This chapter contains sections titled: I Tattoo Myself, Therefore I Will Commit Murder The Mark of Cain Tatau: First Signifier Name Beyond Face Truth Itself, Unread Tattoo Devotion.

Lists of species underpin many fields of human endeavour, but there are currently no universally accepted principles for deciding which biological species should be accepted when there are alternative taxonomic treatments (and, by extension, which scientific names should be applied to those species). As improvements in information technology make it easier to communicate, access, and aggregate biodiversity information, there is a need for a framework that helps taxonomists and the users of taxonomy decide which taxa and names should be used (...) by society whilst continuing to encourage taxonomic research that leads to new species discoveries, new knowledge of species relationships, and the refinement of existing species concepts. Here, we present 10 principles that can underpin such a governance framework, namely (i) the species list must be based on science and free from nontaxonomic considerations and interference, (ii) governance of the species list must aim for community support and use, (iii) all decisions about list composition must be transparent, (iv) the governance of validated lists of species is separate from the governance of the names of taxa, (v) governance of lists of accepted species must not constrain academic freedom, (vi) the set of criteria considered sufficient to recognise species boundaries may appropriately vary between different taxonomic groups but should be consistent when possible, (vii) a global list must balance conflicting needs for currency and stability by having archived versions, (viii) contributors need appropriate recognition, (ix) list content should be traceable, and (x) a global listing process needs both to encompass global diversity and to accommodate local knowledge of that diversity. We conclude by outlining issues that must be resolved if such a system of taxonomic list governance and a unified list of accepted scientific names generated are to be universally adopted. (shrink)

There is overwhelming evidence that the opioid crisis—which has cost hundreds of thousands of lives and trillions of dollars (and counting)—has been created or exacerbated by webs of influence woven by several pharmaceutical companies. These webs involve health professionals, patient advocacy groups, medical professional societies, research universities, teaching hospitals, public health agencies, policymakers, and legislators. Opioid companies built these webs as part of corporate strategies of influence that were designed to expand the opioid market from cancer patients to larger (...) groups of patients with acute or chronic pain, to increase dosage as well as opioid use, to downplay the risks of addiction and abuse, and to characterize physicians’ concerns about the addiction and abuse risks as “opiophobia.” In the face of these pervasive strategies, conflict of interest policies have proven insufficient for addressing corporate influence in medical practice, medical research, and public health policy. Governments, the academy, and civil society need to develop counterstrategies to insulate themselves from corporate influence and to preserve their integrity and public trust. These strategies require a paradigm shift—from partnerships with the private sector, which are ordinarily vehicles for corporate influence, to a norm of separation. (shrink)

This article examines the complex relationship between power and the physical and social practices of tattooing in contemporary United States. Briefly tracing the history of tattooing from ancient Greece to contemporary America, I highlight the temporal and geographical changes in the practices and perceptions of tattooing. In addition to creating a historical narrative, I situate the sociocultural practice of tattooing the body for the tattooist and the `tattooee'. This investigation into body inscription serves as a means to elucidate (...) the contemporary practice of tattooing as one that is simultaneously physical and social, with multiple levels of constructed meaning. Finally, I will explore how tattooing, as a form of body modification, can be analyzed as a form of resistance to or a symptom of a culture that has commodified the body. (shrink)

The age of information, media, and virtuality is transforming every aspect of human experience. Questions that have long haunted the philosophical imagination are becoming urgent practical concerns: Where does the natural end and the artificial begin? Is there a difference between the material and the immaterial? In his new work, Mark C. Taylor extends his ongoing investigation of postmodern worlds by critically examining a wide range of contemporary cultural practices. Nothing defines postmodernism so well as its refusal of depth, (...) its emphasis on appearance and spectacle, its tendency to collapse a three-dimensional world in which image and reality are distinct into a two-dimensional world in which they merge. The postmodern world, Taylor argues, is a world of surfaces, and the postmodern condition is one of profound superficiality. For many cultural commentators, postmodernism's inescapable play of surfaces is cause for despair. Taylor, on the other hand, shows that the disappearance of depth in postmodern culture is actually a liberation repleat with creative possibilities. Taylor introduces readers to a popular culture in which detectives--the postmodern heroes of Paul Auster and Dennis Potter--lift surfaces only to find more surfaces, and in which fashion advertising plays transparency against hiding. Taylor looks at the contemporary preoccupation with body piercing and tattooing, and asks whether these practices actually reveal or conceal. Phrenology and skin diseases, the "religious" architecture of Las Vegas, the limitless spread of computer networks--all are brought within the scope of Taylor's brilliant analysis. Postmodernism, he shows, has given us a new sense of the superficial, one in which the issue is not the absence of meaning but its uncontrollable, ecstatic proliferation. Embodying the very tendencies it analyzes, Hiding is unique. Conceived and developed with well-known designers Michael Rock and Susan Sellars, this work transgresses the boundary that customarily separates graphic design from the story within a text. The product of nearly three decades of reflection and writing, Hiding opens a window on contemporary culture. To follow the remarkable course Taylor charts is to see both our present and past differently and to encounter a future as disorienting as it is alluring. (shrink)

