Contour adaptation is a recently described paradigm that renders otherwise salient visual stimuli temporarily perceptually invisible. Here we investigate whether this illusion can be exploited to study visual awareness. We found that CA can induce seconds of sustained invisibility following similarly long periods of uninterrupted adaptation. Furthermore, even fragmented adaptors are capable of producing CA, with the strength of CA increasing monotonically as the adaptors encompass a greater fraction of the stimulus outline. However, different types of adaptor patterns, such (...) as distinctive shapes or illusory contours, produce equivalent levels of CA suggesting that the main determinants of CA are low-level stimulus characteristics, with minimal modulation by higher-order visual processes. Taken together, our results indicate that CA has desirable properties for studying visual awareness, including the production of prolonged periods of perceptual dissociation from stimulation as well as parametric dependencies of that dissociation on a host of stimulus parameters. (shrink)

The purpose of this study was to investigate the ways novice social studies teachers perceived difficult discourses in their classrooms. Specifically, we sought to understand what social studies teachers think is difficult about navigating political discourses, and how they describe the nature of those discourses in order to draw conclusions about why some teachers choose to avoid or engage in political or social issues discussions with students. We used a collective case study and a grounded theory analysis of video recorded (...) class sessions and video guided debriefings with teachers to explore this phenomena. We found that the degree to which teachers thought the discourse to be difficult to navigate was shaped by: emotional safety of students, teacher's own ideologies, and the distances of students’ identities from the discourse. (shrink)

This article contemplates symbols and values inscribed on Cairo’s landscape during the 2011 revolution and the period since, focusing on Tahrir Square and the role of the Egyptian flag in street discourses there. I start by briefly pondering how intertwined popular narratives readied the square and flag as emblems of dissent. Next I examine how these appropriations shaped protests in the square, and how military authorities who retook control in 2013 re-coopted the square and flag, with the reabsorption of each (...) critical to that of the other and executed in the same place: Tahrir. Pro-military factions have created the pretense that they were for the revolution by altering the square and structures around it. Furthermore, the square has remained open to the public, but ceased to be inviting. This relates to post-revolutionary alterations that psychologically repel entry. I consider these changes in light of affordance theory, value sensitive design research and especially the defensible space model, arguing that Tahrir Square has been symbolically cordoned and closed. (shrink)

This book proposes an approach to Eurocentrism as a paradigm of knowledge production and interpretation rooted in the Western narrative of modernity and its racial governmentalities. It contributes to the critique of the contemporary workings of Eurocentrism and racism that have frustrated the struggles for the decolonization of knowledge and continue to shape our understandings of the world order in racially hierarchical terms, by re-centering the West/Europe"--Provided by publisher.

The principle of respect for autonomy often dominates the bioethical discourse. Yet despite its prominence, the exact contours are not always well defined. Widespread disagreement about the nature of autonomy has led some to conclude that autonomy is hopelessly vague and therefore ought to be abandoned in contemporary bioethics. Despite calls to move beyond it, autonomy remains at the center of bioethical reflection. The challenge, then, if autonomy is to function as a bedrock of contemporary bioethics, is to define more (...) clearly the shape of autonomy, to mark more precisely its conceptual boundaries, and to delineate more carefully how best autonomy is put into practice in medical ethics. In this article, I raise questions about the ways autonomy is used in theory, as well as the ways that it is operationalized in practice. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

We present a neuro-geometrical model for generating the shape of Kanizsa's modal subjective contours which is based on the functional architecture of the primary areas of the visual cortex. We focus on V1 and its pinwheel structure and model it as a discrete approximation of a continuous fibration π: R × P → P with base space the space of the retina R and fiber the projective line P of the orientations of the plane. The horizontal cortico-cortical connections of (...) V1 implement what the geometers call the contact structure of the fibration π, and defines therefore an integrability condition which can be shown to correspond to Field's, Hayes', and Hess' psychophysical concept of association field. We present then a variational model of curved modal illusory contours based on the idea that virtual contours are “geodetic” integral curves of the contact structure. (shrink)

There is a continuing debate in the field of perceptual organization as to whether the locus of global processing is early or late perceptual, as previous studies have yielded contrary results. The conducted behavioural study explored this issue with the paradigm of collating global processing with other process of perceptual organization, namely illusory contours processing. Interaction between these two processes of perceptual organization would indicate that global processing has an early perceptual locus, whereas the lack of such interaction would suggest (...) the late perceptual locus of global processing. In experiment 1, the effect of global dominance was obtained with the use of a compound figure composed of geometrical shapes with real edges. Results showed that the processing of the figure at the global level was faster and that it disrupted the processing of the figures from the local level. In experiment 1b, the compound figure was composed of local geometrical shapes generated with the use of the line-end induced illusory contours. Local elements with illusory contours did not affect the processing of the hierarchical structure and the effect of global precedence occurred without any changes. In experiment 2a, a global advantaged effect within a compound figure with local elements with real edges was obtained in the paradigm of attention divided between levels of the hierarchical structure. When illusory contours of local elements of a compound figure were introduced to this paradigm, this again had no effect on the perceptual global advantage. The results demonstrate the lack of interaction between global processing and illusory contour processing, indicating that the locus of global processing is rather late perceptual. (shrink)

