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Digital Culture

Digital Culture

by Harald Klinke Harald Klinke

all facets of digital culture and its analysis, ranging from digital humanities to cultural analytics. Uncover the intersections of technology, culture, and innovation in this diverse collection. // Made at BlueskyFeeds.com

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Theodore Grunewald
@tedgrunewald.bsky.social
about 2 hours ago
In this thoughtful essay, David S. D’Amato raises some crucial points about the omnipresence of digital culture, and the resulting horror vacui and psychic exhaustion generated by constantly being under the thumbs of our 'digital overlords.'
Art is everywhere, since artifice is at the very heart of reality. And so art is dead, not only because its critical transcendence is gone, but because reality itself, entirely impregnated by an aesthetic which is inseparable from its own structure, has been confused with its own image. Jean Baudrillard, Simulacra and Simulation (1981) The French social theorist and philosopher Jean Baudrillard (1929-2007) memorably argued, “We live in a world where there is more and more information, and less and less meaning.” Today, we might see the advent of smartphone culture as a kind of coup for the ruling class. It installed an incredibly pervasive infrastructure that captures attention and commodifies subjectivity; it embedded new tools of diffuse, apparently voluntary social control through which people actively, almost obsessively, pursue their own erasure. Today, under digitized capitalism, the logic of the slot machine has come to dominate almost the entire social experience, with rewards spooned out variably and an uneasy sense that one must compulsively reengage the system. It is unfortunate enough that slot machines exist, but their logic is no longer confined to casino games. That logic now colonizes our communications, work, and even our friendships and intimate relationships. Source: https://www.counterpunch.org/2026/04/17/the-political-culture-of-the-smartphone-and-the-cult-of-the-algorithm/
If it seems over-dramatic to call this system insidious, consider how far-reaching its powers over us really are and how they can serve to lock us into authoritarian and exploitative social forms. Our smartphones place us in curated virtual environments, shaped fundamentally by surveillance, data extraction, and algorithmic manipulation. These virtual environments are versions of hyperreality mediated by the tech giants and the state. This smartphone culture unthinkingly normalizes Orwellian surveillance and data commodification, integrating everyone into a system of constant monitoring and profiling – and all for the sake of convenience. It’s almost unbelievable. Where Taylorism segments labor into time-controlled units, digital platforms try to break user attention into quantifiable interactions, in the form of clicks, likes, shares, time spent watching, etc. These short interactions are tracked in real time, as the system gathers its own data, and are mined to further optimize user engagement. The overarching sense of being watched or manipulated online stokes a state of hypervisibility combined with powerlessness, not unlike Baudrillard’s idea of individuals becoming “pure screens” absorbing and re-absorbing media influences without control over the narrative. The subject, he says, “becomes a pure screen, a pure absorption and re-absorption surface of the influent networks.” Nothing could be more naive and misguided than the belief that the state will rescue us from the world of algorithmic anxiety, alienation, and meaningless striving. Source: https://www.counterpunch.org/2026/04/17/the-political-culture-of-the-smartphone-and-the-cult-of-the-algorithm/

www.counterpunch.org/2026/04/17/t...

www.counterpunch.org
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Tyler Horan
@tylerhoran.bsky.social
about 3 hours ago
Excited to tune into UWM's Digital Cultures Collaboratory Spring Symposium happening now! Great to see innovative digital humanities scholarship being shared through accessible platforms. Looking forward to engaging discussions on digital culture and media. #AcademicSky #conferences twitch.tv/di...
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@theorygenerator.bsky.social
about 5 hours ago
The next big Digital Humanities theory: Trans-Capitalist Relativism
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HigherJobz
@higherjobz.bsky.social
about 6 hours ago
🎓 Postdoctoral Fellow in Digital Humanities – UmeĂ„ University, Sweden 🇾đŸ‡Ș 🧠 Explore AI, culture & memory research under WASP-HS AI Futures cluster. Apply via official portal 🎓 Eligibility: PhD 📅 Deadline: 28 May 2026 🔗 higherjobz.com/postdoctoral... #PostdocJobs @umeauniversitet.bsky.social
Postdoctoral Fellow Digital Humanities UmeÄ Sweden 2026 | HigherJobz