Tradition is a central concern for a wide range of academic disciplines interested in problems of transmitting culture across generations. Yet, the concept itself has received remarkably little analysis. A substantial literature has grown up around the notion of 'invented tradition,' but no clear concept of tradition is to be found in these writings; since the very notion of 'invented tradition' presupposes a prior concept of tradition and is empty without one, this debunking usage has done as much to obscure (...) the idea as to clarify it. In the absence of a shared concept, the various disciplines have created their own vocabularies to address the subject. Useful as they are, these specialized vocabularies (of which the best known include hybridity, canonicity, diaspora, paradigm, and contact zones) separate the disciplines and therefore necessarily create only a collection of parochial and disjointed approaches. Until now, there has been no concerted attempt to put the various disciplines in conversation with one another around the problem of tradition. Combining discussions of the idea of tradition by major scholars from a variety of disciplines with synoptic, synthesizing essays, Questions of Tradition will initiate a renewal of interest in this vital subject. (shrink)

A number of writers have picked out the way knowledge in the human sciences reflexively alters the human subject as what separates these sciences from the natural sciences. Furthermore, they take this reflexivity to be a condition of moral existence. The article sympathetically examines this emphasis on reflexive processes, but it rejects the particular conclusion that the reflexive phenomenon enables us to demarcate the human sciences. The first sections analyse the different meanings that references to reflexivity have in the (...) psychological and social sciences, in philosophy and in material life, and they link these meanings to the post-positivist philosophy of the social sciences. The discussion considers the problems raised (most influentially in the human sciences by Foucault) by being reflexive about reflexivity itself. They put a large question mark against hopes for a revived philosophical anthropology. Whatever the philosophical arguments, however, there is clearly a reflexive practice in the humanities and human sciences which there is not in the natural sciences. This leads to the argument that there are different forms of knowledge for different purposes and that it may therefore be divergence of purpose, not reflexivity itself, that creates differences among the sciences. It is the fact and purpose of human self-reflection that marks out the human sciences. If this is so, then it explains why an apparently circumscribed question about the classification of knowledge turns out to be inseparable from ontological and moral questions about human identity. (shrink)

The stock exchange is regarded as one of the key institutions of market economy. Stockbrokers were a truly essential group of workers of the stock exchanges. It was on the level of their organization and professional ethics that depended the level of efficient functioning of this institution. The basic law regulations, orders and stock charters were traced in this paper as well as – essential for exchanges – different documents, which marked principles of stockbrokers’ activity. These principles were considered (...) class='Hi'>from the point of view of the ethical norms establishing the contemporary ethics of economic life. My special attention was concentrated on these principles of stockbrokers’ activities which concern the way of their appointing, rights as well as duties. „Ethical aspects” of stockbrokers’ activity on the Polish stock-exchanges were traced for the period from acceptation, in 1921, the first in independent Poland Act of exchanges organization to the outbreak of World War II. Except stock exchanges which were formed during the Period of the Partitions of Poland (in Warsaw and Lodz), and which resumed their activities after World War I, the new ones were created when Poland had regained its independence. Stock exchanges – except the above-mentioned – were organized in Cracow, Poznan, Vilnius and in Lvov. In initial period of the second Republic of Poland acted six commodities exchanges too. The comparatively quick unification of exchange law by the government of independent Poland was the expression of understanding the importance which was fulfilled (not only) in economy by the institution of stock exchange. In turn, issuing separate regulations for stockbrokers was proof of high position held by this group in the structure of the basic organs of a stock exchange. (shrink)

The present study focused on the dynamics and factors underpinning domestic abuse survivors’ decisions to end the abusive relationship. The experiences and opinions of 12 female DA survivors and 18 support workers were examined through in-depth, one-to-one, semi-structured interviews. Hybrid thematic analysis was conducted to retrieve semantic themes and explore relationships among the themes identified and the differences in survivors’ and professionals’ narratives of the separation process. The findings highlighted that separation decisions derived from the joint action of two (...) sets of factors, the “promoters” and the “accelerators.” Whilst the “promoters” are factors leading to the separation from the abuser over time, the “accelerators” bear a stronger and more direct connection with survivors’ decision to end the abusive relationship. Despite their differences, both these factors acted as propelling forces, leading survivors to actively pursue the separation from the perpetrator. To portray the dynamic links among these factors, we propose a conceptualisation drawn from Newton’s laws of motion. Our findings also highlighted important differences in the views of survivors and support workers, as the former conceived themselves as proactive in ending the abuse, whereas the latter described the leaving process as mainly led by authorities and services supporting survivors. This study has potential implications for research, policy and clinical practice, as it suggests that far from being a linear sequence of multiple stages, leaving an abusive relationship results from a complex interplay of factors that facilitate or drastically accelerate the separation process. We argue that future research should aim at improving our current understanding of the subjective and situational factors that can act as “accelerators” or “promoters” for women’s leaving decisions. Moreover, clinicians and policymakers should invest in creating interventions that aid victims to recognise and leverage promoters and accelerators, thus increasing their readiness to end the abuse. (shrink)

