citizenship, and the state. They chat about how technology mediates/enhances/detracts from the human experience.

I sat down with Leah DeVun to discuss her book, The Shape of Sex: Nonbinary Gender from Genesis to the Renaissance. We talk about how widespread thinking and writing about non-binary individuals was during the first centuries of the CE and again in the C12th-14th, and the way non-binary bodies actually shaped the way a host of categories and boundaries (not just gender) were demarcated. We talk in detail about the shift in the C12th/13th and the way non-binary sex shaped the project of establishing a non-human other, justifying violence towards Jews and Muslims, and determining who could live in a Christian territory. We also talk about the figures of "Adam androgyne" and the "Jesus hermaphrodite", and how they function as "anchors of eschatological time." Finally, Leah discusses how this study can inform our present, not only by showing that the consideration of non-binary, trans*, and intersex bodies are not novel to our period, but how this consideration cuts through claims of 'natural and immutable' in our own day. Buy the book.Leah DeVun is Associate Professor of History and Vice Chair for Undergraduate Education at Rutgers University. Leah DeVun focuses on the history of gender, sexuality, science, and medicine in pre-modern Europe, as well as on contemporary queer and transgender studies. DeVun's new book, The Shape of Sex: Nonbinary Gender from Genesis to the Renaissance, is forthcoming from Columbia University Press (in spring 2021). DeVun is also the author of Prophecy, Alchemy, and the End of Time, winner of the 2013 John Nicholas Brown Prize, and co-editor (with Zeb Tortorici) of Trans*historicities, a special issue of TSQ: Transgender Studies Quarterly (2018) devoted to transgender history before the advent of current categories and terminologies of gender. DeVun has also written articles for GLQ, WSQ, Osiris, Journal of the History of Ideas, postmedieval, and Radical History Review, among other publications. DeVun is the recipient of fellowships and grants from the National Science Foundation, Huntington Library, David Geffen School of Medicine at UCLA, American Philosophical Society, and Stanford Humanities Center. DeVun is also a multi-media artist and curator whose work explores queer, feminist, and gender nonconforming history. DeVun's artwork has been featured in Artforum, People, Huffington Post, Slate, Art Papers, Hyperallergic, and Modern Painters, and at venues including the ONE Archives Gallery and Museum at the University of Southern California, Houston Center for Photography, Blanton Museum, Leslie-Lohman Museum, and Tang Teaching Museum at Skidmore College. DeVun has curated exhibitions and programs at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, NYU's Fales Library and Special Collections, and other venues. Find More episodes: www.loverinserepeat.com/podcast Follow the show on Twitter: @RinseRepeatPod // Follow me: @liammiller87 Love Rinse Repeat is supported by Uniting Mission and Education, part of the Uniting Church in Australia Synod of NSW/ACT

Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke's Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists' representations of their studio spaces; the rhetoric of US artists' clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O'Keeffe's clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O'Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O'Keeffe: Living Modern. Her O'Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association's Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn's Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman's Building at the 1893 Chicago World's Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood's American Gothic.

Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke’s Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists’ representations of their studio spaces; the rhetoric of US artists’ clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O’Keeffe’s clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O’Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O’Keeffe: Living Modern. Her O’Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association’s Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn’s Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman’s Building at the 1893 Chicago World’s Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood’s American Gothic.

Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke’s Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists’ representations of their studio spaces; the rhetoric of US artists’ clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O’Keeffe’s clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O’Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O’Keeffe: Living Modern. Her O’Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association’s Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn’s Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman’s Building at the 1893 Chicago World’s Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood’s American Gothic.