higherjobz.com

Postdoctoral Fellow Digital Humanities UmeÄ Sweden 2026 | HigherJobz

Apply for Postdoctoral Fellow in Digital Humanities at UmeÄ University, Sweden. Fully funded research position in AI, culture, and memory.
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Konstanze Marx
@konstanzemarx.bsky.social
about 12 hours ago
#jobs @unigreifswald.bsky.social #KI #Kultur #Gesellschaft #HumanCenteredAI #Professur
An der Philosophischen FakultĂ€t mit ĂŒber vierzig Professuren und einem breiten FĂ€cherspektrum, das Geistes- und Sozialwissenschaften sowie Kunst und Musik umfasst, ist zum nĂ€chstmöglichen Zeitpunkt eine UniversitĂ€tsprofessur (W2) fĂŒr KĂŒnstliche Intelligenz in Kultur und Gesellschaft zu besetzen. Die Professur zeichnet verantwortlich fĂŒr die strategische Entwicklung des Profilbereichs Human Centered Artificial Intelligence an der UniversitĂ€t Greifswald, die Leitung des neuen Bachelor-Studiengangs „KĂŒnstliche Intelligenz in Kultur und Gesellschaft“ und den Aufbau eines interfakultĂ€ren Zentrums, das sich mit den Implikationen digitaler Innovationen fĂŒr Mensch, Kultur und Gesellschaft beschĂ€ftigt und die bestehenden Initiativen im Bereich Digital Humanities einbindet. Die Aufgaben der ausgeschriebenen Professur umfassen das gesamte menschenbezogene Spektrum der KĂŒnstlichen Intelligenz. Die Professur ist fachlich offen und bietet umfangreiche FreirĂ€ume fĂŒr die Konzeption und Umsetzung eigener, interdisziplinĂ€rer Forschungsprojekte. Im Zentrum der Gesamtheit aller sich kontinuierlich weiter entwickelnden Technologien stehen Menschen, die gleichzeitig auch als wichtigste Verantwortliche in der KI-Transformation gelten. Menschen entwickeln, verstehen, kontrollieren und steuern KI, sie wenden sie aber auch einfach nur an, lehnen sie ab, haben Interesse, sind begeistert, haben BerĂŒhrungsĂ€ngste oder ethische Vorbehalte. Neu eröffnete MöglichkeitsrĂ€ume geben Anlass fĂŒr Euphorie ebenso wie fĂŒr Dystopien. Eine systematische Analyse und Durchdringung der Wechselwirkung zwischen technologischen Entwicklungen auf der einen Seite und Wandelprozessen in Kultur und Gesellschaft auf der anderen Seite ist eine wichtige Aufgabe fĂŒr die Geistes- und Sozialwissenschaften, die sich nicht auf ein Fach reduzieren lĂ€sst. Erwartet werden zwei an die geistes- und sozialwissenschaftliche Forschung der FakultĂ€t anschlussfĂ€hige Schwerpunkte in folgenden Bereichen: Mensch-Maschine-Interaktio

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Epstein Web
@epsteinweb.bsky.social
about 20 hours ago
Parts 1-2/2 — EFTA02682623.jpg #epsteinweb #efta02682623 epsteinweb.org Available in the iOS app store now! apps.apple.com/us/app/eps

