The enormous amount of work on Vico published in English during the past 25 years speaks of the contemporary importance of Vico's ideas. This edition updates the first edition, A Bibliography of Vico in English 1884-1984, by extending coverage to 1994. More than 2,300 citations are included. Part I lists books, articles, dissertations and theses, reviews in English of works on Vico in other languages, and entries in reference works. It also documents Vico's appearance in late 20th-century popular (...) culture and the public press. Part II includes translations of Vico's works into English, along with reviews in English of Vico's works in other languages. Part III is a collection of mentions, citations, and short discussions of Vico in English, including recent important fiction in which Vico appears. The appendix lists bibliographies on Vico, and the name index includes authors, editors, translators of works on Vico, and all persons, including fictional characters, named in the entries. Authors of works citing Vico are also indexed. (shrink)

From John Maynard Keynes’s prediction of a fifteen-hour workweek to present-day speculation about automation, we have not stopped forecasting the end of work. Critical theory and political philosophy have turned their attention away from the workplace to focus on other realms of domination and emancipation. But far from coming to an end, work continues to occupy a central place in our lives. This is not only because of the amount of time people spend on the job. Many (...) of our deepest hopes and fears are bound up in our labor—what jobs we perform, how we relate to others, how we might flourish. The Return of Work in Critical Theory presents a bold new account of the human significance of work and the human costs of contemporary forms of work organization. A collaboration among experts in philosophy, social theory, and clinical psychology, it brings together empirical research with incisive analysis of the political stakes of contemporary work. The Return of Work in Critical Theory begins by looking in detail at the ways in which work today fails to meet our expectations. It then sketches a phenomenological description of work and examines the normative premises that underlie the experience of work. Finally, it puts forward a novel conception of work that can renew critical theory’s engagement with work and point toward possibilities for transformation. Inspired by Max Horkheimer’s vision of critical theory as empirically informed reflection on the sources of social suffering with emancipatory intent, The Return of Work in Critical Theory is a lucid diagnosis of the malaise and pathologies of contemporary work that proposes powerful remedies. (shrink)

Proposal Information: In this paper it is argued that although Spinoza, unlike other great philosophers of the Enlightenment era, never actually wrote a philosophy of education as such, he did – in his Ethics – write a philosophy of self-improvement that is deeply educational at heart. When looked at against the background of his overall metaphysical system, the educational account that emerges is one that is highly curious and may even, to some extent at least, come across as counter-intuitive in (...) a contemporary setting. This is so because it grounds the greater social and political endeavors of humanity in the individual’s striving for an ever-increasing power of acting. Hence, education, for Spinoza, is a decidedly individualistic affair, but then again, so is the making of society. Since, for Spinoza, every instance of knowledge bears the unique mark of the individual body that expresses it, one might conclude that at the foundation of every social structure is an encounter between concrete bodies; each expressing a particular perspective from where to grasp the world. I would argue, based on this, that one of Spinoza’s main contributions to educational theory is his grounding of larger social endeavors in the striving of the individual. Hinged on the striving to be more rational, as dictated by the doctrine of the conatus, education appears to offer a way of grounding the structure of the human social world in the same principles as those guiding the individual. Spinoza’s doctrine of the imitation of affects thereby offers a way of linking the egoistic striving for power on behalf of the individual with the educational goal of building a sustainable society. It does so as it conditions self-improvement by the human characteristic to imitate what others desire. By being surrounded with people who desire to be more rational, one can utilize this desire for the good and become strengthened in one’s own striving for increasing one’s degree of existence. Consequently, the teaching situation is geared for guiding students towards a more rational life, at the same time as it is geared for the self-improvement of the teacher. This aspect of self-improvement is, ultimately, what will motivate the teacher in striving to enhance the lives of his or her students in the first place. Being unable to self-improve in isolation, the doctrine of the imitation of affects dictates that the rational person will be moved toward a life of generosity, not primarily for altruistic reasons, but out of a desire to become more rational and thus to gain in his or her own power of acting. The question that follows from this, of course, is how does one go about when inculcating a desire to be more rational in one’s students?Education, from a Spinozistic point of view, is ultimately about the cultivation of the potential that lies dormant in each individual, so that a person may live a happier life as a result of understanding, more adequately, their place in the natural world. The challenge, then, becomes one of overcoming the many obstacles that prevent a person from developing their potential. Pedagogy, from this point of view, may be understood in terms of the art of offering the right amount of resistance. This notion is based on the assumption that if a student encounters no resistance – or too much resistance – his or her potential remains just that – a potential. In order to develop this potential the student needs to overcome certain barriers. With regards to this, the role of the teacher may be conceived in terms of the one balancing the amount of resistance so that the student is properly challenged but at the same time not overwhelmed. Methodology or Methods/ Research Instruments or Sources Used: The paper makes for an attempt to outline a Spinozistic philosophy of education based on readings of Spinoza’s texts – primarily the Ethics – and some of the relevant secondary literature such as Della Rocca’s influential reading of Spinoza. As such it is a philosophical inquiry seeking to interconnect some key aspects of Spinoza’s philosophy with some of the major issues of education. Methodologically, this paper argues, in line with Melamed, that rather than turning to the history of philosophy in order to identify ‘precursors to [our] own views’, so as to validate what we already believe we know, it is more fruitful to turn to past philosophers in order to ‘challenge our most basic beliefs and intuitions by studying texts that are both well-argued and strongly opposed to our commonsense’. Accordingly, turning to Spinoza marks an attempt to revisit and reconceptualize some key aspects of educational thought. Conclusions, Expected Outcomes or Findings: A conclusion of this paper is that a Spinozistic philosophy of education would need to focus on resolving the tension between Spinoza’s egoism and education as a social project. To this end it identifies Spinoza’s doctrine of the imitation of affects as a possible link between the individual’s striving for power and the collective agenda of improving human well-being at large. It is also suggested that, in aspiring to inculcate a desire to be more rational in his or her students, the challenge for the Spinozistic teacher is to prompt the students to aspire to reach beyond the temporary satisfactions of the passions so as to acquire a more enduring sense of satisfaction and so that their well-being is more fully under their own command rather than under the command of various external influences. This, in turn, is connected with the notion of resistance in the sense that in experiencing the volatility of fortune – and thereby understanding the instability of relying on one’s passions – a person would appear to be more inclined to strive for a more enduring sense of happiness, even if this would mean giving up on some of the temporary pleasures that one has grown accustomed to. The resistance, then, may be conceived in terms of the overcoming of temporary pleasures that stand in the way of the developing of one’s potential. In this scenario the role of the teacher may be understood in terms of someone offering a well-balanced amount of resistance. This means that to accommodate one’s students – in the sense that one approaches them in terms of prospective customers, aspiring to satisfy their demands – is inimical to education insofar as the wants and desires of students are, generally speaking, caused by passive affects rather than their rational wills. References: Aloni, N.. Spinoza as Educator: From Eudaimonistic Ethics to an Empowering and Liberating Pedagogy. Educational Philosophy and Theory 40, pp. 531–544.Della Rocca, M.. Spinoza. New York: Routledge.Della Rocca, M.. Rationalism, Idealism, Monism, and Beyond. In: E. Förster & Y. Y. Melamed Spinoza and German Idealism. Cambridge: Cambridge University Press, pp. 7–26.Derry, J.. The Unity of Intellect and Will: Vygotsky and Spinoza. Educational Review, 56, pp. 113–120.Lloyd, G.. Spinoza and Educating the Imagination. In: A. O. Rorty Philosophers on Education: Historical Perspectives. London: Routledge, pp. 157–172.Melamed, Y. Y.. Spinoza’s Metaphysics: Substance and Thought. Oxford: Oxford University Press.Nadler, S.. Eternity and Immortality in Spinoza’s Ethics. Midwest Studies in Philosophy 26, pp. 224–244.Poulimatka, T.. Spinoza’s Theory of Teaching and Indoctrination. Educational Philosophy and Theory 33, pp. 397–410.Spinoza, B.. The Ethics. In: E. Curley A Spinoza Reader: The Ethics and Other Works. Princeton: Princeton Unive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

