Northeast Lakeview College

This study investigates changes in the popularity of Brutalist buildings from the 1940's to present. Our methodological framework is derived from three sources: (1) Reinhardt Koselleck's work on historical consciousness in the field of conceptual history; (2) Martin Heidegger's phenomenological approach to temporality, mood, and perception, and: (3) Ernst Becker's work on the denial of death and the quest for immortality. Our thesis is that changing perceptions of Brutalist architecture, in many cases radically different evaluations of the same buildings, are the effects of historically specific cultural, political, and social structures. In phenomenological terms, these structures form fairly discrete systems of relevance. That which is held to be profoundly interesting, or exciting, or progressive in one system of relevance can appear dull, menacing, or foolish in another. The systems that we identity, describe, and explain, are: (1) Collective mobilization in the service of progress (1941-1978); (2) In the Shadow of the Tyranny of the State 1978-2001; and (3) Seeking Certainty and Security in the Ambiguity of Global Risk: 2001 to 2019. We show how each system has produced a distinct perspective on brutalist architecture which influences the popularity of the style, or lack thereof.

This paper examines the legacy of the Galileo Affair as a weapon used by Protestants against those who, despite the scientific age of the earth, read Genesis literally. Believing science to have a legitimate role in correcting biblical interpretations, nineteenth-century religionists sought to explain the doctrine of creation in accordance with the geological evidence for "Deep Time." This was the lesson they gleaned from the Catholic Church's condemnation of Galileo. Yet by casting the controversy over Genesis in the categories supplied by the conflict over geo-centrism and the Bible, these Protestants misrepresented both contests, as have the historians studying them.

Despite numerous studies documenting the benefits of music, hospice social workers are often unfamiliar with evidence-based music practices that may improve end of life care. This mixed method study tested an intervention to teach hospice social workers and chaplains (N = 10) an evidence-based music protocol. Participants used the evidence-based practice (EBP) for 30 days, recording 226 journal entries that described observations of 84 patients and their families. There was a significant increase in EBP knowledge (35%). Prompting behavioral and emotional responses, music was described frequently as a catalyst that facilitated deeper dialogue between patients, families, social workers, and chaplains.

Science fiction is often used as a tool with which to think about actual science. While often this is depicted in terms of imaginary future potential, science fiction has also shown itself to be a poignant critique of existing science and a means of exploring our collective anxieties regarding the continued logic of current scientific development. This article explores the science fiction of organ transplantation, as mapped against scientific and medicolegal developments in actual organ transplantation. Explored through the lens of Adorno’s work on cultural criticism, it is argued that science fiction serves as a tool with which we address (and critique) the ethical boundaries (and fears, often colonial in nature) of actual organ transplantation. Science fiction works such as Larry Niven’s Known Space Universe and Repo! The Genetic Opera are examined, demonstrating that in critiquing the science of organ transplantation, fictionists ultimately come to examine changing cultural understandings of selfhood and embodiment.