EFTA02682618 | EFTA02682623 Curriculum Vitae Mark Judc Tram.). April 2009 Sensitivity in Auditory Cortex". DC03382 2000-2001, Gordon and Llura Gund Research Award, Mind/Brain/Behavior Initiative, Harvard University, PI, "How the brain evolved speech representations: Field experiments, neurophysiology, and fMRI". 2001-2006. Peabody Charitable Foundation. Co-Investigator, "Auditory Neurology" 2002-current, The Institute for Music & Brain Science. Principal Investigator, "Program in Auditory Neuroscience" 2009-current, Grammy Foundation Research Award, Principal Investigator, "Treatment of latrogenic Pain and Stress in Critically-Ill Premature Infants" Education Funding 2004-2006. National Institute for Mental Health Small Business Innovative Research Award. Morphonix, Inc., Consultant, "Neuromatrix: Interactive Neuroscience Education", MH066429 2005-2009, National Science Foundation Informal Science Education Award, Consultant, "Wild Music!" Museum Exhibit and Tour, ESI-0211611 2007-2008, National Endowment for the Humanities, Digital Humanities Grant, Consultant."uTunes: Music 1.01". HD-50258-07 C. Report of Current Research Activities I am currently active in data collection, data analysis, and/or manuscript preparation of original research with colleagues and students on: I) effects of unilateral and bilateral auditory cortex lesions on virtual pitch perception and inharmonicity detection by stroke patients; 2) localization and latency of cortical auditory event-related potentials evoked by harmonic context violations during consonance judgments; 3) fMRI activation of auditory cortex subregions during aesthetic evaluation of harmonic progressions; 4) effects of film music on affective evaluation of facial expressions; 5) effects of controlled auditory stimulation with music, speech, and natural sounds on physiological and behavioral indices pain and stress in premature infants. D. Report of Teaching I. Local contributions a. Medical SchooVDental School/Graduate
School Cornell University Medical College 1987-1988, Third Year Clerkship in Neurology, Tutor, 4 students/yr, 20 hrs/yr 1987-1988. Fourth Year Neurology Elective in Cognitive Neuroscience. Tutor, 2 students/yr, 40 hrs/yr 1987-1988, First Year Student Faculty Advisor, 6 students/yr, 24 hrs/yr Dartmouth Medical School 1989-1991, McDonnell-Pew Graduate Studies in Cognitive Neuroscience. Lecturer & Laboratory Instructor, 2 students/yr, 60 hrs/yr 1998-1991, Scientific Basis of Medicine: Neurology, Lecturer, entire class of 2nd yr students/yr, 10 hrs/yr 1989-1991, Fourth Year Elective in Cognitive Neuroscience. Tutor. 2 students/yr. 40 hrs/yr Harvard Medical School. Division of Medical Sciences, and Division of Health Sciences and Technology 1993. Second Year Physical Diagnosis in Neurology, Tutor, 4 students/yr, 16 hrs/yr 1993. HST 722: Brain Mechanisms of Hearing and Speech, Lecturer. 12 graduate students/yr. 4 hrs/yr 1993. 1995. 1997, Neurobiology 208: The Visual System, Lecturer, 10 medical and graduate students/yr, 6 hrs/yr 1994-current. Clinical Clerkship in Neurology. Examiner, I medical student/yr. 2 hrs/yr 1996.1999,2007, HMS/HDS Human Nervous System & Behavior. Lecturer & Tutor, 12.20 medical/dental students/yr 60 hrs/yr 1997,1998,2005 HST 799, Special Topics Research in the Speech & Hearing Sciences, 1 student/yr, 120 hrs/yr 1999-2000, Thesis Advisory Committee, HST Speech & Hearing Sciences, I graduate student/yr, 16 hrs/yr 2000. Thesis Qualifying Examination Committee. HST. Speech & Hearing Sciences, I graduate 6 EFTA_R1_01997715 EFTA02682623
Epstein Web iOS app on the App Store.
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Amanda Wyatt! Visconti
@literaturegeek.bsky.social
about 23 hours ago
ACH = Association for Computers & the Humanities, the US-based, international membership org for digital humanities workers: ach.org DH briefly=using tech to study+teach humanities+culture, humanities methods to analyze or build tech (humanities=history, literature & language, ethics, arts etc.)

ACH is one of my favorite conferences: virtual, bilingual, capacious+just vision of what digital humanities can be, joyous. Some past conferences have fallen on particularly hard dates (eg day after election), & every time I've found hope+purpose (never by ignoring what's burning) by attending these

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Epstein Web
@epsteinweb.bsky.social
about 24 hours ago
Parts 1-4/4 — EFTA02677323.jpg #epsteinweb #efta02677323 epsteinweb.org Available in the iOS app store now! apps.apple.com/us/app/eps