Mary-Louise Gill is David Benedict Professor of Classics and Philosophy at Brown University, and works on ancient Greek philosophy, especially Plato’s later metaphysics and method and Aristotle’s natural philosophy and metaphysics. She received her M.A. and Ph.D. from the University of Cambridge, and previously taught at the University of Pittsburgh in Classics, Philosophy, and History & Philosophy of Science. She has held visiting positions at Dartmouth College, UCLA, UC Davis, Harvard, University of Paris-1, Panthéon-Sorbonne, and Peking University in Beijing; her fellowships include the Stanford Humanities Center, Institute for Advanced Study in Princeton, and Radcliffe Institute for Advanced Study at Harvard. She is the author of Aristotle on Substance: the Paradox of Unity (Princeton, 1989), of an Introduction and co-translation Plato: Parmenides (Hackett, 1996), and of Philosophos: Plato’s Missing Dialogue (Oxford, 2012); and she coedited Self-Motion: From Aristotle to Newton (Princeton, 1994), Unity, Identity and Explanation in Aristotle’s Metaphysics (Oxford, 1994), and Companion to Ancient Philosophy (Blackwell, 2006). She is currently working on various aspects of Aristotle’s hylomorphism, including his treatment of mind and thought in De Anima, and the culmination of his metaphysics in Metaphysics Lambda on the relation between human and divine substance. This podcast is an audio recording of Professor Gill's talk - 'Aristotle’s Hylomorphism Reconceived' - at the Aristotelian Society on 22 February 2021. The recording was produced by the Backdoor Broadcasting Company.

Lalita du Perron talks to Munia Bhaumik, 2020-21 Fellow at the Stanford Humanities Center, about literature, translation, citizenship, aesthetics, politics, and Moby Dick. See acast.com/privacy for privacy and opt-out information.

The ambition to think on the scale of thousands, millions, even billion of years emerged in the 19th century. Historian and author Caroline Winterer chronicles how the concept of “deep time” has inspired and puzzled thinkers in cognitive science, art, geology (and elsewhere) to become one of the most 
influential ideas of the modern era. Caroline Winterer is Anthony P. Meier Family Professor in the Humanities and Director of the Stanford Humanities Center. She is an American historian, with special expertise in American thought and culture. Her most recent book is American Enlightenments: Pursuing Happiness in the Age of Reason. Other books include The Mirror of Antiquity: American Women and the Classical Tradition, 1750-1900, and The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780-1910. She has received fellowships from among others the Mellon Foundation, the National Endowment for the Humanities, and the National Humanities Center. Her writing appears in numerous publications and academic journals. For mapping the social network of Benjamin Franklin she received an American Ingenuity Award from the Smithsonian Institution.

What is consciousness? Where does the mind reside? Can we create artificial intelligence that can fake intelligence, or maybe just have it? What happened in 17th century Europe that led to such a fascinating time for deep thinkers? And are we going through a similar period of churn today? Ben has a fascinating and wide-ranging chat about these big questions with University of Alberta professor of philosophy Amy Schmitter. About the Guest   Besides her position as Professor of Philosophy, Amy is an Executive Editor and Board Secretary for the Canadian Journal of Philosophy.She is also involved in the project “New Narratives in the History of Philosophy,” supported by a Partnership Development Grant from the Social Sciences and Humanities Research Council of Canada. In April 2016, she was a Visiting Professor in the Facultad de Filosof Pontificia Universidad Javeriana in Bogota, where she lectured and held several seminar sessions. Before coming to the University of Alberta, Amy taught at the University of Pittsburgh, Hamilton College in New York, and the University of New Mexico in Albuquerque. She has also been a Visiting Scholar at the University of California at Berkeley and at New York University, and during 2002-03, held a Fellowship at the Stanford Humanities Center, Stanford University. She has received several awards for Summer Institutes and Seminars from the National Endowment for the Humanities (U.S.A.) and two Standard Research Grants from the Social Sciences and Humanities Research Council of Canada. She also serves on various committees, including the Religious Studies Advisory Council for the U of A, the Program Committee for the Pacific Northwest-Western Canada Seminar in Early Modern Philosophy, and review committees for several grant organizations.  Amy's main areas of research and writing are the history of early modern philosophy and philosophy of art. But those are broad and eclectic areas that (necessarily) take her into many different topics, historical periods and approaches to philosophy. Her teaching interests and educational history cover yet further fields. The result is that she knows a little bit about many different things.  Mentioned in this Episode Here are the thinkers we mentioned in this episode: Hume, Plato, Aristotle, Hegel, Russell, Marx, Descartes, Hobbes, Leibniz, Spinoza, and Poulain de la Barre. Check them out! A History of Western Philosophy, a book by philosopher Bertrand Russell Crash Course on Aesthetic Appreciation, a video that mentions the example of a chained cat statue (is the chain part of the art?) The Panda's Thumb: More Reflections in Natural History, a book by Stephen J. Gould The Cave and the Light: Plato Versus Aristotle and the Struggles for the Soul of Western Civilization, a book by Arthur Herman Discourse on Method, a 1637 work of philosophy by René Descartes Physics, a 4th century BC work of philosophy by Aristotle The Quote of the Week "One cannot conceive anything so strange and so implausible that it has not already been said by one philosopher or another." - René Descartes