Research productivity is an important criterion for the university to assess teachers. Studies about factors that affect teachers’ research productivity are increasing nowadays. It is generally agreed that academics’ research productivity depends on how much mentorship is provided to them and how the current working environment is mediated by their research motivation and self-efficacy. Despite the increasing amount of the literature along this line, we know little about what kinds of situations that Chinese university English as a foreign language (...) (EFL) teachers are in and how they regard the importance of mentorship and what roles their working environments would play in affecting their research productivity. To fill the research gap, we utilized the snowball method to collect the survey data from 546 Chinese EFL tertiary teachers. The results show that mentorship is not correlated with research productivity while the working environment has a positive direct correlation with it. Both motivation and self-efficacy mediate the working environment and research productivity significantly. Specifically, only extrinsic motivation has a negative mediation influence on teachers’ research productivity; teachers’ intrinsic motivation and self-efficacy play a positive mediation role in affecting their research productivity. (shrink)

Over the past 20 years, there has been a huge amount of work on which things you can kill in self‐defense and why. This paper surveys that work.

Drawing extensively on letters sent to me by him over fifty years, this paper tries to present a vivid picture of Paul Hirst in different aspects of his life. The first section covers the huge amount of work he did at the universities of London and Cambridge—in teaching and writing philosophy of education, high-level administrative university responsibilities, and involvement in national education policy. This is followed by a glimpse into his passion for music, especially opera. Final sections show (...) him as an academic mentor and friend. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Layers of Seeing and Seeing through Layers: The Work of Art in the Age of Digital ImageryLouisa Wood Ruby (bio)Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was (...) subject throughout the time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership.—Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936In consulting on or creating a Web site designed to use works of art for teaching purposes, it is extremely important to be aware of the differences between seeing an artwork “in the flesh” and in reproduction. Museum educators are highly aware of this disparity and are therefore eager to have students visit museums to experience authentic works of art instead of seeing them only in books, slides, or on Web sites. Already in 1936, Walter Benjamin called attention to the drawbacks of reproductions; his words resonate all the more in our age of digital image overload. Easy access to images is, of course, desirable, and the advanced technologies we now have can even aid our understanding of a work of art. Nonetheless, the physical experience of standing in front of a work of art can never be replicated by seeing it on a flat screen or a piece of paper. In this article I will examine the advantages, disadvantages, differences, and similarities between looking at a Web-based image of a Rembrandt painting, a photograph of a Rembrandt painting, and actually standing in front of one of his original works. I will also discuss the more advanced technologies for examining paintings and how they can help us “see” further into a work of art and increase our understanding of it. [End Page 51]When standing in front of a painting, you are seeing a three-dimensional object with a history of its own. Its nicks, the dings in its frame, its true colors and texture, its exact size, the quality of the brushstrokes, and the amount of paint are all visible to the careful observer, who stands in a long line of viewers over the centuries who have appreciated the artist’s achievement. When approached from different angles, a painting in real space can even seem to vary in the mood it conveys or the impression it gives. A striking demonstration of this phenomenon occurred during a recent visit to the Metropolitan Museum of Art, when Rika Burnham, a museum educator, divided our Rembrandt Project group in half and asked us to look at Rembrandt’s 1660 Self-Portrait from different angles and describe the sitter’s mood. When we compared notes, our impressions of the painting were so different that an outside listener would have thought we were looking at two completely different paintings. We then switched angles, and our respective impressions changed dramatically. Effects of light (shadows, highlights, color) and interpretations of elements in the painting, such as the hand or the hat, had been affected by the angle from which we had approached the work, and these minor adjustments had significantly altered the way we “read” the painting.This kind of experience is of course not possible when looking at a photograph of a work of art. A photograph can be very useful and can usually tell you much about a painting, but, unfortunately, the photograph itself is an object that was taken at a specific time and place, under specific circumstances that might or might not be ideal for capturing the essence of what it is trying to reproduce. Because the angle from which a photograph is taken remains static, it only allows us to experience the painting from one direction, under the given set of lighting conditions. Other problems abound. Two color reproductions of a given painting will more than likely offer wildly different color tonalities because photographs and reproductions in many publications imperfectly correct for color. Lighting of the painting may... (shrink)

