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Ronald Barnett's modern classic "Realizing the University in an Age of Supercomplexity" (published December 1999), has had a crucial impact internationally on the field of Higher Education research and development since the book was published now nearly 20 years ago. Bridging an academic oeuvre across almost 30 years with close to 30 published volumes, "Realizing the University in an Age of Supercomplexity" plays an important role in the development and transformation of Barnett's social theory of Higher Education into a social philosophy of Higher Education. In the book Barnett performs an important move from a focus on knowledge and epistemology to a focus on being and ontology in relation to Higher Education practices. Barnett shifts his fundamental perspective and view on the relation between universities and the wider society from one of caution and worry to a perspective of hope and vision that fully embraces the future of Higher Education. This way, "Realizing the University in an Age of Supercomplexity" has not only paved the way for Barnett's own development of a social philosophy of Higher Education, but also contributed invaluably to the rise and maturing of philosophy of Higher Education as a research field in its own right.

We propose a scheme to achieve nonreciprocal magnon blockade via the Barnett effect in a magnon-based hybrid system. Due to the rotating yttrium iron garnet (YIG) sphere, the Barnett shift induced by the Barnett effect can be tuned from positive to negative via controlling magnetic field direction, leading to nonreciprocity. We show that a nonreciprocal unconventional magnon blockade (UMB) can emerge only from one magnetic field direction but not from the other side. Particularly, by further tuning system parameters, we simultaneously observe a nonreciprocal conventional magnon blockade (CMB) and a nonreciprocal UMB. This result achieves a switch between efficiency (UMB) and purity (CMB) of a single-magnon blockade. Interestingly, stronger UMB can be reached under stronger qubit-magnon coupling, even the strong coupling regime. Moreover, the nonreciprocity of the magnon blockade is sensitive to temperature. This work opens up a way for achieving quantum nonreciprocal magnetic devices and chiral magnon communications.

Barnett, R. & Fulford, A. (Eds). (2020). Philosophers on the University. Reconsidering Higher Education. Springer, 213 pp.

This article provides a summary and analysis of four books that explore the concept of time in higher education. The books discuss various aspects of academic life, such as teaching, research, and collegiality, and offer strategies for embracing a slower approach to academia. The author praises the books for their insights and strategies, but also criticizes them for their limited perspectives, particularly in terms of social difference and ontological discussions of time. The author suggests that a more inclusive and diverse approach to studying time in higher education is needed. [Extracted from the article]

The article discusses visual documentation for American artist Barnett Newman's curatorial projects, 1944-1946. Topics include two exhibitions curated by Barnett Newman, Pre-Columbian Stone Sculpture and Northwest Coast Indian Painting; drawing using brush and ink on paper by Newman and double-faced wolf mask; and how Newman's embodied identification with the art of pre-Hispanic and Indigenous American Indian art, as represented in his drawing and in his portrait photograph.

Beginning with an unsolicited letter to Barnett Newman written by the Indian modernist F. N. Souza, this essay seeks to reframe our understanding of the decline of modernism. Art‐historical consensus holds that, as the 1960s progressed, modernist art was swept aside by demands for political engagement to which it could not adapt. Souza's letter complicates this. On one hand, it criticizes Newman's latest paintings for expressing modernist values such as autonomy, transcendence, and universality, for amounting to the claim that 'colour is ethics'. But on the other, rather than abandoning such concepts, as did most advanced art in the 1960s, Souza demands another, political modernism, one capable of grounding itself in reflection on the movement's historical complicity with colonialism and racism. This was a difficult project, and I reject the view that it was inherently progressive; indeed, I draw out the reactionary attitudes to which it could all‐too‐easily lead. Souza's desire, by 1969, to move beyond these without abandoning the historicity of modernism positions him closer to Newman than his letter suggests. Both proceeded, in ways that refuse the schematic alternatives of traditional art history, by making work that addressed political reality through the reflexive critique of modernism itself. [ABSTRACT FROM AUTHOR]