This article examines Marcel Gauchet’s claim that the political history of religion is the key to a new understanding of contemporary liberal democratic societies in the shape that they have come to assume since the 1970s. The Disenchantment of the World presents a history of religion starting out from the thesis that, from the perspective of universal history, the primary function of religion can be identified with the production of the unity and identity of societies. Present-day liberal democracies, (...) it is argued, perform the same function through an alternative disposition of the constitutive elements of collective life. Where religions institute the identity of the society by accepting dependence upon a supernatural origin, contemporary society is organized as a ‘subjective form of social functioning’, in the sense that it is able to create and transform itself. Gauchet argues that the central structural features of contemporary society – the administrative state, the separation of civil society and the freedom of individuals, and the global orientation to the future – allow the practical accomplishment of the ideal of autonomy announced by the tradition of modern and revolutionary political thought. The explication of this logic establishes the preconditions for the criticism of these societies, by showing the historical decision and the internal articulations that give them their cohesion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 61-72 [Access article in PDF] From Personal to Social Transaction:A Model of Aesthetic Reading in the Classroom Mark A. Pike This article seeks to define more precisely the nature of the individual transaction that occurs between reader and text and the potential for aesthetic reading in literature classrooms by relating knowledge of the way pupils engage in literary transactions to (...) theoretical perspectives that address the issue. The validity of Louise Rosenblatt's transactional theory of the literary work, expounded in Literature as Exploration and The Reader, The Text, The Poem, and its relevance for contemporary educators, particularly in the field of English education, has recently been reasserted by Jeanne Connell in her timely and cogent article in this journal. 1 The present article, however, seeks to refocus debate by problematizing and subsequently developing some aspects of key theories such as Rosenblatt's while examining the individual and social nature of reading in schools. Rosenblatt's view that aesthetic experiences can have both social origin and effect certainly deserves further theorizing if aesthetic experience in school communities and classrooms is to flourish.The influence of John Dewey's Art as Experience upon Rosenblatt is evident as this seminal text conceives of our primary task as the restoration of "continuity between the refined and intensified forms of experience that are works of art and everyday events." 2 Such continuity with experience is vital because, for Dewey, "experience is the fulfillment of an organism in its struggles and achievements in a world of things, it is art in germ." 3 Applying such a notion to education in schools, Rosenblatt saw the aim of literature lessons as the growth of experience rather than the acquisition of knowledge. Yet, despite such progress, in the United Kingdom, teachers of English are in the unenviable position of having to deliver an extensive body of knowledge prescribed by the National Curriculum and also to focus explicitly upon the features of certain types of text as they teach the National Literacy Strategy. 4 In Rosenblatt's work the emphasis on our experience of [End Page 61] literary works provides a much needed alternative to positions such as that adopted by New Criticism where "it is never what a poem says which matters, but what it is" because we acknowledge we can only ever gain access to what a poem says as "the sentence that seems to need no interpretation is already the product of one." 5 Clearly, understanding the reader's transaction with texts is where we must begin if we wish to foster aesthetic reading in our classrooms.Transactional theory also appears to be closely related to Martin Heidegger's thought in Being and Time where Dasein (givenness, existence, being) is seen as a distinctive characteristic of the human being as our consciousness projects things of the world and is also subjected to the things of the world which belong to us, in some sense, only as long as our consciousness is projecting them. 6 The validity of Dewey's view, where experience is not separated from art, can be seen when we acknowledge that we can "never adopt an attitude of detached contemplation, looking down on the world as if from a mountain top" for we are "inevitably merged with the very object of our consciousness." 7Such a view reflects Hans-Georg Gadamer's position in Truth and Method in which Heidegger's explanation of situation is applied to literary theory because, for Gadamer, the literary work cannot appear as a packaged and completed artefact in which meaning is neatly wrapped because it is influenced by a particular reader's actions at a particular moment. 8 Rosenblatt's realistic conception that "each reading involves a particular person at a particular time and place" is developed in this article as it seems that, even now, many reader response critics and curriculum designers "write as though people read literature in a vacuum or in a generalized kind of academic setting" which often does not apply... (shrink)

