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Susan Schneider's book Artificial You: AI and the Future of Your Mind presents a compelling and bold argument regarding the potential impact of advanced artificial intelligence (AI) on our society and personal identity. Schneider's argument emphasizes how AI may fundamentally alter our sense of self and disrupt traditional notions of identity and consciousness, motivating further significant cognitive science and ethical implications that require careful consideration. Here, Hipólito presents a critique of realism with regard to AI highlighting the significant social implications both at the basis of design and that arise from our interactions with these technologies.

The paper evaluates a letter from W.V.O. Quine to Christopher Hookway that discusses Hookway's 1988 book on Quine. In the letter, Quine objects that Hookway makes him seem more radical than that he truly is. However, in the letter Quine does not challenge Hookway's interpretation. Rather, he denies, on different grounds, that this interpretation applies to him. Not only is this disingenious, but it suggests that it was not so much Hookway that Quine was trying to convince, but himself.

Lieber argues that The Real Housewives series bring into focus certain questions about \"realism,\" a term whose meanings and connotations are a veritable staple of scholarly inquiry in the fields of literature and the arts, and especially about what that general social and aesthetic program and the shows' particular subject matter have to do with each other. Here, she examines the question of the popularity of the Real Housewives shows to reveal something important not only about the proliferation of reality television, but also about the prevalence of women on television, the current shape of television programming as a whole, the current generation's relationship to feminism, and even a certain type of aesthetic sensibility and experience that exceeds the limits of contemporary trends.

Having a status different from Hong Kong's as the inheritor of Shanghai's cinema, and hence in the position of having a better-developed film industry environment that represented the legacy of \"authentic\" Chinese cinema as opposed to the communist mainland, Taiwan's film productions at the time were mostly localized, low-budget taiyu pian (Taiwanese dialect films) affairs.3 Apart from propaganda films of healthy realism and social realism supported by the KMT nationalist government, melodramas and martial arts films became the ruling genres along with productions of Taiwan xiangtu dianying (native-soil films) during the 1960s and early 1970s. Chen was best known for being the cinematographer for Taiwan New Cinema Hou Hsiao-Hsien's classics such as A City of Sadness (1989) and Good Men, Good Women (1995); however, different from Hou, Chen's first directorial attempt approaches Taiwan's colonial past through the lighthearted creativity of storytelling reconstructions.\\n These films reference past histories, traditions, or memories to inspire passionate enthusiasm toward newer forms of Taiwanese consciousness.

In the first phase of a prospective investigation, a national sample of motorcyclists completed a postal questionnaire about their perceptions of risk, their behaviour on the roads and their history of accidents and spills. In the second phase a year later, they reported on their accident history and behaviour over the preceding 12 months. A total of 723 respondents completed both questionnaires. Four sets of findings are reported. First, the group as a whole showed unrealistic optimism: on average, respondents believed themselves to be less at risk than other motorcyclists of an accident needing hospital treatment in the next year. Second, optimism was tempered by ‘relative realism’, in that respondents who were young and inexperienced saw themselves as more at risk than other motorcyclists, as did riders who reported risky behaviours on the road. Third, there was some evidence of debiasing by personal history, in that having a friend or a relative who had been killed or injured on the roads was associated with perceptions of absolute risk of injury or death—though there were no effects on comparative risk and no effects on any of the judgments of a history of accidents of one's own. Finally, there was good evidence that perceptions of risk predicted subsequent behaviour, though generally in the direction not of precaution adoption but of precaution abandonment: the greater the perceived risk at time 1, the more frequent the risky behaviour at time 2. The implications of the findings are discussed, and possible interpretations are suggested.

Groups of women step gingerly into formation as they whip open and shut a pair of folding fans. The gentle gliding steps are a sharp contrast to the strong extended arms, even as the lilting up-and-down motions of the wrists lend a tenderness to the movement. Such juxtapositions of hard and soft, tough and tender, are diverse expressions of femininity and womanhood that also formed the first two parts of this book. Korean women called for a militant peace while combining their reproductive labor as mothers with their productive work as socialist builders. This valorization of social labor, including reproductive