In 1730, the Dutch cartographer and meteorological observer Nicolaas Samuel Cruquius constructed a spectacular map of the river Merwede. Cruquius’s map is celebrated as one of the earliest to use lines of equal depth—or indeed any type of contour lines. So far, however, the secondary literature has paid no attention to why Cruquius created these lines or to the knowledge involved in his innovation. This essay makes three related points. First, Cruquius intentionally used lines representing equal depth in an (...) entirely new way: whereas earlier maps had used similar lines to represent a river’s navigability, for Cruquius they visualized river flow. Second, different technical and epistemic practices grounded the making of the map: Cruquius built on his expertise in surveying but also on practices from both natural history and mathematical physics, with which he was familiar through contacts at Leiden University and the Royal Society of London. Third, Cruquius’s case does not fit with the way work cutting across different fields of expertise is usually conceptualized. Cruquius did not just straddle different fields. Instead, he gave new meaning to lines of equal depth by integrating specific practices from different fields of expertise and omitting others; through this integration, Cruquius created a way to visualize water flows and gave shape to possible new ways of acting on the river and its environment. (shrink)

The paper investigates Maurice Merleau-Ponty’s discussion of body and space and Gilles Deleuze’s reading of Francis Bacon’s work, in order to derive a renegotiated interrelation between habitual body, phenomenal space, preferential plane and constructive line. The resulting system is ap- plied as a filter to understand the sartorial fashion of Rei Kawakubo and Hussein Chalayan and their potential as a spatial prosthesis: the operative third skin. If the evolutionary nature of culture demands a constant change, how does the surface of (...) a third skin, which embodies the generative of stable/ unstable, respond to changes of context? The fleeting, shifting conditions of contemporary culture/ lifestyle rely upon, result in, and reflect one constant, change: change of working conditions, family structures, modes of inhabitation, relation networks, of userprofile and identity, of social and territorial boundaries. We occupy the shift- ing spatial parameters of a transitional supermodern environment. Culture, as enacted or embodied through each of these fields, is regulated by a number of abstract and factual variables that interplay constantly: time, space, movement, surface, individual, and data. Elizabeth Grosz argues that culture is an evolutionary effect: it regenerates itself in order to ensure the survival of the species. Each “prosthetic” expression of culture – language, fashion, architecture, etc. – changes repeatedly. Here change is not an end in itself, but a means. And the most successful prosthesis may not be the one that is able to answer the largest number of challenges, but one which itself undergoes a process of learning, self-modification, and differentiation – in short, a process of evolution. Any prosthesis is by nature an extension of the body. In the case of architecture and fashion the prosthesis addressing change is most often external to the body – a “cultural fur” or a surface phenomenon, that is, a highly profiled supplementary skin. As with all prostheses, their respective life-span depends on their ability to reflect a change in context and value systems. They are adapted or updated, if not, they vanish. Any situation of change is processed as a differentiation between the actual and the virtual of a given context. Grosz identifies distinctions between the actual and virtual, the real and the possible: the possible is a preformed real that has not yet received its final materiality, and thus delineates a range of options of becoming. The real is the blueprint of the possible, negotiated by factual limitations, and it is conjoint with the actual through a process of differentiation and divergence. The virtual comprises alternate variations of the actual, it defines a realm of deviation from the blueprint. In order to be responsive to change, the balance between the actual and virtual thus must be rendered unstable: “The virtual requires the actual to diverge, to differentiate itself, to proceed by way of division and disruption, forging modes of actualisation that will transform this virtual into others unforeseen or uncontained within it.” 4 The integration of the virtual allows a re-ordering of the blueprint, a return to the crossroad of possibilities, unlimiting and processing an alternative real, and establishing a state of continual change. A repeated change – not as a choice between a number of options but as a gradual process – marks the moment of evolution, and requires a dynamic system. Such a dynamic can be rendered as an adaptable, flexible, modular, mobile, or morphing system of change. The key lies with the fluency and ability of adaptation for the proposed differentiation between actual and virtual – thus it is an elastic change that is required. The nature of this elasticity is encoded in a repeated repositioning of the variables: a constant fine-tuning of a maximum number of parameters that engineer, alter and define the blueprint. When looking for a dynamic system that incorporates a transformation of skin or space, we are in search of dynamics through an operative surface, controlled by means of the constructive line. Both operative surface and constructive line are generative methods for the formation and form finding of the second and third skin of sartorial fashion and architecture respectively, as they both produce inhabitable or wearable envelopes with a specific responsiveness. Both professions share communication, coding and signage, form information programs, pattern charts, volume outlines, texture fields, surface operations, and implement electronic or digital extensions. In both, the constructive line shapes the surface twice: before production and in operation. The surface demarcates space, spatial envelope, enclosing garment, field of action. In which way can an operative system of the surface with stable/ unstable conditioning generate a phenomenological or evolutionary change in the reconstruction of body and context? How do time, space, movement, surface, individual and data interact in this framework? What is the impact of surface strategies and constructive line on that system? (shrink)

The modern university is a demoralizing institution, largely devoted to the propagation of nihilism and liberation of desire. The apotheosis of this hungry god of the untrammeled will has taken more than 200 years, but the slow ascent has given humanistic scholarship its basic shape. The ascent of 'reason' over tradition and religion, at the end of the eighteenth century, caused conservative thought to emerge, reluctantly, and frame rational defenses of natural (i.e. spontaneously evolved) social institutions and belief systems. (...) This has always been handicapped by the need to fight rationalism with reason. This same ascent inspired revolutionary theorists to frame their ringing denunciations and inspiring panaceas, most of which proved purely destructive because of the tragic inability of revolutionary practice to produce the promised and indispensable metanoia. Partly due to the limited success of conservative thought and revolutionary theory, untrammeled will has, more recently, ascended over reason, tradition, and religion, to give us the postmodern nihilism of Luciferian scholars. (shrink)