It is often natural to compare two events by describing one as ‘more of a cause’ of some effect than the other. But what do such comparisons amount to, exactly? This paper aims to provide a guided tour of the recent literature on ‘degrees of causation’. Section 2 looks at what I call ‘dependence measures’, which arise from thinking of causes as difference‐makers. Section 3 looks at what I call ‘production measures’, which arise from thinking of causes as jointly (...) sufficient for their effects. Finally, section 4 examines the important question of whether there is any sense in which an agent is more responsible for an outcome in virtue of her action being more of a cause of it. I describe a puzzle that emerges from this question, and explore various strategies for resolving it. (shrink)

Spearman’s Law of Diminishing Returns holds that correlation between general /fluid intelligence factor and other cognitive abilities weakens with increasing ability level. Thus, cognitive processing in low ability people is most strongly saturated by g/gf, whereas processing in high ability people depends less on g/gf. Numerous studies demonstrated that low g is more strongly correlated with crystallized intelligence/creativity/processing speed than is high g, however no study tested an analogous effect in the case of working memory. Our aim was to investigate (...) SLODR for the relationship between Gf and WM capacity, using a large data set from our own previous studies. We tested alternative regression models separately for three types of WM tasks that tapped short-term memory storage, attention control, and relational integration, respectively. No significant SLODR effect was found for any of these tasks. Each task shared with Gf virtually the same amount of variance in the case of low- and high-ability people. This result suggests that Gf and WM rely on one and the same cognitive mechanism. (shrink)

This guide is intended to be a comprehensive survey of Dewey's work. It consists of ten essays by Dewey scholars surveying an area of Dewey's work. Each essay is followed by a checklist of articles and books. The topics include divisions such as Dewey's Psychology, Philosophy and Philosophic Method, Logic and Theory of Knowledge, Ethics, etc. Contributors include Schneider, Hahn, Kennedy, Rucker, Leys, among others. Despite the enormous amount of work that must have gone into producing (...) this volume, its value is questionable. One reason for this is that Dewey's thought does not lend itself into such convenient divisions--it is difficult to think of a standard "topic" that isn't intertwined with some other. The novice may be bewildered by the rapid surveys and checklists. And scholars of Dewey and American philosophy may detect other groupings which they consider more illuminating. Although one can appreciate the desire not to reproduce the type of bibliography prepared by M. H. Thomas, a complete annotated bibliography would have been a much more helpful guide than the present one. Nevertheless the present guide does help the novice and the scholar to see important connections among the more than thousand items that make up the Dewey corpus.--R. J. B. (shrink)

Computer Integrated Manufacturing (CIM) is faced with issues which are crucial to Computer Supported Cooperative Work (CSCW). However, despite the large amount of work on Enterprise Integration and its obvious links to the CSCW field, this domain is almost totally absent in the work of the CSCW community. Therefore, this paper is intended to contribute to the discussion on the relevance of CSCW in manufacturing and to combine new concepts for cooperative work with requirements for (...) information system design in production. Production related models, e.g., an order-driven mode of coordination, can be augmented with mechanisms of interaction for coordination, collaboration and co-decision and the design of customer/supplier chains. It is suggested, as one example, to use workflow management technology in advanced manufacturing for shop-floor production planning and control (PPC). The proposed enterprise model and support technology is especially useful for small-batch production. (shrink)

Drawing on fieldwork and in-depth interviews with homeschooling mothers in the Pacific Northwest, the author reveals several ways the temporal experience of motherhood was emotionally problematic. The intensive demands of homeschooling left them stressed and dissatisfied with the amount of time they had to pursue their own interests. Mothers tried to allocate their time differently to manage these feelings, yet their efforts were unsuccessful, which led them to become frustrated and resentful. To resolve these troublesome feelings, mothers resorted to (...) manipulating their subjective experiences of time through a process the author calls “temporal emotion work.” In the conclusion, the author examines the theoretical confluence of emotions and temporality, suggesting that the dominant form of motherhood is culturally defined as a “time-sensitive identity” and that “temporal emotions” are unique tools in managing the emotional difficulties inherent in the trajectories of some identities. (shrink)

"Nietzsche versus Wagner", sometimes translated "Nietzsche against Wagner", is a critical examination of the composer Richard Wagner, whom Nietzsche praised in his early years and later declared his enemy. Nietzsche was close to the entire Wagner family, even Wagner's wives, but later had a falling out and spent a significant amount of energy attacking him. In this work, Nietzsche distances himself from Wagner's music and ideology, criticizing the composer's embrace of German nationalism and his turn to Christianity. Nietzsche (...) contrasts Wagner's decadent, pessimistic art with his own vision of a life-affirming, Dionysian aesthetic. The book reflects Nietzsche's broader concerns about the role of art and culture in society and his ongoing exploration of the tensions between Apollonian and Dionysian forces. Nietzsche also addresses the psychological and philosophical implications of Wagner's music, arguing that it represents a retreat from the complexities of reality into the comforting illusions of myth and religion. He sees Wagner's work as symptomatic of a broader cultural malaise characterized by a loss of vitality and authenticity. Through his critique of Wagner, Nietzsche seeks to reaffirm the values of individualism, creativity, and the joyful affirmation of life that he believes are essential to the rejuvenation of culture and the realization of human potential. This is one of three major works attacking Wager's music and legacy Nietzsche issued. This work was assembled and published at the end of 1888 under the title Nietzsche contra Wagner, shortly before his final mental collapse in January 1889. The text was published in December 1888 by C. G. Naumann in Leipzig. This new 2024 translation of the original 1888 German manuscript includes a new afterword by the translator, a timeline of Nietzsche's life and works, an index with descriptions of his key concepts, and summaries of his complete works. This translation is designed to allow the armchair philosopher to engage deeply with Nietzsche's works without having to be a full-time Academic. The language is modern and clean, with simplified sentence structures and diction to make Nietzsche's complex language and arguments as accessible as possible. This Reader's Edition also contains extra material that amplifies the manuscript with autobiographical, historical and linguistic context. This provides the reader a holistic view of this very enigmatic philosopher as both an introduction and an exploration of Nietzsche's works; from his general understanding of his philosophic project to an exploration of the depths of his metaphysics and unique contributions. This edition contains: • An Afterword by the Translator on the history, impact and intellectual legacy of Nietzsche • Translation notes on the original German, Latin and Greek manuscript • An index of Philosophical concepts used by Nietzsche with a focus on Existentialism and Phenomenology • A chronological list of Nietzsche's entire body of works • A detailed timeline of Nietzsche's life and works. (shrink)