EFTA02677319 | EFTA02677323 LCST 3240 LCST Edgar G. Ulmer Rediscovering a Filmmaker at the Margins Faculty: Isenberg, Noah Credits: 1 CRN 7595 Sec A *Edgar G. Ulmer: Rediscovering a Filmmaker at the Margins* (Track Sj Rediscover the sprawling, eclectic works of Austrian-born emigre filmmaker Edgar G. Ulmer through this weekend-long festival at the Film Society at Lincoln Center and the Center for Jewish History (Jan. 17.20). coinciding with the annual Jewish Film Festival. His work includes: such daring and original horror films as The Black Cat (1934) and 8luebeard (1944): a startling variety of ethnic films, from the all. black musical drama. Moon Over Harlem (1939). to Ukrainian operettas and powerful Yiddish features, most notably The Light Mead (1939): and such film noir classics as Detour (1945). Enjoy screenings and participate in roundtable discussions with Viennese film critic Stefan Grissemann, and head of the Ulmer Preservation Corp.. Arians Ulmer Capes. 2 Student Fellows will be selected to aid in the organizational elements of the screenings, discussions and seminar. Schedule: - Course runs JANUARY 17 . JANUARY 20 Screenings at Uncoln Center on Fri. 1/17 and Sat. 1/18 - Roundtable discussion on Sun. 1/19 and Mon. 1/20 (Track Sj LCST 3324 Social History of New Media Faculty: Scholz. Robert TR 10:00 AM ‱ 11:40 AM Credits: 4 CRN 6829 Sec A *Social History of New Media* (Track M & C) This course follows the history of computing and networking communication. We'll approach the history of communication - from the telegraph. radio. and television, to the Internet and World Wide Web, from a political, cultural, and social perspective. Key themes include: intellectual property. remix. privacy, social netwotking, peer to peer culture, social costs and benefits for net users, and the reoccurring utopian hopes and dreams that accompany the emergence of new media. One mid-term paper, one presentation, and a final paper are required. Readings include Janet
Abbate. Katie Hefner. Marshall McLuhan. and Vannevar Bush. (Track M & C) LCST 3523 Designing Digital Knowledges Faculty: Cowan, Theresa TR 01:50 PM - 03:30 PM Credits: 4 CRN 6830 Sec A "Designing Digital Knowledges: Production. Action, Labor* (Track C & M) This course takes up the principals, priorities and possibilities of Speculative Digital Humanities as they are articulated In Johanna Drucker's Speclab, and moves through a set of readings and exercises that will encourage us to consider `imaginary solutions" (Alfred May) to the problems of bringing humanities-based inquiry and creation to the digital and vice versa. We will also study a range of digital projects that —exist— and figure out what they do. how they work and study them through the lens of our key terms: Knowledge, Production. Action. Design and Labor. This course includes work on feminist, queer and critical race code studies, network theory. digital media research and creation, database studies and online archiving and 'anti-archiving,' the politics and practices of Immaterial labor and the impact of Web 2.0 'sharing economies' on digital humanities inquiry and production. Ultimately, students will develop plans for project-specific digital architectures and material worlds. This is not a programming course, but students with backgrounds in programming are welcome to bring their skills to this class! (Track C & Mee or the Dean 10'29/2013 3562 Animal Images: Representing Non-Human Life Faculty: Burris, Dew* MW 03:50 PM - 05:30 PM Credits: 4 CRN 6831 Sec A 'Non-human animals have been represented in various forms of media throughout history. From ancient instances of illustration upon cave walls paintings to the plethora of modern day visual media. images of —the animarlf have consistently been produced by all human societies, and for a variety of complex purposes. This course traces the manykey instances of animal portrayal through the agesdifferent epochs. with emphasis on identifying
the ways in which humans interact with, and maintain, relationships with animals through the creation of their mediated image. Drawing upon sociological and philosophicalinterdisciplinary theoretical viewpoints that explore the subject of the animal and humans—conceptions— of them. we examine and question potential psychological motivations and consequences involved in creating and interacting with animals via their presentation as emblems, friends, and partners. companions, humanized characters, and wild others. Examination of visual media is key to the course and students are expected to contribute image visual examples to the online course blog for collective analysis. as well as and co-creation of a digital gallery that will have an online opening at the end of the semester LCST 3618 Experimental Film: Sites and Spaces Faculty: Yue, Genevieve F 12:10 PM - 02:50 PM Credits: 4 CRN 7571 Sec M *Experimental Film: Sites and Spaces* (Track M & 5) The history and scope of experimental or avant-garde cinema has been closely tied to. but also significantly separate from, the practices of the an world, on one hand. and commercial Hollywood filmmaking, on the other. Situated between these two poles. it has developed into many distinct and overlapping cultures characterized by artisanal modes of filmmaking. independent theatrical and distribution channels, auxiliary print and screening practices, and often highly charged debates concerning medium specificiry, aesthetics, and politics. This course maps the multiple spaces in which experimental film has flourished, from the underground bohemia of downtown New York City and the rural isolation of Stan Brakhage's Colorado outpost. to the 'minor and 'minority cinemas that sprung up on the outskirts of Hollywood and the found footage experiments of contemporary artists in Vienna. Additionally the course examines notions of space as articulated in experimental film and media. including dry symphonies, landscape film,
expanded cinema, and modes of ethnographic encounter. In each of the course's many sites of articulation, we will pay close attention to the avant-garde's impulse to locate, in film, video, and digital media, spaces of political resistance. personal expression, and aesthetic possibility. 'Track M & SJ LOST 3782 Feminist and Queer Affect Studies Faculty: Rault, Jasmine TR 11:55 AM 01:35 PM Credits: 4 CRN 6833 Sec A *Feminist and Queer Affect Studies* (Track C) This course develops close studies of current issues in feminist and queer theory. Our readings revolve around contemporary feminist and queer studies of affect. or the politics of feeling 0 a central concern for feminist and queer research since the early 1990s. and a critical component to what has been referred to as 'the affective turn' in studies of social, cultural and political life (Clough and Halley 2007). Students will be introduced to the major texts, issues and debates in the field which explore questions such as: how are ostensibly private and individualized feelings related to very public and shared structures of power? How are feelings gendered, racialized. sexualized and classed? How do we mobilize private. antisocial feelings towards public, social, political and cultural change? (Track CJ Page Sol 52 EFTA_R1_01971953 EFTA02677323
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Dr. Alex Ketchum (she/her)
@aketchum22.bsky.social
1 day ago
In addition to being a tenured Associate Professor at the IGSF of McGill University for the GSFS Undergraduate and WMST Graduate Programs and an Associate Member of the Digital Humanities Program, I am now an Associate Member in the Department of History and Classical Studies
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Casey Boyle
@caseyboyle.fail
1 day ago
What if the digital humanities did more projects like this?