Platon zählt zu den einflussreichsten Philosophen aller Zeiten. Er beeinflusste maßgeblich Profil und Kanon der westlichen Philosophie. Die Kritik am sogenannten Platonismus wurde kontinuierlich von den Schwierigkeiten gespeist, die die Interpretation der philosophischen Schriften Platons bereitet. Gemeinhin wird er als rein rationaler Philosoph gesehen. Ein Philosoph war er in der Tat, ebenso jedoch ein Experte in der Annäherung an das Nicht-Rationale, unter anderem in Form von Mythen. So wurde er auch als "Mythenerfinder" und "Mythologe" bezeichnet. Platon war ein Visionär, der (...) es wagte, das Reich des Nicht-Rationalen auf systematische und disziplinierte Art zu erforschen. Insgesamt lässt sich Platons philosophisches Vorhaben als Streben nach einer umfassenden Sicht des organischen Ganzen klassifizieren. Der Ausdruck „Gestalt“ scheint die Ganzheit am ehesten zu beschreiben. Platon kann als prominentester und auch als letzter Repräsentant der antiken Philosophie angesehen werden, der die Entwicklung einer Gestalt-Philosophie anstrebte. Plato is one of the most influential philosophers of all time. He decisively shaped the profile and canon of western philosophy. Criticism of what has become known as Platonism has been continuously nourished by the difficulties of interpreting this philosopher's writings. Plato is commonly viewed as a purely rational philosopher. A philosopher he was indeed, but Plato was also an expert in approaching the non-rational, in the form of mythology among others. Plato has been called a "mythmaker" and a "mythologist". Plato was a visionary who dared to explore the realm of the non-rational in a systematic and disciplined way. In an overall comparison, Plato's philosophical enterprise strives for a comprehensive perspective on the organic whole. The expression "Gestalt" seems to come closest to describing the wholeness. Plato may be considered to be the most prominent representative of classical philosophy to develop a Gestalt philosophy and also the last to do so in antiquity. (shrink)

Two experiments were performed to explore the mechanisms of human 3D shape perception. In Experiment 1, the subjects’ performance in a shape constancy task in the presence of several cues (edges, binocular disparity, shading and texture) was tested. The results show that edges and binocular disparity, but not shading or texture, are important in 3D shape perception. Experiment 2 tested the effect of several simplicity constraints, such as symmetry and planarity on subjects’ performance in a shape (...) constancy task. The 3D shapes were represented by edges or vertices only. The results show that performance with or without binocular disparity is at chance level, unless the 3D shape is symmetric and/or its faces are planar. In both experiments, there was a correlation between the subjects’ performance with and without binocular disparity. Our study suggests that simplicity constraints, not depth cues, play the primary role in both monocular and binocular 3D shape perception. These results are consistent with our computational model of 3D shape recovery. (shrink)

We explore the legalization of the cannabis industry in the US, and point at the conflicted path through which this emerging industry has traversed. In particular, we highlight how this industry has navigated controversy to become one of the fastest growing industries in the world. The paper also offers a theoretical model that explains the role played by social movements to propel and shape early antagonism towards increasing protagonism. Evidence of the latter is seen in the form of cannabis (...) laws passing at the state level in the US. We posit that resource mobilization and shaping effects were instrumental in laying the grounds for legalization. A detailed timeline of the legalization for over one and a half centuries is also provided. Our synergistic approach integrates a historical perspective with social movement theory to address a relatively new and under examined phenomenon in the emerging US legal cannabis industry and ensuing ethical implications. (shrink)

This book traces the profound impact of technical media on the sound of music, asking: how do media technologies shape sound? How does this affect music? And how did it change what we listen for in music? Based on the information theoretical proposition that all transmission channels introduce noise and distortion, the argument accounts for the fact that technologically reproduced music is inherently shaped by the technologies that enable its reproduction. The media archaeological assessment of this noise of sound (...) media developed in the book draws from a wide range of sources, both theoretical and historical, conceptual and technical. Together, they show that noise should not be understood as unwanted by-effect but instead plays a foundational role in shaping the sonic contours of technologically reproduced music. Over the course of five chapters, the book sketches a broad history of the problem of noise in sound recording, looks at specific analog and digital noise-related technologies, traces the ideal of sonic purity back to key developments in nineteenth century acoustics, and develops an analysis of the close interrelation between noise and the temporality of sound. This relation, it argues, is central to the way in which recorded sound and music resonate with listeners. Ultimately, this media specific analysis of the noise of sound media thereby greatly enriches our understanding of the way in which they changed and continue to change the sonorous qualities of music, thus offering a new perspective on the interaction between music, media and listeners. (shrink)