While a large amount of work has been done to understand public good and to construct conceptual models explaining the antecedents of collective action, current literature is flawed in that most of them only examine the lower-level public good and attribute people's participation in collective action to external variables. It pays little to the developmental nature of collective action. Utilizing Ken Wilber's theory of integral psychology, this paper proposes a holistic definition of public good, emphasizing its different levels (...) of development. The paper also introduces an integral model of collective action that explains the antecedents of collective action in terms of not only the external individual behavior and social factors but also the internal aspects of individuals, organization, and society. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Organisms' environments are thought to play a fundamental role in determining their fitness and hence in natural selection. Existing intuitive conceptions of environment are sufficient for biological practice. I argue, however, that attempts to produce a general characterization of fitness and natural selection are incomplete without the help of general conceptions of what conditions are included in the environment. Thus there is a "problem of the reference environment"—more particularly, problems of specifying principles which pick out those environmental conditions which determine (...) fitness. I distinguish various reference environment problems and propose solutions to some of them. While there has been a limited amount of work on problems concerning what I call "subenvironments", there appears to be no earlier work on problems of what I call the "whole environment". The first solution I propose for a whole environment problem specifies the overall environment for natural selection on a set of biological types present in a population over a specified period of time. The second specifies an environment relevant to extinction of types in a population; this kind of environment is especially relevant to certain kinds of long-term evolution. (shrink)

Chapter 5 aims to understand the contemporary philosophical climate in terms of a dominant philosophy, and argues that it is found in the ‘Agency Theory’, or ‘Practice Ideal’: the thesis that we are the creators of our own environment and values, that the realities which we meet with are the works of man. Craig argues that from about 1780, ‘activity’, ‘practice’ and similar concepts began to come to the fore, and provided new solutions of metaphysical and epistemological problems. The idea (...) was to some extent anticipated in writers of the eighteenth century: in Pascal’s famous wager on the existence of God the value of truth has receded, and considerations of what serves a certain purpose have come to regulate belief; Hume saw in our imagination, not in our reason, the governing, and essentially active, principle that supports our beliefs; finally Kant’s transcendental idealism not only provided the key concept of ‘the world as we experience it’ that incorporated both concepts and impressions, but amounted to the claim that the world of our experience is of our own making. But the real rise of the Agency Theory took place in the nineteenth century: Marx and Engels, rejecting both theistic and idealist metaphysics, set up a new ideal for man, who was to be the free architect and builder of his own social world, in virtue of his grasp of the laws governing society and the processes of social change; following Peirce, William James and other American Pragmatists argued that belief is primarily an instrument for the attainment of our goals, and that man is fully autonomous, his creations subject to no controls or standards other than those which he himself imposes; Nietzsche, the most vociferous champion of agency and creativity, affirmed the idea, and constructed his account of reality, truth, and knowledge, and his aspirations for man around it. (shrink)

This book maps the entire development of Comenius’s considerations on man, from his earliest writings to his philosophical masterwork. Although this book primarily offers an analysis and description of the conception of man in Comenius’s work, it may also serve the reader as a more general introduction to his philosophical conception. The author shows that, in spite of the fact that Comenius has received no small amount of academic attention, funded studies or monographs in English language remain in (...) single figures. Thus, a range of Comenius’s remarkable ideas are still unknown to the wider public. (shrink)

Despite the vast amount of work produced by philosophers, historians and sociologists on the nature of scientific activity, “observation itself is rarely the focus of attention and almost never the subject of historical inquiry in its own right”. This general lack of interest in the nature of scientific observation was perhaps most clearly reflected in the Vienna Circle’s attempt to establish an analysis of science beginning at the level of protocol sentences. To do so, of course, they had (...) to disregard the humidity and fogged lenses facing the primatologist in the jungle, or the way in which flights aboard military aircraft were once sought by physicists in order to expose... (shrink)

This target article discusses the verbal working memory system used in sentence comprehension. We review the concept of working memory as a short-duration system in which small amounts of information are simultaneously stored and manipulated in the service of accomplishing a task. We summarize the argument that syntactic processing in sentence comprehension requires such a storage and computational system. We then ask whether the working memory system used in syntactic processing is the same as that used in verbally mediated tasks (...) that involve conscious controlled processing. Evidence is brought to bear from various sources: the relationship between individual differences in working memory and individual differences in the efficiency of syntactic processing; the effect of concurrent verbal memory load on syntactic processing; and syntactic processing in patients with poor short-term memory, patients with poor working memory, and patients with aphasia. Experimental results from these normal subjects and patients with various brain lesions converge on the conclusion that there is a specialization in the verbal working memory system for assigning the syntactic structure of a sentence and using that structure in determining sentence meaning that is separate from the working memory system underlying the use of sentence meaning to accomplish other functions. We present a theory of the divisions of the verbal working memory system and suggestions regarding its neural basis. (shrink)

Abstract.In Canada, food assistance is provided through a widespread network of extra-governmental, community-based, charitable programs, popularly termed “food banks”. Most of the food they distribute has been donated by food producers, processors, and retailers or collected through appeals to the public. Some industry donations are of market quality, but many donations are “surplus” food that cannot be retailed. Drawing on insights from an ethnographic study of food bank work in southern Ontario, we examined how the structure and function of (...) food banks operate to facilitate the distribution of foods not marketed through the retail system. Our findings indicate that the handling of industry donations of unsaleable products is a labor-intensive activity, made possible by the surfeit of unpaid labor in food banks, the neediness of food bank clients, and clients’ lack of rights in this system. The marshalling of volunteer labor to serve a corporate need might be construed as a “win-win” situation because the work of salvaging edible foodstuffs from among industry “surplus” helps to “feed the hungry” while also diminishing the amount of refuse deposited in landfill sites, sparing corporations disposal costs and landfill tipping fees, and helping them forge an image of good corporate citizenship. However, the reliance of food banks on industry donations means that food assistance becomes defined as that which the corporate sector cannot retail. Moreover, the intertwining of food bank work with corporate needs may function to further entrench this ad hoc secondary food system and mitigate against initiatives to develop more effective responses to problems of hunger and food insecurity in our communities. (shrink)