This article discusses a peculiar Sā$$\dot {\text{n}}$$n˙khya-Yoga theory of transformation (pariṇāma) that the author of the Pātañjalayogaśāstra created by drawing upon Sarvāstivāda Buddhist theories of temporality. In developing his theory, Patañjali adaptively reused the wording in which the Sarvāstivāda theories were formulated, the specific objections against these theories, and their refutations to win the philosophical debate about temporality against Sarvāstivāda Buddhism. Patañjali’s approach towards the Sarvāstivāda Buddhist theories was possible, even though his system of Yoga is based on an ontology (...) that differs considerably from that of Sarvāstivāda Buddhism because both systems share the philosophical view that time is not a separate ontological entity in itself. Time is a concept deduced from change in the empirical world. This agreement results from the common philosophical orientation of Sarvāstivāda Buddhism and Yoga, which takes the phenomenon of experience as the basis of philosophical enquiry into the structure of the world. The intention that guided Patañjali’s adaptive reuse was twofold. On the one hand, he aimed at winning the debate with Sarvāstivāda Buddhism about how the problem of temporality can be solved. He thus integrated four mutually exclusive theories on temporality into a single theory of transformation of properties (dharma) involving a second-level and a third-level theory on the transformation of the temporal characteristic mark (lakṣaṇa) and on the transformation of states (avasthā), respectively. On the other hand, Patañjali intended to achieve philosophical clarification regarding the question of how exactly properties relate to their underlying substrate in the process of transformation of the three constituents or forces (guṇa) sattva, rajas and tamas of matter (pradhāna) that account for all phenomena of the world except pure consciousness (puruṣa). Patañjali’s theory of transformation is thus of central importance for his Sā$$\dot {\text{n}}$$n˙khya ontology, according to which the world consists of 25 categories or constituents (tattva), i.e., of primal matter (prakṛti) and its transformations and pure consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Otherwise than Laïcité? Toward an Agonistic Secularism in LevinasMark Cauchi (bio)Levinas and SecularismAlong with the so-called “return of the religious” in contemporary Western philosophy and politics, there has been a renewed effort in recent years to rethink secularism, the political doctrine of the separation of religion and politics.1 It would not be difficult to show that Emmanuel Levinas has been a substantial force in the resurgence of interest in (...) religion among philosophers, but his impact on thinking about secularism is less evident. Part of the reason for this uncertainty, and part of the reason it is not taken up by scholars, is doubtless the fact that Levinas’s conception of secularism is difficult to discern.2 Although he often discusses religion, politics, and even their relationship, he rarely addresses the question of secularism directly. He certainly uses the term laïcité, and, especially in Difficult Freedom, often discusses both the place of Judaism in secular society and what he calls the “Christian atmosphere” of modernity, but he never articulates, either here or elsewhere, a complete account of the concept.In addition to the paucity of Levinas’s writings on secularism, a further difficulty is that what Levinas does say about secularism can often seem contradictory and unclear. Consider, for example, his view [End Page 187] of the most basic issue of secularism: the separation of church and state. Is such a separation wholly compatible with Levinas’s thinking? On the one hand, Levinas is unambiguous about his endorsement of the separation. He writes in “How Is Judaism Possible?” (1959) that the separation “is the citadel that protects us [French Jews] against injustice,” and therefore that “we must beware of tampering with it.” And yet, as he will immediately add, the “luminous and incontestable formula” separating church and state must be given “its best content,” as if in its common understanding it does not possess its best meaning (DF 245). This specific double move, where he simultaneously endorses and criticizes the separation of church and state, is indicative of Levinas’s more general attitude from the 1950s onward toward the whole of the standard liberal conception of secularism.What I mean by the latter conception will be fleshed out in the following sections, but it can be defined now, in a preliminary fashion, as the entire liberal enterprise of creating a culturally neutral state and public sphere for the sake of protecting the rights and liberties of the individual citizen. Because the individual citizen is defined as possessing the right to, or liberty of, thought, expression, and association—all of which together, in effect, produce freedom of religion, whether explicitly proclaimed or not—the state and public sphere must be constituted in particular ways to guarantee these liberties; in particular, they must be culturally neutralized so that any citizen, from whichever cultural background, can participate in public institutions without bias and thus without the violation of their liberties. Such neutralization is achieved by the reciprocal move wherein participants in these institutions—that is to say, individual citizens—are not allowed to bring their cultural frameworks with them into the constitutions and operations of these institutions, leading to the so-called privatization of religion.Because Levinas criticizes this model of secularism while seeming to endorse some notion of it, what I would like to do in this essay is to determine what is precisely Levinas’s criticism of secularism and, in addition, what a “Levinasian secularism” might be. My central contention will be that the latter (Levinasian secularism) is not equivalent [End Page 188] to the former (his stated views about secularism). The reason for this discrepancy is that Levinas critiques standard liberal secularism on the basis of his more general philosophy of ethical alterity, but then reinstates liberal secularism (or an unspecified version of it) as the best way to protect institutionally ethical alterity. This double movement raises the question, how can ethical alterity at once be consistent and inconsistent with liberal secularism? The question is naturally related to the much-discussed one about the relation of ethics and politics in Levinas’s thinking. Levinas’s approach to the latter relation is consistently... (shrink)

In 1947 America’s premier philosopher, educator, and public intellectual John Dewey purportedly lost his last manuscript on modern philosophy in the back of a taxicab. Now, sixty-five years later, Dewey’s fresh and unpretentious take on the history and theory of knowledge is finally available. Editor Phillip Deen has taken on the task of editing Dewey’s unfinished work, carefully compiling the fragments and multiple drafts of each chapter that he discovered in the folders of the Dewey Papers at the Special Collections (...) Research Center at Southern Illinois University Carbondale. He has used Dewey’s last known outline for the manuscript, aiming to create a finished product that faithfully represents Dewey’s original intent. An introduction and editor’s notes by Deen and a foreword by Larry A. Hickman, director of the Center for Dewey Studies, frame this previously lost work. In Unmodern Philosophy and Modern Philosophy, Dewey argues that modern philosophy is anything but; instead, it retains the baggage of outdated and misguided philosophical traditions and dualisms carried forward from Greek and medieval traditions. Drawing on cultural anthropology, Dewey moves past the philosophical themes of the past, instead proposing a functional model of humanity as emotional, inquiring, purposive organisms embedded in a natural and cultural environment. Dewey begins by tracing the problematic history of philosophy, demonstrating how, from the time of the Greeks to the Empiricists and Rationalists, the subject has been mired in the search for immutable absolutes outside human experience and has relied on dualisms between mind and body, theory and practice, and the material and the ideal, ultimately dividing humanity from nature. The result, he posits, is the epistemological problem of how it is possible to have knowledge at all. In the second half of the volume, Dewey roots philosophy in the conflicting beliefs and cultural tensions of the human condition, maintaining that these issues are much more pertinent to philosophy and knowledge than the sharp dichotomies of the past and abstract questions of the body and mind. Ultimately, Dewey argues that the mind is not separate from the world, criticizes the denigration of practice in the name of theory, addresses the dualism between matter and ideals, and questions why the human and the natural were ever separated in philosophy. The result is a deeper understanding of the relationship among the scientific, the moral, and the aesthetic. More than just historically significant in its rediscovery, Unmodern Philosophy and Modern Philosophy provides an intriguing critique of the history of modern thought and a positive account of John Dewey’s naturalized theory of knowing. This volume marks a significant contribution to the history of American thought and finally resolves one of the mysteries of pragmatic philosophy. (shrink)