In Part I of this book, I argued that preta narratives participated in a larger world-building process that negotiated the contours of the Buddhist cosmos and, with it, the place of the departed. Through stories about encounters between humans and pretas, Buddhist authors explored the place of the departed in a karmic cosmological system, worked out how to best assist them, and advocated for the importance of the sangha in facilitating these offerings. These tales do not merely reflect the process (...) through which the preta as a specific entity and rebirth category became distinguished from the ancestral departed, but also participated in this process. This illustrates the importance of viewing narratives, in Rob Campany's terms, as argumentative. Stories are not merely the distillation of more abstract doctrine but are sites for the construction of religious worldviews. This illustrates that religious cosmologies are not laid down fully formed in doctrinal treatises. They are cumulatively built over time, and "popular culture" can do important work in the aggregative construction of cosmologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Has Chalcedon to Do with Lhasa? John Keenan’s and Lai Pai-chiu’s Reflections on Classical Christology and the Possible Shape of a Tibetan Theology of IncarnationThomas CattoiThe starting point of this paper is a critique of John Keenan’s so-called “Mahāyāna Christology” in The Meaning of Christ, in light of Lai Pai-chiu’s “Chinese” response to Keenan’s position. My argument is that Lai correctly construes the Chalcedonian definition as a (...) critique of Hellenist ontology, but fails to critique Keenan’s crucial contention that this same definition ratifies the subjugation of lived spiritual experience to abstract philosophical speculation. I also claim that Lai does not engage Keenan’s flawed use, in his constructive Christology, of the teaching of the Buddha-bodies, which in my opinion could provide an apposite template for the development of a Tibetan contextual Christology. My paper has a twofold purpose: on one hand, I sketch the contours of a possible Tibetan theology of incarnation; on the other hand, I offer a few methodological reflections on the role of classical doctrinal definitions in the development of new contextual theologies.The burden of this paper is to offer a few suggestions toward the formulation of a culturally contextual theology of incarnation, which uses the resources of Mahāyāna speculation on the embodiment of the Buddha. My starting point is Lai’s critique of Keenan’s well-known 1989 volume The Meaning of Christ, in which Keenan sets out to critique traditional Hellenist Chalcedonian Christology and argues for an alternative articulation of the hypostatic union based on the Mahāyāna teaching of the Buddha-bodies.1 Lai’s article revisits Keenan’s critique and argues that the Chalcedonian definition, far from canonizing the uncritical appropriation of a school of thought, evidences the profound limitations of philosophical discourse. Keenan’s underlying contention that traditional Christology subjects the Christian message to the strictures of alien categories is thus deconstructed, although Lai goes on to offer yet one more Christological synthesis based on the Chinese understanding of Buddha nature. In my paper I concur with Lai’s reading of Chalcedonian categories, which I regard [End Page 13] as more accurate and fruitful than Keenan’s, but I also argue that Lai fails to engage the totality of Keenan’s argument and therefore does not appreciate the deeper flaws in Keenan’s appropriation of the Buddhakāya teaching. My constructive suggestion toward the end of this paper is that such teaching could actually provide a most useful template for the development of a “Tibetan” theology of incarnation, which would remain in continuity with the Chalcedonian tradition, and yet resort to the linguistic and philosophical categories of the local culture.Theologians wishing to develop contextual articulations of Christian doctrine often meet considerable resistance, since their emphasis on the culturally contingent nature of traditional formulas is seen as a challenge to their continuing normative character. As early as 1969, Joseph Ratzinger’s Introduction to Christianity expressed serious reservations about the growing tendency to “de-Hellenize” Christian theology and strongly reasserted the enduring “providential” character of traditional Trinitarian and Christological formulas.2 At the same time, the development of a postcolonial Christianity in many Asian and African countries could not but call for inculturated expressions of the Christian faith that embedded the Christian message in the categories of the local culture. Theologian Stephen B. Bevans begins his work Models of Contextual Theology claiming that in the contemporary world, “the contextualization of [Christian] theology [...] is really a theological imperative.” 3 The understanding of theology as an objective and unchanging science of faith is thus superseded by a new approach that gives pride of place to the religious experience of the individual and the community where he or she lives, operates, and worships.4 Bevans’s call for a contextual theology views the “experience of the present” as the ultimately normative benchmark against which the “experience of the past” is assessed, in the search for a new synthesis rooted in a particular cultural and social location.5The development of new Christological formulas that use the resources of Asian Buddhist culture is thus possible only after the... (shrink)

The concept of transformation has become a buzzword within the last few years. This has to do, first, with the ever broader recognition of the profound character of the environmental crisis, secondly, with increasingly obvious limits to existing forms of (global) environmental governance, thirdly, with the emergence of other dimensions of the crisis since 2008 and, fourthly, with intensified debates about required profound social change, especially of societal nature relations. However, the term transformation itself is contested. It largely depends on (...) theoretical assumptions as well as the plausibility and applicability of the arguments which are made. In this paper, a historical-materialist approach to social-ecological transformation is outlined by referring to a theoretically sophisticated understanding of ‘subject(s)’ of transformation as well as the ‘object(s)’ of what is to be transformed. Theoretical concepts like the capitalist mode of production, regulation and hegemony, a critical understanding of the state and governance as well as the term societal nature relations are key. Such a perspective contributes to a more sophisticated understanding of the obstacles and requirements of real-world transformation. Finally, the argument has implications for visions and strategies, i.e., an emancipatory and democratic shaping of social relations and societal nature relations. (shrink)

Previous studies have shown that Chinese speakers and non-Chinese speakers exhibit different patterns of cross-modal congruence for the lexical tones of Mandarin Chinese, depending on which features of the pitch they attend to. But is this pattern of language-specific listening a conscious cultural strategy or an automatic processing effect? If automatic, does it also apply when the same pitch contours no longer sound like speech? Implicit Association Tests (IATs) provide an indirect measure of cross-modal association. In a series of IAT (...) studies, conducted with participants with three kinds of language backgrounds (Chinese-dominant bilinguals, Chinese balanced bilinguals, and English speakers with no Chinese experience) we find language-specific congruence effects for Mandarin lexical tones but not for matched sine-wave stimuli. That is, for linguistic stimuli, non-Chinese speakers show advantages for pitch-height congruence (high-pointy, low-curvy); no congruence effects were found for Chinese speakers. For non-linguistic stimuli, all participant groups showed advantages for pitch-height congruence. The present findings suggest that non-lexical tone congruence (high-pointy, low-curvy) is a basic congruence pattern, and the acquisition of a language with lexical tone can alter this perception. (shrink)