As it has taken shape as a distinct field of scholarly inquiry, animal studies has significantly contributed to our understanding of other species and our relationships with them. Drawing on a variety of disciplinary approaches across the humanities and sciences, animal studies has challenged traditional categories that have long gone unquestioned, such as “nature” and “wildness” that not only clarify perspectives on the lives of animals but human experiences and concepts. In this podcast, we talk with Harriet Ritvo, who has been a leading voice in animal studies for over 30 years. She is a Fellow of the American Academy of Arts and Sciences and past president of the American Society for Environmental History. Her research has been supported by fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, the National Humanities Center (twice), and the Stanford Humanities Center. Ritvo currently serves as the Arthur J. Connor Professor of History at the Massachusetts Institute of Technology and as a trustee of the National Humanities Center.

Miguel Tamen é actualmente director da Faculdade de Letras da Universidade de Lisboa, e tem como interesses académicos especialmente a filosofia e a literatura. Escreveu vários livros, entre os quais “What Art Is Like, In Constant Reference to the Alice Books” (2012) e, em co-autoria com António Feijó, A Universidade como deve ser (2017)”. Tornou-se mais conhecido, nos últimos anos, através das suas crónicas no Observador, compiladas no livro “Erro Extremo (2017), que marcaram a diferença pelo humor fino e cáustico. É por isso, aliás, que o Miguel é um convidado desafiante, pois aborda os problemas muitas vezes de um ângulo contra-intuitivo. É a abordagem de um filósofo, mas, como assinala aliás Pedro Mexia na descrição de um dos livros, da escola da Filosofia Analítica, algo relativamente raro em Portugal. Conversámos, então, sobre vários temas, pegando no percurso académico e nestas obras mais recentes do convidado, desde a arte e a estética - que não costumo abordar no podcast - até ao ensino e, em particular, a visão provocadora do convidado em relação ao papel que deve ter uma Universidade. Antes de vos deixar com a conversa, e como, se calhar, já adivinhavam, também o QCG não é imune à Silly Season. Este é, por isso, o último episódio do podcast desta, chamemos-lhe assim, ‘temporada’. Voltamos na rentrée, boas férias e boas ‘audições’! Agradecimentos: João Vítor Baltazar; Ana Mateus; Salvador Cunha; Oscar Sampaio Neves; João Gil; Vasco Sá Pinto; “Falcão Milenar”; Duarte Azinheira Links: Oscar Wilde: “Wordsworth went to the Lakes, but he was never a lake poet. He found in stones the sermons he had already hidden there.” Livro “What Art Is Like, In Constant Reference to the Alice Books”: http://www.hup.harvard.edu/catalog.php?isbn=9780674067066 Carl Jung e o “Inconsciente Colectivo” na Arte: http://jungcurrents.com/jung-art-collective-unconscious-chagall Série BBC “Civilisations”: https://www.bbc.co.uk/iplayer/group/p05xxp5j Ensaio António Feijó | Miguel Tamen “A Universidade como deve ser”: https://www.ffms.pt/publicacoes/detalhe/2337/a-universidade-como-deve-ser Licenciatura em Estudos Gerais da Universidade de