A new search engine that allows users to search Nazi party records in order to find out whether their ancestors were card-carrying members has been accessed millions of times since it was launched earlier this month. https://cnn.it/4tZZBiF

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Alan Liu
@alanyliu.bsky.social
1 day ago
Just published In open access: @jamessmithies.bsky.social’s book, Digital Modernity: Why We Need to Think Historically About the Digital Age, www.taylorfrancis.com/boo
. Abstract in screenshot.
Abstract for James Smithies, Digital Modernity: Why We Need to Think Historically About the Digital Age (2026). Text reads in part as follows: “This is the first systematic theorization of digital modernity, arguing that the digital age cannot be understood apart from the long historical arc of modernity. Bridging digital humanities, critical theory, sociology, philosophy, and global history, Digital Modernity demonstrates that contemporary digital systems are continuations rather than ruptures of the modern project. It offers a robust conceptual framework for examining how technological infrastructures intersect with democracy, governance, colonial legacies, and the public sphere. Across nine chapters, the book moves from conceptual foundations to future-facing proposals. Topics include the cultural logic of Silicon Valley, digital colonialism, digital infrastructure, and the epistemic crisis of the digital public sphere. It also engages philosophical questions about emergence, historicism, and artificial intelligence. Drawing on applied digital humanities, the book rejects technological determinism while offering accessible accounts of computing’s technical and political histories. Readers benefit from a coherent theoretical lens that integrates history with socio-technical critique, enabling a clearer understanding of digital modernity’s present and future stakes. This book is intended for scholars and students across digital humanities, media and communication studies, science and technology studies, sociology, the philosophy of technology, and modern history. Its interdisciplinary scope also supports research and teaching in software studies, critical AI, infrastructure studies, and global modernities
.”
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Transactions on Graph Data and Knowledge
@tgdkjournal.bsky.social
1 day ago
TGDK is pleased to announce a Special Issue on "Semantic Digital Humanities" with submissions due on January 31st, 2027. We welcome research, survey and resource articles at the intersection of Semantic Web technologies, AI, and Digital Humanities. See www.dagstuhl.de/en/instit
.
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pam lach
@plach.bsky.social
1 day ago
I love the way the glitter catches the light. It really looks like a disco! It was hand drawn on a tablet by our students, who then played around with fonts & colors. This is a prototype for our annual DH showcase. We’ll continue tweaking colors and fonts to make it even more legible #DHmakes
A 3” round sticker featuring a glittery hand-drawn disco ball reflecting the colors of the rainbow. A pink circle surrounds the disco ball, with “Digital Humanities Center” at the top and our URL at the bottom in yellow caps that evokes a computer font. Emoji sparkles are drawn on the left and right side of the pink circle
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pam lach
@plach.bsky.social
1 day ago
Our new stickers arrived!!! Created by our student employees and inspired by our new disco ball, it’s yet another reminder to seek joy and pleasure in our #DigitalHumanities work đŸȘ©đŸ€©
A 3” round sticker featuring a glittery hand-drawn disco ball reflecting the colors of the rainbow. A pink circle surrounds the disco ball, with “Digital Humanities Center” at the top and our URL at the bottom in yellow caps that evokes a computer font. Emoji sparkles are drawn on the left and right side of the pink circle
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@theorygenerator.bsky.social
1 day ago
The next big Digital Humanities theory: Critical Capitalist Absurdism
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Amanda Wyatt! Visconti
@literaturegeek.bsky.social
1 day ago
ACH is one of my favorite conferences: virtual, bilingual, capacious+just vision of what digital humanities can be, joyous. Some past conferences have fallen on particularly hard dates (eg day after election), & every time I've found hope+purpose (never by ignoring what's burning) by attending these