In a wide variety of contexts, individuals face a risk of being physically harmed by the conduct of others in the community. The extent to which the government protects individuals from such harmful behavior largely depends on the combined effect of administrative regulation, criminal law, and tort law. Unless these different departments are coordinated, the government cannot ensure that individuals are adequately secure from the cumulative threat of physical harm. What is adequate for this purpose depends on the (...) underlying entitlement to physical security. What one has lost for purposes of legal analysis depends on what one what was entitled to in the first instance. Consequently, any mode of safety regulation that requires an assessment of losses or costs ultimately depends on a prior specification of entitlements. For reasons of history and federalism, the entitlement in the United States can be derived from the common law of torts. In addition to establishing how costs should be measured, the tort entitlement also quantifies any distributive inequities that would be created by a safety standard and shows how they can be redressed within the safety regulation. When applied in this manner, the tort entitlement to physical security promotes substantive consistency across the different departments of law by serving as the distributive basis for environmental, health, and safety regulations that operate entirely outside of the tort system. (shrink)

Professor Weil’s thesis seems largely correct with respect to the United States, whose law on religious establishment I regularly teach. Funding is central to American debates over religious establishment. The fight over religious establishments in Virginia, which inspired both James Madison’s “Memorial and Remonstrance against Religious Assessments” and Thomas Jefferson’s “An Act for Establishing Religious Freedom,” was over whether persons could be forced to pay taxes to support religious instruction. Financial concerns were at the root of church-state debates in the (...) nineteenth century, when Protestants repeatedly rebuffed Catholics who wanted funding for Catholic private schools. Many state constitutions still have what are known as mini-Blaine Amendments that forbid public funding for religious institutions. Whether proponents of a strong separation between church and state in the United States are fighting the same battles as proponents of a strong separation of church and state in France is nevertheless problematic. The French revolutionaries had to subordinate a reactionary church. The American revolutionaries merely had to negotiate peace treaties among the different sects that supported the Declaration of Independence. Separation of church and state in the United States is best conceptualized as a division of labor among liberal institutions rather than a means for purging anti-liberal religion from the liberal public sphere. (shrink)

What aspects and features of events impel people to label them as miraculous? Three studies examined people's miracle conceptions and the factors that lead them to designate an event as a miracle. Study 1 identified the basic elements of laypersons’ miracle beliefs by instructing participants to define a miracle, to list five events that they considered miraculous, and to state what they believed to be the purpose of miracles. Results showed that individuals tend to view miracles as highly improbable and (...) beneficial occurrences that instill hope and faith in people. Studies 2 and 3 investigated people's intuitive miracle theories. Findings demonstrated that people tend to label events as miracles when the events in question were of high magnitude, were obtained in an unusual manner, resulted in a beneficial health outcome, personally affected the participant, involved a person of worthy character, and depicted a low-probability event. (shrink)

The mental realm seems different to the physical realm; the mental is thought to be dependent on, yet distinct from the physical. But how, exactly, are the two realms supposed to be different, and what, exactly, creates the seemingly insurmountable juxtaposition between the mental and the physical? This review identifies and discusses five marks of the mental, features that set characteristically mental phenomena apart from the characteristically physical phenomena. These five marks (intentionality, consciousness, free will, teleology, and normativity) (...) are not presented as a set of features that define mentality. Rather, each of them is something we seem to associate with phenomena we consider mental, and each of them seems to be in tension with the physical view of reality in its own particular way. It is thus suggested how there is no single mind-body problem, but a set of distinct but interconnected problems. Each of these separate problems is analyzed, and their differences, similarities and connections are identified. This provides a useful basis for future theoretical work on psychology and philosophy of mind, that until now has too often suffered from unclarities, inadequacies, and conflations. (shrink)