The emerging contours of global philosophy are being shaped by worldwide exchanges, diverse methods and approaches, the diminution of cultural hegemony, and expanded access to philosophical discussion. But globally intentioned scholars whose formative intellectual preparation is Anglo-European may be unaware of the role played by the imaginary in suppressing ideas and values that differ from one's root tradition. This essay uses a model of the Western philosophical imaginary taken from French researcher Michèle Le Doeuff, and draws connections between Le Doeuff's (...) attempts to expose and interrupt the Western imaginary and the efforts of philosophers who wish to cross geographical and cultural boundaries. It is argued that Le Doeuff's critical approach has much to offer those who wish to cultivate a more receptive and supple philosophical sensibility—a global sensibility—and that this approach can be complemented by a horizontal practice adapted from Mahāyāna Buddhist sources. The purpose of this essay is to promote continuing dialogue about how best to realize the promise of globalization in philosophical practice. (shrink)

Proposals for how to redesign democracy so as to better secure the demands of intergenerational justice can be divided into three broad families: (1) representative proxies; (2) differential voting schemes; and (3) counter-majoritarian devices. However, these proposals suffer from a fundamental weakness: namely, they all assume that despite the fact that democracy is by its very nature ill-equipped to secure intergenerational justice, it is nevertheless possible to rely on democracy to solve this problem in the first place. But that, to (...) put it colloquially, is like thinking that one can pull oneself up by one’s own bootstraps. This paper sketches the shape and contours of a solution to this problem that is better able than the alternatives to escape this objection. This solution draws upon the strategy of a so-called ‘non-reformist reform.’. (shrink)

We show that early vision can use monocular cues to rapidly complete partially-occluded objects. Visual search for easily detected fragments becomes difficult when the completed shape is similar to others in the display; conversely, search for fragments that are difficult to detect becomes easy when the completed shape is distinctive. Results indicate that completion occurs via the occlusion-triggered removal of occlusion edges and linking of associated regions. We fail to find evidence for a visible filling-in of contours or (...) surfaces, but do find evidence for a "functional" filling-in that prevents the constituent fragments from being rapidly accessed. As such, it is only the completed structures—and not the fragments themselves—that serve as the basis for rapid recognition. (shrink)

Neither traditional philosophy nor current applied ethics seem able to cope adequately with the highly dynamic character of our modern technological culture. This is because they have insufficient insight into the moral significance of technological artifacts and systems. Here, much can be learned from recent science and technology studies. They have opened up the black box of technological developments and have revealed the intimate intertwinement of technology and society in minute detail. However, while applied ethics is characterized by a certain (...) “technology blindness,” the most influential approaches within STS show a “normative deficit” and display an agnostic or even antagonistic attitude toward ethics. To repair the blind spots of both applied ethics and STS,the authors sketch the contours of a pragmatist approach. They will explore the tasks and tools of a pragmatist ethics and pay special attention to the exploration of future worlds disclosed and shaped by technology and the management of deep value conflicts inherent to a pluralist society. (shrink)

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also complicates and (...) enriches our understanding of modernism. Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic. (shrink)

Philosophical work exploring the relation between cognition and the Internet is now an active area of research. Some adopt an externalist framework, arguing that the Internet should be seen as environmental scaffolding that drives and shapes cognition. However, despite growing interest in this topic, little attention has been paid to how the Internet influences our affective life — our moods, emotions, and our ability to regulate these and other feeling states. We argue that the Internet scaffolds not only cognition but (...) also affect. Using various case studies, we consider some ways that we are increasingly dependent on our Internet-enabled “techno-social niches” to regulate the contours of our own affective life and participate in the affective lives of others. We argue further that, unlike many of the other environmental resources we use to regulate affect, the Internet has distinct properties that introduce new dimensions of complexity to these regulative processes. First, it is radically social in a way many of these other resources are not. Second, it is a radically distributed and decentralized resource; no one individual or agent is responsible for the Internet’s content or its affective impact on users. Accordingly, while the Internet can profoundly augment and enrich our affective life and deepen our connection with others, there is also a distinctive kind of affective precarity built into our online endeavors as well. (shrink)

This article is concerned with thinking transformations of the secular, and does so in relation to two theoretical terrains, while empirically grounded in ethnographies of Christian and Islamic pious women in the Netherlands. A first theoretical terrain under consideration is that of how the relation between modernity and religion is elaborated, notably in secularization theories, and how these established frameworks are challenged by a different kind of articulation between modernity and religion that I observed in narratives and practices of young (...) Evangelical and Islamic women in the Netherlands. The article traces the contours of a `pious modern', showing how from a faith-centred perspective the modern can be incorporated and indeed produced. In this context, I argue that the way in which notions of modernization and secularization have been theoretically hinged on each other needs to be further revisited, and I propose to consider the `post-secular' as a new disarticulation between the modern and the secular. A second theoretical terrain concerns questions of agency and subjectivity. Here I trace how situating religious agency in its own grammar makes secular assumptions in social, critical and feminist theory visible, and generates different understandings not only of agency but also of notions such as autonomy, and the capacity to act and shape the world. (shrink)