Lisboa: https://www.ulisboa.pt/curso/licenciatura/estudos-gerais Universidades americanas vs europeias: http://www.thecollegesolution.com/european-universities-vs-american-universities-we-win/ https://www.quora.com/What-are-the-biggest-differences-between-American-and-European-universities Palestra de Yannis Varoufakis no Centro de Estudos Sociais da Universidade de Coimbra - “Democratising the Eurozone”: https://www.youtube.com/watch?v=o7RTD1LX0rw C. P. Snow - “As Duas Culturas” https://www.wook.pt/livro/as-duas-culturas-c-p-snow/46366 http://expresso.sapo.pt/opiniao/NunoCrato/duas-culturas=f514724#gs.b1wzOQw http://www.acad-ciencias.pt/document-uploads/7927585_moreira,-adriano---a-incerteza-entre-as-duas-culturas.pdf Artigo P2 “O que é a Cultura Geral?”: https://www.publico.pt/2015/01/11/culturaipsilon/noticia/o-que-e-cultura-geral-1681554 Sugestão de livro: Patrick Leigh Fermor - “A Time of Gifts”: https://en.wikipedia.org/wiki/A_Time_of_Gifts “Tempo de Silêncio” https://www.fnac.pt/Tempo-de-Silencio-Patrick-Leigh-Fermor/a1492451 http://www.jornaleconomico.sapo.pt/noticias/tempo-de-silencio-um-escritor-em-recolhimento-312487 Bio: Miguel Tamen é actualmente director da Faculdade de Letras da Universidade de Lisboa. Estudou na Universidade de Lisboa (L, 1982; M, 1985; Agregação, 1995) e na University of Minnesota (D, 1989). É também membro do Departamento de Literaturas Românicas da primeira destas universidades. Foi, entre 2000 e 2014, professor visitante na University of Chicago, e ainda senior fellow no Stanford Humanities Center (2003/4) e no National Humanities Center (2010/11). Os seus interesses incluem filosofia e literatura. Escreveu sete livros, entre os quais Friends of Interpretable Objects (2001) e What Art Is Like, In Constant Reference to the Alice Books (2012). Escreveu, em co-autoria com António Feijó, A Universidade como deve ser (2017)”, um ensaio publicado pela FFMS.

Two earthquake geologists and a former SF Firefighter turned historian discuss the seismic history of the Bay Area and what happened on April 18, 1906, the day of the Great San Francisco Earthquake. + A cameo by Bob the Drag Queen who plays Belize in Berkeley Rep's production of "Angels in America." (http://www.bobthedragqueen.com/) Get tickets to "Angels in America" at www.berkeleyrep.org Guests: - David Schwartz is an earthquake geologist and an emeritus scientist at the United States Geological Survey. - Tom Brocher is a seismologist at the United States Geological Survey. - Andrea Rees Davies is the Associate Director at the Stanford Humanities Center. You can find her book on the Great San Francisco Earthquake, "Saving San Francisco," here: https://www.amazon.com/Saving-San-Francisco-Recovery-Disaster/dp/1439904332

Caroline Winterer, director of the Stanford Humanities Center, talks about the importance of humanities education and why learning about the past is important for our collective future.

Caroline Winterer is the principal investigator of the Benjamin Franklin Project. By using social network analysis, she is challenging accepted historical narratives about one of our founding fathers. The latest in science, culture, and history from Smithsonian Channel.