Since the critique of psychologism initiated by Gottlob Frege and championed by Edmund Husserl, logicians and psychologists alike have adhered to a strict division of labour. This has created a gap between reasoning as a psychological phenomenon and logic. However, reasoning involves logic, and logic is the benchmark of rationality; intuitively at least, reasoning and logic are connected. Recently, attempts have been made to bridge the gap, but the strict division of labour is often eroded. Jean Piaget conceived genetic epistemology (...) as a science of the growth of knowledge, and since logical knowledge is in its purview the accusation of psychologism was omnipresent. In this paper, I outline Piaget's psychological account of the development of logic and argue that he successfully navigated the hazards of psychologism. In essence, he minds the gap by preserving the division of labour; however, by making logic the mirror of thought, he also intimated at a bridge. Concrete correspondences between logic and psychological structures of thought lie at the heart of Piaget's metaphor, and, by building on these foundations, I illustrate how an axiom schema for sentential logic can be derived from the interpropositional grouping, Piaget's psychological model of the operational structure characterising hypothetico-deductive reasoning. (shrink)

Selected as a Financial Times Best Book of 2013Governments today in both Europe and the United States have succeeded in casting government spending as reckless wastefulness that has made the economy worse. In contrast, they have advanced a policy of draconian budget cuts--austerity--to solve the financial crisis. We are told that we have all lived beyond our means and now need to tighten our belts. This view conveniently forgets where all that debt came from. Not from an orgy (...) of government spending, but as the direct result of bailing out, recapitalizing, and adding liquidity to the broken banking system. Through these actions private debt was rechristened as government debt while those responsible for generating it walked away scot free, placing the blame on the state, and the burden on the taxpayer. That burden now takes the form of a global turn to austerity, the policy of reducing domestic wages and prices to restore competitiveness and balance the budget. The problem, according to political economist Mark Blyth, is that austerity is a very dangerous idea. First of all, it doesn't work. As the past four years and countless historical examples from the last 100 years show, while it makes sense for any one state to try and cut its way to growth, it simply cannot work when all states try it simultaneously: all we do is shrink the economy. In the worst case, austerity policies worsened the Great Depression and created the conditions for seizures of power by the forces responsible for the Second World War: the Nazis and the Japanese military establishment. As Blyth amply demonstrates, the arguments for austerity are tenuous and the evidence thin. Rather than expanding growth and opportunity, the repeated revival of this dead economic idea has almost always led to low growth along with increases in wealth and income inequality. Austerity demolishes the conventional wisdom, marshaling an army of facts to demand that we austerity for what it is, and what it costs us. (shrink)

Based on a multiyear study, this article analyzes the reproduction of adult gender segregation in two youth-sports organizations in which most men volunteers become coaches and most women volunteers become “team moms.” We use interviews and participant observation to explore how these gender divisions are created. While most participants say the divisions result from individual choices, our interviews show how gendered language, essentialist beliefs, and analogies with gendered divisions of labor in families and work-places naturalize this division of labor. (...) Observation reveals how patterned, informal interactions reproduce it as well. We show how nonreflexive informal interactions at the nexus of three gender regimes—youth sports, families, and workplaces—produce a gender formation with two interrelated characteristics: an ascendant professional class gender ideology that we call “soft essentialism” and a “gender category sorting system” that channels most men into coaching and most women into being “team moms.”. (shrink)

Over the last thirty years, personal debt loads have increased dramatically. Lower income earners borrow money to purchase basic goods and services, so their debt is frequently non-discretionary. The impact of non-discretionary personal debt on debtors can be as, if not more, harmful than government regulations that have been declared unconstitutional. In this regard, the impact of personal debt is tantamount to the impact of a civil rights violation. What separates the impact of unconstitutional state action from that of (...) personal debt is the assumption that only the latter are the result of consensual transactions. Consent, however, is not a dyadic phenomenon, it exists in gradations. The quality of consent is weakened when the agent is making choices in response to pressures, and the empiricalquestion of the extent to which a consent transaction is unforced is distinct from the normative question of whether a transaction is legitimate, or fair. It is necessary to devise a new taxonomy of language to clearly distinguish the empirical and normative questions. This elucidates the fact that lower income people are under more pressure to borrow money than are upper income individuals to pay progressive rates of income tax. To argue that the latter are ‘coerced,’ is to admit that the low income individual’s decision to borrow is similarly forced. This admission suggests that a significant portion of citizens of market-based economies (notably Canada and the U.S.) are being forced to endure harms tantamount to civil rights violations. The admission also suggests that free markets harbour forces that undermine individual autonomy, and the absence of corrective state regulation exacerbates the problem. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 11.2 (2001) 115-116 [Access article in PDF] The Ethics of Medical Mistakes: Historical, Legal, and Institutional Perspectives Introduction In late 1999, the Institute of Medicine (IOM) released its report on medical errors, To Err is Human: Building a Safer Health System. The report estimated almost 50,000 deaths per year nationally due to medical mistakes, making it a leading cause of death. IOM speculated that (...) more than half of the deaths related to medical error are preventable. The IOM report shocked the public and medical professionals alike, sparking a national discussion of how to make the health care system safer. This multifaceted issue has profound implications for all aspects of health care, from the very personal--e.g., the relationship of caregiver and patient--to the societal--e.g., a nation's responsibility to its citizens.On 15 May 2000, the University of Pittsburgh Medical Center hosted an ethics conference devoted to the topic of medical mistakes. The goal was to bring together experts from various disciplines, before an audience of both providers and patients, to discuss medical mistakes and their implications. In this issue of the Kennedy Institute of Ethics Journal, we present selected papers resulting from that conference. These papers reflect not only the original oral presentations, but also much of the discussion those presentations generated. Three key perspectives on the ethics of medical mistakes are offered: historical, legal, and institutional.Rosa Lynn Pinkus offers a revealing historical perspective on the ethics of medical mistakes. In analyzing the history of mistake reporting in neurosurgery, she shows how the notion of a mistake developed only as the notion of a standard of practice emerged. Although much of managed care is directed toward systematically fostering a standard of care, this pursuit is relatively new in health care. One might speculate that as more standards are created, mistakes--defined as deviations from standard practice--must increase. If deviation from standard practice is overly castigated, however, then needed innovation in practice may be stifled. Interestingly, as Pinkus discusses, medical malpractice suits quickly followed the emergence of practice standards, driving the initial open reporting of mistakes underground. [End Page 115]Taking up the issue of medical malpractice, Thomas May and Mark Aulisio consider the ramifications of the current malpractice system for mistake prevention. The current system, they argue, while failing to adequately achieve its purported goals of deterring medical mistakes and compensating victims, itself creates a climate that deters the open reporting of mistakes by engendering fear and shame in clinicians. According to May and Aulisio, this failure to report medical mistakes openly has serious ramifications. Chief among these is the inability to do root cause analysis of mistakes, and then, where possible, to implement safeguards to minimize the occurrence of future mistakes. Ultimately, both the prevention of medical mistakes and the goals of malpractice litigation itself will be better served if substantial malpractice reform is undertaken.Andy Thurman argues that even in the current climate institutions ought to have a policy (and practice) of admitting to and openly reporting medical mistakes. Thurman argues that doing so not only is the right thing to do, but is also in the interest of institutions. Interestingly, he contends that failing to admit and openly report mistakes is both at odds with the mission of health care institutions and puts them at higher risk of litigation, and liability. In light of this, Thurman then suggests an institutional process for handling medical mistakes.Michael DeVita concedes that disclosing mistakes is widely supported by the health professionals' principles of ethics, but argues that there are a number of factors that conspire to make doing so a very difficult task. In analyzing an index case, DeVita contends that platitudes about being honest are not nearly enough to foster honest behavior and that policies that offer specific guidance on handling unfavorable events are needed in health care institutions.Finally, we conclude with the policy on disclosure of unfavorable events (this terminology is chosen because it includes both iatrogenic and natural diseases and conditions) that resulted from... (shrink)