C. Lloyd Morgan is mostly known for Morgan’s canon, still a popular and frequently quoted principle in comparative psychology and ethology. There has been a fair amount of debate on the canon’s interpretation, function, and value regarding the research on animal minds, usually referring to it as an isolated principle. In this paper we rather shed light on Morgan’s overall scientific program and his vision for comparative psychology. We argue that within his program Morgan identified crucial conceptual, ontological, and (...) methodical issues, that are still fundamental to the current research on animal minds. This also highlights a new aspect of his role as one of the “founding fathers” of modern comparative psychology. In order to understand Morgan’s program, we briefly outline the historical context in which he began his work on a science of comparative psychology. We will then emphasize to what extent his taxonomy of psychological capacities, the development of his metaphysics for a comparative psychology, and his newly introduced interdisciplinary procedures justify Morgan’s distinctive approach to still rather sensitive issues. In doing so, we aim to provide a more comprehensive picture of Morgan’s methodological signature and we contend that a proper understanding of his canon can only be gained by taking it as part of this program. We finally understand his most renown considerations as part of his struggle to ascertain the limits and possibilities of the discipline he contributed to set up, and thus emphasize the need to keep the discussion going, notably on the accessibility of other minds than one’s own and on the limits of one’s research perspectives. (shrink)

Visual working memory is a construct hypothesized to store a small amount of accurate perceptual information that can be brought to bear on a task. Much research concerns the construct's capacity and the precision of the information stored. Two prominent theories of VWM representation have emerged: slot-based and continuous-resource mechanisms. Prior modeling work suggests that a continuous resource that varies over trials with variable capacity and a potential to make localization errors best accounts for the empirical data. Questions (...) remain regarding the variability in VWM capacity and precision. Using a novel eye-tracking paradigm, we demonstrate that VWM facilitates search and exhibits effects of fixation frequency and recency, particularly for prior targets. Whereas slot-based memory models cannot account for the human data, a novel continuous-resource model does capture the behavioral and eye tracking data, and identifies the relevant resource as item activation. (shrink)

This paper is based on my experience of conducting ethnographic fieldwork in the Indian Himalayas to study the illegal hashish trade in the region. The work required me to spend time with cannabis cultivators, dealers, drug tourists and law enforcement officials. My informants would regularly engage in the consumption of narcotic substances. A significant part of building close and durable relationships with informants was getting intoxicated with them. Dealer and cultivator groups were generally tightly knit, and an outsider was (...) looked upon with mistrust. I found that consuming narcotics with informants would generally induce candid conversations, which meant a good amount of data coming my way. This paper analyses the social dynamics of such interactions and discusses the ethical ambiguity inherent in such a process of data collection. Although there have been a number of insightful ethnographic studies on narcotic substances, there have been surprisingly few studies addressing the ethnographer’s experience and potential risks involved. Through a mainly reflexive examination of my fieldwork, this paper is an account of how the ethnographic method frequently pushes the fieldworker to transgress ethical, psychological, professional, social and personal boundaries. (shrink)

This work is a report of the research on clinical work performance developed from October 2022 to August 2023, in three Quintana Roo organizations, one of private initiative, another of a parastatal nature and the third was a public institution. It is based on the problem that represents the low level of results, despite the strategies of administrative enrichment implemented, where a good amount of financial resources are invested, and that according to managers it is largely the (...) human factor that determines that the results do not occur as expected. The objective was to identify the style of action of the employees during their working hours. The models of Organizational Development, Management by Objectives, Strategic Planning and Total Warmth were analyzed to identify their essence; finding important invariants in them, for their implementation. Epistemology was interpretive with an ethnographic paradigm. As a result, four particular prototypes of value attitudes were identified, corresponding to four particular types of people, which were called by the authors of the study as: Type I. Circumstantial worker; Type II. Tormented worker; Type III. Resentful worker; Type IV. Passionate worker; distributed equally within the three organizations investigated. Concluding that value attitudes have greater influence the higher the level of authority that a person has within the administrative structure, recommending that, in order to make real changes within organizations, it is necessary to start from the eradication of institutional vices. (shrink)

The paper investigates relationship between working memory efficiency, defined as the result of its’ processing & storage capacity and the tendency to create assosiative memory distortions ; yield under the influence of external, suggesting factors. Both issues were examined using extended version of Deese-Roediger-McDermott procedure, modified in order to meet the study demands. Suggestion was contained in an ostentatious feedback information the participants received during the DRM procedure. Working memory was measured by standardized tasks. Study included 3 conditions, differing in (...) the quality of suggestion. Participants were assigned into 3 groups, depending on results they achieved completing the WM tasks. Obtained results alongside the previously set hypothesis, revealed that WM impacts individuals’ tendency to create false memories in DRM and that the individuals showing higher rates in WM tasks are less willing to yield to suggestion compared to those with lesser ones. It also showed that the greater amount to shift, emerges under the negative suggestion condition. Notwithstanding that the interaction effect did not achieve saliency, both analyzed factors are considered as meaningful to explain memory suggestion susceptibility in presented study. Although, obtained results emphasize the crucial role of WM efficiency, that is believed to decide the magnitude of feedback that is influential in every subject. Therefore, issue demands further exploration. (shrink)