Since the emergence of neo-evolutionism in the 1960s, various critiques of the theory of social or socio-cultural evolution have been forwarded, including notably those of Immanuel Wallerstein, Alain Touraine and Anthony Giddens who decisively reject the idea of evolution. Within this context, Jürgen Habermas's theory of socio-cultural evolution has also become a specific object of critique, the best known in the English-speaking world being, perhaps, Michael Schmid's critique. While the latter is ultimately based on neo-Darwinistic assumptions which allow a non-Marxist (...) alternative to be pitted against Habermas's position, a significant immanent critique has been taking shape during the late 1970s and 1980s the contours of which are at present starting to become visible, despite the fact that as yet it is nowhere developed and presented in a systematic manner. I have in mind here the work of younger authors belonging to the circle around Habermas, such as Johann Arnason, Axel Honneth, Hans Joas, Günter Frankenberg, Ulrich Rödel, and Klaus Eder, who have not only developed a critique of Habermas but are also engaged in developing an alternative to him within the framework of critical theory. (shrink)

The perception of the lightness of surfaces has been shown to be affected by information about the spatial configuration of those surfaces and their illuminants. For example, two surfaces of equal luminance can appear to be of very different lightness if one of the two appears to lie in a shadow. How are we to understand the character of the processes that integrate such spatial configuration information so as to yield the eventual appearance of lightness? This paper makes some simple (...) observations about the vocabulary of appearance used in these contexts, and proposes that the end results can be called "phenomenal" in a traditional sense of that word. Processes whose products are phenomenal are next distinguished from processes characterized in other terms: (a) processes of perceptual grouping; (b) processes of perceptual organization; and (c) attentional (as opposed to preattentive) processes. These four categories are conceptually and empirically distinct. In particular, the paper reviews some evidence that appearances as of contours, occlusion, and amodally completed shapes can occur preattentively. Some implications for understanding gestalt grouping processes are briefly discussed. (shrink)

What is the most important reason for using Computer Vision methods in humanities research? In this article, I argue that the use of numerical representation and data analysis methods offers a new language for describing cultural artifacts, experiences and dynamics. The human languages such as English or Russian that developed rather recently in human evolution are not good at capturing analog properties of human sensorial and cultural experiences. These limitations become particularly worrying if we want to compare thousands, millions or (...) billions of artifacts—i.e. to study contemporary media and cultures at their new twenty-first century scale. When we instead use numerical measurements of image properties standard in Computer Vision, we can better capture details of a single artifact as well as visual differences between a number of artifacts–even if they are very small. The examples of visual dimensions that numbers can capture better then languages include color, shape, texture, contours, composition, and visual characteristics of represented faces, bodies and objects. The methods of finding structures and relationships in large numerical datasets developed in statistics and machine learning allow us to extend this analysis to very big datasets of cultural objects. Equally importantly, numerical image features used in Computer Vision also give us a new language to represent gradual and continuous temporal changes—something which natural languages are also bad at. This applies to both single artworks such as a film or a dance piece and also to changes in visual characteristics in millions of artifacts over decades or centuries. (shrink)

Although more and more researches have shown that edge-based information is more important than surface-based information in object recognition, it remains unclear whether edge-based features play a more crucial role than surface-based features in category learning. To address this issue, a modified prototype distortion task was adopted in the present study, in which each category was defined by a rule or similarity about either the edge-based features (i.e., contours or shapes) or the corresponding surface-based features (i.e., color and textures). The (...) results of Experiments 1 and 2 showed that when the category was defined by a rule, the performance was significantly better in the edge-based condition than in the surface-based condition in the testing phase, and increasing defined dimensions enhanced rather than reduced performance in the edge-based condition but not in the surface-based condition. The results of Experiment 3 showed that when each category was defined by similarity, there was also a larger learning effect when the category was defined by edge-based dimensions than by surface-based dimensions in the testing phase. The current study is the first to provide convergent evidence that the edge-based information matters more than surface-based information in incidental category learning. (shrink)

Reduction and reductionism have been central philosophical topics in analytic philosophy of science for more than six decades. Together they encompass a diversity of issues from metaphysics and epistemology. This article provides an introduction to the topic that illuminates how contemporary epistemological discussions took their shape historically and limns the contours of concrete cases of reduction in specific natural sciences. The unity of science and the impulse to accomplish compositional reduction in accord with a layer-cake vision of the sciences, (...) the seminal contributions of Ernest Nagel on theory reduction and how they strongly conditioned subsequent philosophical discussions, and the detailed issues pertaining to different accounts of reduction that arise in both physical and biological science (e.g., limit-case and part-whole reduction in physics, the difference-making principle in genetics, and mechanisms in molecular biology) are explored. The conclusion argues that the epistemological heterogeneity and patchwork organization of the natural sciences encourages a pluralist stance about reduction. (shrink)

The opposition in which many phenomenologists of religion stand to the above remarks is clear. Religious consciousness of the world, in being tied to the language of a particular faith, requires conceptual mastery for its emergence. Linguistic and non-linguistic skills in the use of concepts must be developed through fledgling attempts and repeated practice. In noticing this, attention has been called to the fact that such consciousness is far from being man's natural inheritance. It is acquired through instruction and learning, (...) and the concepts which generate Christian consciousness of the world make demands upon a person which go straight against his grain. Using the Christian concepts as tools in handling the various situations along life's way requires strenuous and repeatedly renewed effort. There remains a certain Christian distance from ordinary ways of doing commerce with the world. The way, after all, is said to be narrow. So to become conscious of the world in a Christian manner is to submit oneself to the rigors of the concepts. It is to permit one's life to be guided and ruled thereby in his regard for the world.In making these observations, it becomes clear, too, that the Christian life and consciousness is one in which a man chooses to be enmeshed. It is a matter of human decision. In so choosing, a man makes his life determinate; he gives it shape. The specificity or concreteness demanded in and with the language of faith should be contrasted with the rather diffuse and indeterminate character of the religious awareness thought to be so deep and abiding by phenomenologists. Because of its lack of particularity in contour, this notion of religious consciousness is virtually inconsequential. That which is increasingly common to all men begins to wane in significance within the life of the single individual. Comparatively speaking, the choice to reduplicate Christian avenues of thinking and acting is replete with ramifications and differences which are clearly discernible. By virtue of the specificity required, however, it is also the case that one must renew that decision daily, seek to nurture it, train and discipline himself in it. Making the faith one's own, abiding in it day and night--these lead down different pathways. But the distinctive patterns of living and thinking add up after a while with a cumulative effect. Through the acquisition and practice in exercising'Christian concepts, one earns a consciousness of the world which is Christian in scope and nature. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