This research compares and analyzes the verbal commentary of televised coverage of two women's and men's athletic events: the “final four” of the women's and men's 1989 National Collegiate Athletic Association basketball tournaments and the women's and men's singles, women's and men's doubles, and the mixed-doubles matches of the 1989 U.S. Open tennis tournament. Although we found less overtly sexist commentary than has been observed in past research, we did find two categories of difference: gender marking and a “hierarchy of (...) naming” by gender and, to a certain extent, by race. These differences are described and analyzed in light of feminist analyses of gendered language. It is concluded that televised sports commentary contributes to the construction of gender and racial hierarchies by marking women's sports and women athletes as “other,” by infantilizing women athletes, and by framing the accomplishments of women athletes ambivalently. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cross and Creation: A Theological Introduction to Origen of Alexandria by Mark E. TherrienJean-Paul JugeCross and Creation: A Theological Introduction to Origen of Alexandria by Mark E. Therrien (Washington, DC: Catholic University of America Press, 2022), xxii + 303 pp.Although Origen of Alexandria has been misrepresented and maligned since his own lifetime, allies have always arisen to defend him in his stead. Especially after the French (...) Catholic reappraisal of Origen's theology in the twentieth century, the once-dominant interpretation of Origen as a Platonist dressed in Christian garb no longer holds sway among most scholars. As Mark Therrien notes, however, traces of a "metaphysical reductionist" interpretation of Origen, propounded most notably by Adolf [End Page 295] von Harnack, still influences Origenian scholarship (89). Therrien's book vigorously opposes this line of interpretation and provides a rereading of crucial passages in Origen's On First Principles (Peri archōn) and his Commentary on John. In addition to presenting a fresh interpretation of these texts, Therrien also offers an introduction for those who are encountering Origen's theology for the first time. Rather than prefacing with biographical remarks, this book dives straight into Origen's major theological texts, allowing the reader, as Henri de Lubac put it, "to see Origen at work."Therrien operates under the principle that Origen is above all a biblical theologian whose speculation is driven primarily by his commitment to exegesis rather than Platonic presuppositions. Thus, his reading of various controversial excerpts of Origen, particularly from the Peri archōn, pays close attention to the biblical verses that Origen cites, which operate not as mere ornamentation but as the indispensable mechanics of his theology.This book is divided into eight chapters, each of which presents a "fundamental pillar" of Origen's thought: God, Christ, the Holy Spirit, eschatology the soul, the world, the Cross, and deification. Drawing attention to the first two cycles that comprise Origen's Peri archōn, Therrien treats the first cycle as authoritative to Origen's system, since it is here that Origen presents the Church's teaching in a more dogmatic form prior to the zetetic approach of the second cycle. Chapter 1 highlights the anti-Valentinian polemic that contextualizes Origen's account of divine incorporeality and the possibility of genuine knowledge of God. Following the insights of Cyril O'Regan, Therrien notes that an extreme apophaticism led the Valentinian Gnostics to "assimilat[e] God to creaturely categories," as seen in their account of various deities emanating from God as if by a material transfer of substance (36). For Origen, only the Father, the Son, and the Holy Spirit are absolutely incorporeal, and it is their absolute incorporeality that separates the Trinity from all creatures. Despite this fundamental distinction between the Trinity and creation, Origen affirms that a limited knowledge of God is possible for rational creatures with the caveat that, whenever God is likened analogically to a created reality, the dissimilarity is always greater (38). Therrien contends that, unlike the Gnostics, Origen envisions the material world as the positive and even necessary means for creatures to derive knowledge of God.Chapter 2 focuses on Origen's Christology, especially the primacy of Christ's title "Wisdom," which the author accounts for by explaining the logic behind Origen's exegesis of John's Prologue and Prov 8:22. Long before the Arian controversy of the fourth century, Origen insisted that God is eternally Father and thus generates the Son from all eternity. Origen has often been characterized, however, as arguing that God's eternal status as Creator [End Page 296] necessarily entails the existence of creation ab aeterno. Therrien points out that such a reading conflates Origen's two distinct notions of creation: the foreknown existence of creatures as "sketched and prefigured" in Wisdom from all eternity and the concrete, substantial existence of creatures that begins in time (60). The investigation of Origen's pneumatology in chapter 3 shows how Ps 103 (in the Septuagint) informs Origen's notion of the Holy Spirit as Creator. For Origen, creation is not simply a past event, but is instead a dynamic process: "Created beings must, so to... (shrink)