BackgroundDeciphering the amount of work provided by different co-authors of a scientific paper has been a recurrent problem in science. Despite the myriad of metrics available, the scientific community still largely relies on the position in the list of authors to evaluate contributions, a metric that attributes subjective and unfounded credit to co-authors. We propose an easy to apply, universally comparable and fair metric to measure and report co-authors contribution in the scientific literature. MethodsThe proposed Author Contribution Index (...) (ACI) is based on contribution percentages provided by the authors, preferably at the time of submission. Researchers can use ACI to compare the contributions of different authors, describe the contribution profile of a particular researcher or analyse how contribution changes through time. We provide such an analysis based on contribution percentages provided by 97 scientists from the field of ecology who voluntarily responded to an online anonymous survey.ResultsACI is simple to understand and to implement because it is based solely on percentage contributions and the number of co-authors. It provides a continuous score that reflects the contribution of one author as compared to the average contribution of all other authors. For example, ACI(i) = 3, means that author i contributed three times more than what the other authors contributed on average. Our analysis comprised 836 papers published in 2014-2016 and revealed patterns of ACI values that relate to career advancement.ConclusionThere are many examples of author contribution indices that have been proposed but none has really been adopted by scientific journals. Many of the proposed solutions are either too complicated, not accurate enough or not comparable across articles, authors and disciplines. The author contribution index presented here addresses these three major issues and has the potential to contribute to more transparency in the science literature. If adopted by scientific journals, it could provide job seekers, recruiters and evaluating bodies with a tool to gather information that is essential to them and cannot be easily and accurately obtained otherwise. We also suggest that scientists use the index regardless of whether it is implemented by journals or not. (shrink)

In recent years attention to the philosophical and literary production of P. A. Florenskii has become commonplace. The thinker's intellectual legacy is very great. In September 1919, Florenskii wrote a prospectus for a collection of his own writings, which would have amounted to nineteen volumes. The collection was not published, for a number of reasons; nonetheless, many of the philosopher's works did come out during his lifetime. Florenskii's writing, published in small editions and scattered among various journals, are still quite (...) inaccessible to readers. (shrink)

What motives underlie the ways humans interact socially? Are these the same for all societies? Are these part of our nature, or influenced by our environments?Over the last decade, research in experimental economics has emphatically falsified the textbook representation of Homo economicus. Literally hundreds of experiments suggest that people care not only about their own material payoffs, but also about such things as fairness, equity and reciprocity. However, this research left fundamental questions unanswered: Are such social preferences stable components of (...) human nature; or, are they modulated by economic, social and cultural environments? Until now, experimental research could not address this question because virtually all subjects had been university students, and while there are cultural differences among student populations throughout the world, these differences are small compared to the full range of human social and cultural environments. A vast amount of ethnographic and historical research suggests that people's motives are influenced by economic, social, and cultural environments, yet such methods can only yield circumstantial evidence about human motives. Combining ethnographic and experimental approaches to fill this gap, this book breaks new ground in reporting the results of a large cross-cultural study aimed at determining the sources of social preferences that underlie the diversity of human sociality. The same experiments which provided evidence for social preferences among university students were performed in fifteen small-scale societies exhibiting a wide variety of social, economic and cultural conditions by experienced field researchers who had also done long-term ethnographic field work in these societies. The findings of these experiments demonstrated that no society in which experimental behaviour is consistent with the canonical model of self-interest. Indeed, results showed that the variation in behaviour is far greater than previously thought, and that the differences between societies in market integration and the importance of cooperation explain a substantial portion of this variation, which individual-level economic and demographic variables could not. Finally, the extent to which experimental play mirrors patterns of interaction found in everyday life is traced.The book starts with a succinct but substantive introduction to the use of game theory as an analytical tool and its use in the social sciences for the rigorous testing of hypotheses about fundamental aspects of social behaviour outside artificially constructed laboratories. The results of the fifteen case studies are summarized in a suggestive chapter about the scope of the project. (shrink)

In the present article, the authors continue their sociological interpretations of theempiric data obtained in the research project “Aggregate Capital, Its Structure andRelation to Labour Migration” (2012). The following hypothesis has been proved: ahigher predisposition for the labour migration is more typical for economically activeregion’s inhabitants with fairly high amounts of some indicators of the aggregatecapital, especially physical capital, but with a comparatively lower amount of culturalcapital, which could transform into human capital and further into economic capital inLatgale or (...) Latvia. An in-depth analysis of the factors of life success has revealed that,in general, our respondents tend to assign the lead role not to the personal competitivecharacteristics (resources) but rather to the specificity of the social environment: anexplanation of life success by means of a set of variables that, on the whole, describeit as a socio-political innovation with criminal tendencies (political corruption) is themost spread one. (shrink)

The place of play in the education of young children has been the focus of much interest in the past. But the findings from this research project demonstrate that there remains a significant amount of confusion about the role that play has in young children's education. In particular we found that there is a clear distinction between the rhetoric and reality of play in the reception class. Further, there was evidence of real anguish for some early years workers who (...) were failing to offer the play activities that they knew should be provided. These findings are particularly interesting at present, since the debate on the role of play has once again emerged as fundamental in the attempt to define a curriculum appropriate to the needs of the 3-6 year olds who, from the year 2000, will be required to work within the highly contentious Foundation Stage of the National Curriculum. (shrink)

Despite the amount of work that has been produced on the subject over the years, the ‘transformation of cladistics’ is still a misunderstood episode in the history of comparative biology. Here, I analyze two outstanding, highly contrasting historiographic accounts on the matter, under the perspective of an influential dichotomy in the philosophy of science: the opposition between Scientific Realism and Empiricism. Placing special emphasis on the notion of ‘causal grounding’ of morphological characters in modern developmental biology’s theories, I (...) arrive at the conclusion that a ‘new transformation of cladistics’ is philosophically plausible. This ‘reformed’ understanding of ‘pattern cladistics’ entails retaining the interpretation of cladograms as ‘schemes of synapomorphies’, but in association to construing cladogram nodes as ‘developmental-genetic taxic homologies’, instead of ‘standard Darwinian ancestors’. The reinterpretation of pattern cladistics presented here additionally proposes to take Bas Van Fraassen’s ‘constructive empiricism’ as a philosophical stance that could properly support such analysis of developmental-genetic data for systematic purposes. The latter suggestion is justified through a reappraisal of previous ideas developed by prominent pattern cladists , which concerned a scientifically efficient ‘observable/non-observable distinction’ linked to the conceptual pair ‘ontogeny and phylogeny’. Finally, I argue that a robust articulation of Antirealist alternatives in systematics may provide a rational basis for its disciplinary separation from evolutionary biology, as well as for a critical reconsideration of the proper role of certain Scientific Realist positions, currently popular in comparative biology. (shrink)