Jacques Lacan’s theorization of the imaginary has been regarded generally as an organic part of the crucial development of psychoanalytic theory in its post-Freudian stage. This article situates the Lacanian imaginary in the context of contemporary discussions of ‘theory after poststructuralism’, arguing that it moves radically beyond the poststructuralist terrains of deconstruction and discourse-analysis, and is able to off er new insights on various studies. Especially, it can help (re)examine some aporias in the field of Sinology. This article devotes its (...) main body to demonstrating that the Lacanian account of the imaginary is powerful in exploring the assumptions and expectations of modern Sinophone intellectual discourse. Deconstructive discourse-analysis alone is insufficient for understanding the underlying forces that have been fundamentally shaping the contours of modern Chinese intellectuality, and attention needs to be paid to the psychological dimension of Chinese thought. With the aim of tracing and interrogating these underlying forces, this article seeks to show how the fervor for discussing the ‘problem of China’ reveals a hidden psychical mechanism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 163-179 [Access article in PDF] Emptiness and Dogma Joseph S. O'Leary Sophia University The controversial Vatican document Dominus Iesus reasserts that non-Christian religions are objectively in a defective situation as regards salvation.Etymologically, salvation (soteria salus) means health. Here I should like to reflect on apparent symptoms of ill health in Christian theology and ask if Buddhist wisdom can help us formulate a diagnosis and bring (...) the issues into perspective in a healing way. I shall take as my guiding thread an idea familiar to readers of this journal, namely, that Christian theology has suffered from a delusive clinging to substance and identity, and that the Buddhist teachings of dependent co-arising, emptiness, and non-self may provide an antidote.Biblical and Christian traditions are rich in resources for a critique of substantialist conceptions of God and self. The God of the Bible is constantly shattering the fixated, idolatrous images his worshippers form of him, and the Johannine language of God as Spirit, light, love, locates God in a dynamic realm of communal contemplation from which it would be difficult to distill a well-defined divine substance suited to metaphysical analysis. As for self, Paul, and later Luther, present the Christian self as an existential and relational event, not a substantial self-contained soul.What of Christian theology as shaped from Greek metaphysics? Is it irredeemably substantialist, prey to naive reification and objectification? The definition of God as ipsum esse subsistens("being itself subsisting") sufficiently eludes objectification to include the Plotinian sense of God as "beyond being." The idea adopted from Aristotle that "the soul [as knower] is in a manner all things" suggests that metaphysical theology also developed a nonobjectifying conception of human being. The Christological debates of the early Christian centuries rely of necessity on substance language, yet in placing that terminology at the service of a revealed mystery beyond the grasp of language or thought, they introduce a ferment of paradox into the play of concepts and make of it a dance of traces, following the contours of a reality that cannot be brought under substantialist rubrics.Some might see the brilliant relational fireworks of Thomist trinitarian speculation as deconstructing logocentric images of divinity. However, the Trinity in itself is probably best seen as an abstract remainder concept, postulated as a dim background of the revealed phenomenon of Father, Jesus Christ, and Spirit, so that to spin stories of theories about it is futile, a form of misplaced concreteness. Robert Magliola finds [End Page 163] Nagarjunian resonances in the trinitarian logic of the Council of Florence, notably in the decree it addressed to the Copts in 1442 (Magliola, 85-89). The Copts were given an extra dose of the logic that had caused profound unease among the Greek delegates three years earlier (see Gill, 227-232; 325). How much of this later logic did the Latins read back into the patristic texts they cited? Though unbeatable in the fifteenth century, how convincing is it today? Theology has to face the hermeneutical task, and an ongoing one, of assessing the status and function of this trinitarian logic and referring it back to the biblical basis.The desubstantializing tendencies just noted can be drawn on in a contemporary "overcoming of metaphysics" in theology. But the mainstream of the tradition invested massively in substance and identity. It was by strong affirmations of substantial identity that Christianity made its way in the world. Dogma determined the identities of Father, Son, and Spirit as consubstantial hypostases of the one God, the identity of Jesus Christ as true God and true man united in one hypostasis, the real presence of Christ in the Eucharist, the unity, sufficiency, infallibility of the Church and its Scriptures, the continuity of the episcopal and papal ministries as transmitted from the apostles. The substantiality of what was proclaimed was matched by the total conviction of the faith that proclaimed it. Theologians might tinker with speculative elaborations, but the core of faith and dogma was untouchable, never subjected to doubt or questioning.It is a kind of metadogma that all... (shrink)