ACH 2026 registration is now open! ACH 2026 is virtual and welcomes all—faculty, students, alt-ac, community practitioners. This year's theme centers transnationalism and solidarity in the Americas, with bilingual participation in English and Spanish. June 24–26. Sign up: ach2026.ach.org

ach2026.ach.org
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tenuretracker.info
@tenuretracker.bsky.social
1 day ago
Job ID: AN 2026/245 Extract: UmeÄ University seeks a postdoctoral fellow in Digital Humanities to conduct independent research within the AI Futures of Culture and Memory project, focusing on AI's impact on culture and memory.
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tenuretracker.info
@tenuretracker.bsky.social
1 day ago
Umea University is hiring: Postdoctoral Fellow in Digital Humanities #postdoc
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The Institute of Classical Studies
@ics.bsky.social
1 day ago
EpiDoc: Train the Trainers Fri 24 April, 2-4pm Online: shorturl.at/dVsF5 Bringing together experienced & new teachers/trainers of EpiDoc, to discuss different training models, resources available, issues around introducing EpiDoc to classics/digital humanities audiences, & approaches to assessment.
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will marler
@willmarler.bsky.social
1 day ago
💡Conference call! 💡 Are you working on a topic related to LLM's impacts on society and/or scholarship? Submit your work! 🔎 "LLMs as Mirror, Colleague, Rival" 🔍 5th TSHD Digital Humanities Symposium at Tilburg University July 2 & 3: In-person and online presentations accepted. Abstracts by May 1

www.digitalhumanitiestilburg.com

Digital Humanities Tilburg – TSHD Digital Humanities Symposium
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@fredzannarbor.bsky.social
1 day ago
altNEH: digital humanities scholarship that doesn't need an NEH grant to exist. Computational text analysis, archival reconstruction, quantitative literary history. bigfivekiller.online/subs
 #B5K #BigFiveKiller #DigitalHumanities #AcademicPublishing
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Project MUSE
@projectmuse.bsky.social
1 day ago
Open Access content on MUSE is freely available to libraries and users around the world, expanding visibility and discoverability, and allowing for wider dissemination of knowledge. Learn more about OA content on MUSE today. tr.ee/G7ZcHb
White text on a red background reading "Open Access on Project MUSE Available via Open Access: Journals, Books, and Digital Humanities Works." The Project MUSE logo appears in the upper right corner.
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worldmetalindex.bsky.social
@worldmetalindex.bsky.social
1 day ago
"Death Metal Innovators and Japanese Fusion Pioneers Push Creative Boundaries While Hardcore Rejects Digital Culture" — New on World Metal Index Death metal innovators explore gaming crossovers while Japanese metal embraces EDM collaboration and hardcore rejects digital culture, showcasing metal's


worldmetalindex.com

Death Metal Innovators and Japanese Fusion Pioneers Push Creative Boundaries While Hardcore Rejects Digital Culture

Death metal innovators explore gaming crossovers while Japanese metal embraces EDM collaboration and hardcore rejects digital culture, showcasing metal's creative evolution and philosophical tensions.
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