The study of morality continues to flourish in contemporary philosophy. As the chapters of this Companion illustrate, new and exciting work is being done on a wide range of topics from the objectivity of morality to the relationship between morality and religious, biological, and feminist concerns. Along with this vast amount of work has come a proliferation of technical terminology and competing positions. The goal of this chapter is to provide an overview of the terrain in contemporary (...) ethics. (shrink)

This dissertation interrogates the notions of selfhood, agency, and subjectivity in the autobiographical works of Jean-Paul Sartre, Friedrich Nietzsche, Søren (Soren) Kierkegaard, and Jacques Derrida, all of which are significantly under-researched in the philosophical literature. I show, in each case, that the autobiographical works have a significant philosophical core that deserves drawing out, particularly with relevance to the knot of problems surrounding the quaestio mihi factus sum—the question, enigma, or mystery that I am. I situate each work within the (...) context of the author's larger treatment of the same issues in the more “theoretical” works, and then proceed to show that the autobiographical works all present a slightly different or more advanced picture of things, which is in each case at least partially dependent upon the genre itself. In the case of Sartre, this amounts to a real balance between freedom and the force of circumstances in Les Mots (Words); for Nietzsche, the virtual effacement of all conscious activity in Ecce Homo. For Kierkegaard and Derrida, the primary difference is performative: they are doing something in their autobiographical texts that they are not elsewhere. Kierkegaard's On My Work as an Author is, as he says, a “deed” rather than a “work”; likewise, Derrida's Circonfession (Circumfession) is an attempt to enact an “event.” I further establish that there is a veritatem facere, a “making,”“doing,” or “performing” of the truth, in each autobiographical text—in the form of an integration of our past into our current situation (Sartre), an affirming of our fate (Nietzsche), a witnessing before God (Kierkegaard), and a testifying to our responsibility to the Other (Derrida). I conclude by reflecting on some of the more significant successes, failures, and problems inherent in these autobiographical projects, in light of philosophical reflection on the genre. (shrink)

The basic work for this book was carried out during the spring of 1989 in Edinburgh, where I had been granted a research position at The Institute for Advanced Studies in the Humanities. I should like to express here my indebtedness to the Institute for the opportunity thus afforded me. I should also like to say how very grateful I am for the stimulating conversations I had there with Professor Timothy Sprigge and Dr. Elizabeth Telfer. Dr. Telfers’s own treatise (...) Happiness has been a major influence on my view of the questions involved. The basic view of health and illness presented in this book is more fully set out in my On the Nature of Health. As in the case of my previous larger projects, I have received a great amount of support and may wise comments from Professor Ingmar Pörn, Helsinki. Three Danish experts – Anton Aggernaes, Erik Ostenfeld and Peter Sandøe – have made valuable comments. Professor Heng ten Have, Nijmegen, has improved my reading of the philosophy of Jeremy Bentham. I should also like to thank my colleagues at the Department of Health and Society, University of Linköping, for helping me to avoid a number of the pitfalls that can so easily stumble into when it comes to a treatise like this. Especially I should like to mentioned Per-Erik Liss, Ingemar Nordin and Bo Petersson, all three of whom have read and commented on the entire manuscript. A Swedish version of this book, Livskvalitet och hälsa, came out in 1991. I have been made quite a number of corrections and additions, one type of addition being replies to critical points made in reviews of the Swedish version. I should like to thank Malcolm Forbes for valuable help putting my English into publishable condition. Linköping, May 1993 Lennart Noredenfelt. (shrink)

Imagining is something we use everyday in our lives and in a wide variety of ways. In spite of the amount of works devoted to its study from both psychology and philosophy, there are only a few formal systems capable of modelling it; besides, almost all of those systems are static, in the sense that their models are initially predefined, and they fail to capture the dynamic process behind the creation of new imaginary scenarios. In this work, we (...) review some influential theories of imagination and use their insights to distil an algorithm describing such process. Then, we use this algorithm to define a dynamic logical system built upon on a single-agent epistemic logic that provides the necessary tools to capture how the agent voluntarily creates new imaginary worlds; in other words, our system allows the model to be expanded dynamically at any time as a result of the agent performing an act of imagination. Furthermore, we provide an axiomatization and prove that the system is sound and complete. (shrink)

– The conjunction of three plausible theses about the nature of causal powers—that they are intrinsic, that their effects are produced mutually, and that the manifestations they are for are essential to them—leads to a problem concerning the ability of causal powers to work together to produce manifestations. I call this problem the problem of fit. Fortunately for proponents of a power-based metaphysic, the problem of fit is not insurmountable. Fit can be engineered if powers are properties whose natures (...) are determined holistically. However, this power holism does not come without a cost, as a power-based metaphysic must be supplemented by a certain amount of additional machinery in order to avoid the problem. (shrink)

To date, few studies have focused on mapping the mechanisms underlying children’s skills in science. This study investigated to what extent logical reasoning, spatial processing, and working memory, tapped at age 9-10-years, are predictive of physics skills at age 12-13-years. The study used a sample of 81 children (37 girls). Measures of mathematics and reading were also included in the study. Multiple regression analysis showed that spatial processing, and verbal working memory accounted for a similar amount of unique variance (...) (4.5–4.6%) while logical reasoning accounted for 5.7% variance. Physics is a multivariate discipline that draws upon numerous cognitive resources. Logical reasoning ability is a key component in order for children to learn about abstract physics facts, concepts, theories, and applying complex scientific methods. Spatial processing is important as it may sub-serve the assembly of diverse sources of visual-spatial information into a spatial-schematic image. The working memory system provides a flexible and efficient mental workspace that can supervise, coordinate, and execute processes involved in physics problem solving. (shrink)

