The uncritical realism of realist evaluation

This article is a response to Ray Pawson’s critique of critical realism, the philosophy of science elaborated by Roy Bhaskar. I argue with Pawson’s interpretation of critical realism���s positions on both natural and social science and his charges concerning its totalizing ontology, its arrogant epistemology and its naive methodology. The differences between critical realism and realist evaluation are not as significant as Pawson contends. The main differences between the two realisms lie in their approaches to the relationship between social structures and human agency, and between facts and values. I argue that evaluation scientists need to clearly distinguish structure and agency. They should also make their values explicit. The uncritical approach of realist evaluation, combined with its underplaying of the importance of agency, leaves it open to implication in the abuses of bureaucratic instrumentalism.

Raymond Geuss’ radicalization of realism in political theory

Raymond Geuss has been viewed as one of the figureheads of the recent debates about realism in political theory. This interpretation, however, depends on a truncated understanding of his work of the past 30 years. I will offer the first sustained engagement with this work (in English and German) which allows understanding his realism as a project for reorienting political theory, particularly the relationship between political theory and politics. I interpret this reorientation as a radicalization of realismin political theory through the combination of the emphasis on the critical purpose of political theory and the provision of practical, contextual orientation. Their compatibility depends on Geuss’ understanding of criticism as negative, of power as ‘detoxified’ and of the critical purchase of political theory as based on the diagnostic engagement with its context. This radicalization particularly challenges the understanding of how political theory relates to its political context.

Differential physico-chemical tolerances of amphipod species revealed by field transplantations

Physico-chemical regimes of river systems are major determinants of the distributions and relative abundances of macroinvertebrate taxa. Other factors, however, such as biotic interactions, may co-vary with changes in physico-chemistry and concomitant changes in community composition. Thus, direct cause and effect relationships may not always be established from field surveys. Equally, however, laboratory studies may suffer from lack of realism in extrapolation to the field. Here, we use balanced field transplantation experiments to elucidate the role of physico-chemical regime in determining the generally mutually exclusive distributions of two amphipod taxa, Gammarus (two species) and Crangonyx pseudogracilis. Within two river systems in Ireland, the former species dominate stretches of well oxygenated, high-quality water, whereas the latter dominates stretches of poorly oxygenated, low-quality water. G. pulex and G. duebeni celticus did not survive in bioassay tubes in areas dominated by C. pseudogracilis, which itself survived in tubes in such areas. However, both C. pseudogracilis and Gammarus spp. survived equally well in tubes in areas dominated by Gammarus spp. Physicochemical regime thus limits the movement of Gammarus spp. into C. pseudogracilis areas, but some other factor excludes C. pseudogracilis from Gammarus spp. areas. Since previous laboratory experiments showed high predation rates of Gammarus spp. on C. pseudogracilis, we propose that predation by the former causes exclusion of the latter. Hence, presumed effects of physico-chemical regime on macroinvertebrate presence/abundance may often require experimental field testing and appreciation of alternative explanations.

The Design Process- Making It Relevant For Students

Within the ever-changing arenas of architectural design and education, the core element of architectural education remains: that of the design process. The consideration of how to design in addition to what to design presents architectural educators with that most constant and demanding challenge of how do we best teach the design process?

This challenge is arguably most acute at a student's early stages of their architectural education. In their first years in architecture, students will commonly concentrate on the end product rather than the process. This is, in many ways, understandable. A great deal of time, money and effort go into their final presentations. They believe that it is what is on the wall that is going to be assessed. Armed with new computer skills, they want to produce eye-catching graphics that are often no more than a celebration of a CAD package. In an era of increasing speed, immediacy of information and powerful advertising it is unsurprising that students want to race quickly to presenting an end-product.

Recognising that trend, new teaching methods and models were introduced into the second year undergraduate studio over the past two years at Queen's University Belfast, aimed at promoting student self-reflection and making the design process more relevant to the students. This paper will first generate a critical discussion on the difficulties associated with the design process before outlining some of the methods employed to help promote the following; an understanding of concept, personalisation of the design process for the individual student; adding realism and value to the design process and finally, getting he students to play to their strengths in illustrating their design process like an element of product. Frameworks, examples, outcomes and student feedback will all be presented to help illustrate the effectiveness of the new strategies employed in making the design process firstly, more relevant and therefore secondly, of greater value, to the architecture student.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

Perception of emotion: towards a realistic understanding of the task

A decade ago, perceiving emotion was generally equated with taking a sample (a still photograph or a few seconds of speech) that unquestionably signified an archetypal emotional state, and attaching the appropriate label. Computational research has shifted that paradigm in multiple ways. Concern with realism is key. Emotion generally colours ongoing action and interaction: describing that colouring is a different problem from categorizing brief episodes of relatively pure emotion. Multiple challenges flow from that. Describing emotional colouring is a challenge in itself. One approach is to use everyday categories describing states that are partly emotional and partly cognitive. Another approach is to use dimensions. Both approaches need ways to deal with gradual changes over time and mixed emotions. Attaching target descriptions to a sample poses problems of both procedure and validation. Cues are likely to be distributed both in time and across modalities, and key decisions may depend heavily on context. The usefulness of acted data is limited because it tends not to reproduce these features. By engaging with these challenging issues, research is not only achieving impressive results, but also offering a much deeper understanding of the problem.