Show #145 | Guests: Professor Charles Postel of San Francisco State University is an historian of political thought and social movements. His study of the Populist movement of the 1890s, The Populist Vision (Oxford, 2007), received the Bancroft Prize and the Frederick Jackson Turner Award. He has taught at UC Berkeley, Sacramento State University, and the University of Heidelberg (Germany), and is a Fellow at the Stanford Humanities Center. Dr. Paul Marcille is the President-Elect of the California Psychological Association. He has a private psychology practice in Palo Alto and is Director of Undergraduate Programs and a Professor at Palo Alto University. | Show Summary: In Deep’s first show after the election was about venting feelings, and ways to cope and conquer. You can listen or download to either version of our post-election show. The Radio cut is just as it was heard on our stations and streams. The audio has been trimmed to fit the stations’ broadcast clocks, and several profanities have been bleeped over. The Raw cut has been left as close as possible to what our live audience experienced, with only minor technical adjustments. It includes profanities and listener discretion is advised.

More at http://philosophytalk.org/shows/aging-and-well-lived-life. Aging is a physical process that will always be with us. But conceptions of aging, views about the contributions older people can make to society, and what society owes them change from era to era and differ from culture to culture. In conjunction with the Stanford Humanities Center, John and Ken explore the issues involved in growing older with their guest, Stanford University psychologist Laura Carstensen.

"Talib Kweli, legendary emcee and activist and one of the most important voices in hip-hop and youth social movements right now speaks on Art, Social Movements & The Way Forward. This lecture is part of RACE, POLICING & MASS INCARCERATION, a AAAS course (AFRICAAM34) and public lecture series presented by IDA and the Program in African and African American Studies “The Race in Post-Obama Initiative” is generously supported by The President’s Office and the Vice Provost for Undergraduate Education (VPUE), Graduate School of Education (GSE), Center for Comparative Studies in Race and Ethnicity (CCSRE), Clayman Institute for Gender Research, Stanford Center for Opportunity Policy in Education (SCOPE), Center for Race, Ethnicity, and Language (CREAL), Department of History, American Studies, Institute on the Politics of Inequality, Race & Ethnicity (InsPIRES), Chicana/o-Latina/o Studies, Department of English, Feminist, Gender, and Sexuality Studies (FGSS), Modern Thought & Literature, Religious Studies, Theatre and Performance Studies and the Stanford Humanities Center."

The Stanford Humanities Center sponsors advanced research into the historical, philosophical, literary, artistic, and cultural dimensions of the human experience. Humanities scholars explore the many ways in which people, from every period of history and from every corner of the globe, encounter and address the challenges of our world. Humanities research preserves the great accomplishments of the past, helps us understand the world we live in, and gives us tools to imagine the future.

This week: Duncan talks to Johanna Drucker! Johanna Drucker is an author, book artist, visual theorist, and cultural critic. Her scholarly writing documents and critiques visual language: letterforms, typography, visual poetry, art, and lately, digital aesthetics. She is currently the Martin and Bernard Breslauer Professor in the Department of Information Studies at the Graduate School of Education and Information Studies at UCLA. Drucker earned her B.F.A. from the California College of Arts and Crafts in 1973 and her Ph.D. from the University of California Berkeley in 1986. She was previously the Robertson Professor of Media Studies at the University of Virginia, and has been on the faculties of Purchase College, SUNY, Yale University, Columbia University, and the University of Texas, Dallas. She has also been the Digital Humanities Fellow at the Stanford Humanities Center, Digital Cultures Fellow at UC Santa Barbara, and Mellon Faculty Fellow in Fine Arts at Harvard University.

Wendi Adamek, external faculty fellow at the Stanford Humanities Center (though she will soon be assuming a position at the University of Sydney), gave a talk entitled "Zen and the Environment: It's Not What You Think" on December 2nd, 2010,...

The Stanford Humanities Center presents the 2006 Harry Camp Memorial Lecture series. Anthony Grafton is the Henry Putnam University Professor of History at Princeton University.

The Stanford Humanities Center presents the 2005-06 Winter quarter Presidential Lecture. Douglas Hofstadter is a College of Arts and Sciences Professor of Cognitive Science at Indiana University in Bloomington.

The Stanford Humanities Center presents the 2006 Harry Camp Memorial Lecture series. Anthony Grafton is the Henry Putnam University Professor of History at Princeton University.