Writings, including articles, letters, and unpublished work, by one of the twentieth century's most influential figures in mathematical logic and philosophy. Alonzo Church's long and distinguished career in mathematics and philosophy can be traced through his influential and wide-ranging writings. Church published his first article as an undergraduate at Princeton in 1924 and his last shortly before his death in 1995. This volume collects all of his published articles, many of his reviews, his monograph The Calculi of Lambda-Conversion, the (...) introduction to his important and authoritative textbook Introduction to Mathematical Logic, a substantial amount of previously unpublished work (including chapters for the unfinished second volume of Introduction to Mathematical Logic), and a selection of letters to such correspondents as Rudolf Carnap and W. V. O. Quine. With the exception of the reviews, letters, and unpublished work, these appear in chronological order, for the most part in the format in which they were originally published. Church's work in calculability, especially the monograph on the lambda-calculus, helped lay the foundation for theoretical computer science; it attracted the interest of Alan Turing, who later completed his PhD under Church's supervision. (Church coined the term “Turing machine” in a review.) Church's influential textbook, still in print, defined the field of mathematical logic for a generation of logicians. In addition, his close connection with the Association for Symbolic Logic and his many years as review editor for the Journal of Symbolic Logic are documented in the reviews included here. (shrink)

There is an increasing amount of empirical work investigating the sense of agency, i.e. the registration that we are the initiators of our own actions. Many studies try to relate the sense of agency to an internal feed-forward mechanism, called the ‘‘comparator model’’. In this paper, we draw a sharp distinction between a non-conceptual level of feeling of agency and a conceptual level of judgement of agency. By analyzing recent empirical studies, we show that the comparator model is (...) not able to explain either. Rather, we argue for a two-step account: a multifactorial weighting process of different agency indicators accounts for the feeling of agency, which is, in a second step, further processed by conceptual modules to form an attribution judgement. This new framework is then applied to disruptions of agency in schizophrenia, for which the comparator model also fails. Two further extensions are discussed: We show that the comparator model can neither be extended to account for the sense of ownership (which also has to be differentiated into a feeling and a judgement of ownership) nor for the sense of agency for thoughts. Our framework, however, is able to provide a unified account for the sense of agency for both actions and thoughts. (shrink)

Children may be viewed as public goods whereby both parents receive equal genetic benefits yet one parent often invests more heavily than the other. We introduce a microeconomic framework for understanding household investment decisions to address questions concerning conflicts of interest over types and amount of work effort among married men and women. Although gains and costs of marriage may not be spread equally among marriage partners, marriage is still a favorable, efficient outcome under a wide range of (...) conditions. This bioeconomic framework subsumes both cooperative and conflictive views on the sexual division of labor. We test hypotheses concerning marriage markets, assortative mating, and men’s labor motivations among Tsimane forager-horticulturalists of Bolivia and find that: (1) men and women both value work effort in marital partners, (2) marital labor contributions are complementary, (3) work effort is correlated between spouses, (4) total production is correlated with total reproduction, and (5) better hunters have higher fitness gains within marital unions. (shrink)

To what extent, if at all, should a just society adopt public policies that regulate and limit the amount of time people work? Attempts to answer this question face a dilemma: Either, we can adopt a laissez-faire view, according to which governments must refrain from imposing working time policies on the labour market. But this view generates a situation in which many citizens experience deep regret about the balance between work and leisure in their lives. Or, we (...) can endorse an interventionist view that advocates government imposition of working time policies. However, such a view appears to be objectionably perfectionist insofar as it imposes on citizens a particular conception of the ideal balance between work and leisure. This article proposes a way out of this dilemma. It shows that the interventionist view can be defended on the anti-perfectionist grounds that this helps address a collective action problem in the labour market – the working time rat race. Employers often use working time as a proxy for their employees’ productivity and commitment. Those who work particularly long hours are often awarded benefits such as raises or promotions or are spared from dismissals. This makes it individually rational for each worker to work extra hours in an attempt to outcompete colleagues. However, if many workers pursue this strategy, it loses its effectiveness. Workers with preferences for more leisure have a claim to state intervention to remove the rat race when this doesn’t impose disproportionate harm on third parties. (shrink)

Hans Reichenbach introduced two seemingly separate sets of distinctions in his epistemology at different times. One is between the axioms of coordination and the axioms of connections. The other distinction is between the context of discovery and the context of justification. The status and nature of each of these distinctions have been subject-matter of an ongoing debate among philosophers of science. Thus, there is a significant amount of works considering both distinctions separately. However, the relevance of Reichenbach's two distinctions (...) to each other does not seem to have enjoyed the same amount of interest so far. This is what I would like to consider in this paper. In other words, I am concerned with the question: what kind of relationship is there between his two distinctions, if there is any? (shrink)

This study focuses on two specific privacy policies, namely privacy assurance and personalization declaration. Specifically, we investigate how these distinct privacy policies affect customers’ privacy concerns and subsequent purchase responses. We have developed a conceptual model that addresses the independent effects of privacy assurance and personalization declaration, as well as the mechanism of these effects. Our model is grounded in motivation theory and supported by a field experiment and a controlled experiment. Our study demonstrates that privacy assurance that claims security (...) protection negatively affects customers’ purchase probability and purchase amount. By contrast, personalization declaration that addresses personalized benefits positively affects customers’ purchase probability and purchase amount. Privacy concerns significantly mediate the negative effects of privacy assurance on purchase responses and the positive effects of personalization declaration on purchase responses. Overall, our findings inform managers of how to deploy privacy policies to reduce customers’ privacy concerns and boost purchase responses. (shrink)

Risk management is a well-known method to face technological challenges through a win–win combination of protective and proactive approaches, fostering the collaboration of operators, researchers, regulators, and industries for the exploitation of new markets. In the field of autonomous and unmanned aerial systems, or UAS, a considerable amount of work has been devoted to risk analysis, the generation of ground risk maps, and ground risk assessment by estimating the fatality rate. The paper aims to expand this approach with (...) a tool for managing data protection risks raised by drones through the design of flight maps. The tool should allow UAS operators choosing the best air corridor for their drones based on the so-called privacy by design principle pursuant to Article 25 of the EU data protection regulation, the GDPR. Among the manifold applications of this approach, the design of fly zones for drones can be tailored for public authorities in the phase of authorization of new operations, much as for national Data Protection authorities that have to control the lawfulness of personal data processing by UAS operations. The overall aim is to present the first win–win approach to data protection issues, aerospace engineering challenges, and risk management methods for the threats posed by this technology. (shrink)