The Belfast Induced Natural Emotion Database

For many years psychological research on facial expression of emotion has relied heavily on a recognition paradigm based on posed static photographs. There is growing evidence that there may be fundamental differences between the expressions depicted in such stimuli and the emotional expressions present in everyday life. Affective computing, with its pragmatic emphasis on realism, needs examples of natural emotion. This paper describes a unique database containing recordings of mild to moderate emotionally coloured responses to a series of laboratory based emotion induction tasks. The recordings are accompanied by information on self-report of emotion and intensity, continuous trace-style ratings of valence and intensity, the sex of the participant, the sex of the experimenter, the active or passive nature of the induction task and it gives researchers the opportunity to compare expressions from people from more than one culture.

The use and limitation of realistic evaluation as a tool for evidence-based practice: a critical realist perspective

In this paper, we assess realistic evaluation’s articulation with evidence-based practice (EBP) from the perspective of critical realism. We argue that the adoption by realistic evaluation of a realist causal ontology means that it is better placed to explain complex healthcare interventions than the traditional method used by EBP, the randomized controlled trial (RCT). However, we do not conclude from this that the use of RCTs is without merit, arguing that it is possible to use both methods in combination under the rubric of realist theory. More negatively, we contend that the rejection of critical theory and utopianism by realistic evaluation in favour of the pragmatism of piecemeal social engineering means that it is vulnerable to accusations that it promotes technocratic interpretations of human problems. We conclude that, insofar as realistic evaluation adheres to the ontology of critical realism, it provides a sound contribution to EBP, but insofar as it rejects the critical turn of Bhaskar’s realism, it replicates the technocratic tendencies inherent in EBP.

“A Labour Leader in a Frothy Scoundrel”: Farce and Social Justice in the Popular Dramaturgy of George Shiels

In the financially precarious period which followed the partition of Ireland (1922) the Northern Irish playwright George Shiels kept The Abbey Theatre, Dublin, open for business with a series of ‘box-office’ successes. Literary Dublin was not so appreciative of his work as the Abbey audiences dubbing his popular dramaturgy mere ‘kitchen comedy’. However, recent analysts of Irish theatre are beginning to recognise that Shiels used popular theatre methods to illuminate and interrogate instances of social injustice both north and south of the Irish border. In doing so, such commentators have set up a hierarchy between the playwright’s early ‘inferior’ comedies and his later ‘superior’ works of Irish Realism. This article rejects this binary by suggesting that in this early work Shiels’s intent is equally socially critical and that in the plays Paul Twyning, Professor Tim and The Retrievers he is actively engaging with the farcical tradition in order to expose the marginalisation of the landless classes in Ireland in the post-colonial jurisdictions.

Distinguishing between direct and indirect effects of predators in complex ecosystems

1. Global declines in biodiversity have stimulated much research into the consequences of species loss for ecosystems and the goods and services they provide. Species at higher trophic levels are at greater risk of human-induced extinction yet remarkably little is known about the effects of consumer species loss across multiple trophic levels in natural complex ecosystems. Previous studies have been criticized for lacking experimental realism and appropriate temporal scale, running for short periods that are not sufficient to detect many of the mechanisms operating in the field.
2. We manipulated the presence of two predator species and two groups of their prey (primary consumers) and measured their independent and interactive effects on primary producers in a natural marine benthic system. The presence of predators and their prey was manipulated in the field for 14 months to distinguish clearly the direct and indirect effects of predators on primary producers and to identify mechanisms driving responses.
3. We found that the loss of either predator species had indirect negative effects on species diversity and total cover of primary producers. These cascading effects of predator species loss were mediated by the presence of intermediate consumers. Moreover, the presence of different intermediate consumers, irrespective of the presence or absence of their predators, determined primary producer assemblage structure. We identified direct negative effects of predators on their prey and several indirect effects of predators on primary producers but not all interactions could have been predicted based on trophic level.
4. Our findings demonstrate the importance of trophic cascade effects coupled with non-trophic interactions when predicting the effects of loss of predator species on primary producers and consequently for ecosystem functioning. There is a pressing need for improved understanding of the effects of loss of consumers, based on realistic scenarios of diversity loss, to test conceptual frameworks linking predator diversity to variation in ecosystem functioning and for the protection of biodiversity, ecosystem functioning and related services.