Money has come a long way from the substances and shapes it had in antiquity and early modernity to the ever more ephemeral forms it took on in the last decades. A further step in this direction to an increasingly virtual world of finance is digital money. Amongst digital currencies, cryptocurrencies like Bitcoin and the many hundred altcoins created lately, stand out because of the challenge they pose to the conventional contour and conception of monetary systems. In addition to (...) private banks and the public hand, via cryptocurrencies now also individuals emerge as emitters of currency. Whereas formerly the sovereignty over the issuance of money was anchored locally or nationally, backed by tangible private or public institutions, cryptocurrencies immediately surface globally within the intangible cyberspace of the worldwide web. In this novel realm of money, the cryptocurrencies Bitcoin and Ripple stand for two different approaches to the question as to which impact money ought to have in people’s lives, and as to how individuals in turn can influence the nature and future of money. The article discusses the moral claims of these rivaling conceptions. (shrink)

The main purpose of this book is to look at a range of ubiquitous phenomena that make up our daily life and to ask not so much "whether" but "what" psychoanalytic thinking can add to our current understanding of these phenomena. Could there be another layer, below the obvious surface-layer, that needs to be explored further? And if so, can psychoanalytic light reflect upon and illuminate some of the new contours and shapes perhaps previously not fully seen or appreciated? What (...) interim conclusions can we reach as a result of this reflection upon our modern world? This book is linked to its immediate predecessor Psychoanalytic Perspectives on a Turbulent World but it differs significantly in tone, light and composition. This new book no longer addresses itself to the complex and troubling issues such as war, conflict, the global financial crisis and our struggle with leadership, instead, it tends to focus on the lighter side of life. (shrink)

In this paper we describe a test for Nijhout's hypothesis that the eyespot patterns on butterfly wings are the result of a threshold reaction of the epidermal cells to a concentration gradient of a diffusing degradable morphogen produced by focal cells at the centre of the future eyespot. The wings of the nymphalid butterfly, Bicyclus anynana, have a series of eyespots, each composed of a white pupil, a black disc and a gold outer ring. In earlier extirpation and transplantation experiments (...) it has been established that these eyespots are indeed organised around groups of signalling cells active during the first hours of pupal development. If these cells were to supply the positional information for eyespot formation in accordance with Nijhout's diffusion-degradation gradient model, then, when two foci are close together, the signals should sum, and this effect should be apparent in the detailed shape of the resulting pigment pattern. We give an equation for the form of the contours that would be obtained in this manner. We use this to test the morphogen gradient hypothesis on measurements of the outlines of fused eyespots obtained either by grafting focal cells close together, or by using a mutation that produces adjacent fused eyespots. The contours of the fused patterns were found to satisfy our equation, thus corroborating Nijhout's hypothesis to the extent possible with this particular type of experiment. (shrink)

Diving into the life of the tropical coral reefs and Amadou Hampâté Ba’s reflections on the person conjoin in this work, which is at once philosophical and poetic. The permeable parameters of philosophy, which enable thought to hover between unstable contours rather than to prioritize secure foundations, open to a porous imagination, tracing and retracing panoramic geographies and contemporary tensions of globalization and development. Porous imagination slips, glides, between archipelagos of clay rooftops and refuge dotting the Sudan and the smallest (...) of creatures, source of half the earth’s oxygen and base of the global food chain, the plankton. Concomitantly, ideational codes of nation, continent, humanity, nature, land and water interactively stretch and unwind, shaping a polymetrics of sites and an aesthetics of nourishment. In an epoch beset by the treacherous fractals of overpowering domination and luminous liberation, the morphosis of philosophy through transdisciplinary and transcultural interpretation offers new ways of listening to and retuning songs of sorrow and lament. Pp. 429-435. (shrink)

Breaking off the ordinary flow of experience, the passions create a state of exception. In their suddenness and intensity, they map a personal world, fix and qualify our attention, and impel our actions. Outraged anger drives us to write laws that will later be enforced by impersonal justice. Intense grief at the death of someone in our life discloses the contours of that life to us. Wonder spurs scientific inquiry. The strong current of Western thought that idealizes a dispassionate world (...) has ostracized the passions as quaint, even dangerous. Intense states have come to be seen as symptoms of pathology. A fondness for irony along with our civic ideal of tolerance lead us to prefer the diluted emotional life of feelings and moods. Demonstrating enormous intellectual originality and generosity, Philip Fisher meditates on whether this victory is permanent-and how it might diminish us. From Aristotle to Hume to contemporary biology, Fisher finds evidence that the passions have defined a core of human nature no less important than reason or desire. Traversing the Iliad, King Lear, Moby Dick, and other great works, he discerns the properties of the high-spirited states we call the passions. Are vehement states compatible with a culture that values private, selectively shared experiences? How do passions differ from emotions? Does anger have an opposite? Do the passions give scale, shape, and significance to our experience of time? Is a person incapable of anger more dangerous than someone who is irascible? In reintroducing us to our own vehemence, Fisher reminds us that it is only through our strongest passions that we feel the contours of injustice, mortality, loss, and knowledge. It is only through our personal worlds that we can know the world. (shrink)

Feminist philosophers need a theory of distrust that can make sense of the institutional distrust that is common among people who face systemic oppression. Our purpose in this chapter is to lay the groundwork for such a theory. Our strategy is to use feminist insights about institutional distrust to critique the most general and well-developed theory of distrust in philosophy—Katherine Hawley’s commitment account—and to learn from this exercise about what a feminist theory of distrust should be like. Though not designed (...) to explain institutional distrust as we understand it, Hawley’s theory is meant to apply to people’s relationships with institutional representatives as well as to friendships or intimate relationships whose contours are shaped by informal institutional structures. It should therefore be able to explain the institutional distrust that is prevalent among oppressed people. However, we argue that it falls short in this regard. The chapter ends with discussion about what our critique suggests about future directions for the feminist philosophy of distrust. (shrink)