Process philosophy was on the periphery of academic thinking for much of the twentieth century. Whereas the focus of intellectual development was for the most part on scientific analysis, process philosophy argued for a more encompassing synthesis as well. Although the drive — the corpus delecti of formal research assessment funding exercises — for separate, discrete and latterly measurable bodies of knowledge arrived at from within increasingly autonomous academic disciplines has undoubtedly led to significant advance in many areas (...) it has, at the same time, rendered opaque the interconnectedness of all things and thereby diminished the perceived value of ideas developed in one field, in terms of their relevance to others. At its heart, this trend has arisen from a reliance upon a metaphysics of stasis; things are constant and can thus be analysed and re-analysed into ever finite and thoroughly separate elements. In contrast, a metaphysics of process suggests that change and interconnectedness are the predominant characteristics of nature. As such, it provides new directions for contemporary thought by enabling the development of ideas via an otherwise unavailable framework of coherence and comprehensiveness. One area in which process thought has proved helpful is organisation studies. This paper examines the role of interpersonal trust in organisations from a Whiteheadian perspective. As such, it aims to show how Whitehead’s thinking can be applied to complex human experiences in such a way as to reveal the nature of the processes that go toward their development. The paper begins with a theoretical explication of trust derived from the contemporary social scientific literature. The development of trust, a key component of human society, is argued to be a subjective and processual phenomenon. In the light of this discussion the paper uses appropriate elements of Whitehead’s Philosophy of Organism to provide a description of trust’s development in an individual for another individual, and its consequent impact on their cooperative behaviour. It thereby attempts to uncover the hitherto inaccessible micro-processes that go towards the development and continuation of interpersonal trust in organisational settings. In so doing, the paper seeks to demonstrate the explanatory power of an aspect of Whitehead’s work, his elucidation of human ‘emotional experience’, that is perhaps too often overlooked as a comparatively minor and non-technical use of his categoreal scheme. (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)

Politics is on the one hand an attempt to implement certain good, a desire for achieving agreed objectives, on the other hand – as Max Weber says – a simultaneous a#empt to avoid a particular evil. If in defining the notion of politics there are references to good and evil, purpose and desire, it has to include the non-political spheres – culture, axiology, religion. Mark Lilla argues that for decades we have been aware of the great and final separation (...) that has taken place in Western Europe between political and religious life. This awareness implies a conviction, which is obligatory today in most countries and societies, that to separate politics from religion is a great achievement. For many thinkers and politicians this is an undisputed success from which the West learns to benefit while preparing other regions of the world for such separation. Therefore it seems that modern politics should be free from religious inspiration and temptation. On the other hand, many sociologists and political scientists show the vitality of religious attitudes, proving that in its deepest essence religion is an expression of human behaviour. Each person and each community always has an element of irreducibility which is an internal defence against reducing man to “here and now”, restricting his world to what is useful and usable. We experience that in man there is a natural opening to what is transcendent. Thus, if man is ever to achieve individual and social reconciliation with himself, he will always look for rational and moral meanings. This situation creates a platform for the emergence of a completely new a#itude in society and politics – to seek and pursue spirituality in a world without religion. Increasingly, the understanding of religion reveals itself in a wide etymological sense, sociological and ethnological: religare – “to connect”, “to bind”, “to build community ties”. Religion so understood would be a great solution to the dilemma of separation – the adoption of religion (bonds) without the doctrine, while ensuring social cohesion, strengthening the feeling of being together, maintaining a spiritual connection. Many thinkers are convinced that we cannot base social life only on fear, discipline and economy; we need a deeper and stronger foundations for Community Cohesion. But is such a project possible at all? Is politics becoming a place for the formation of relationships, education and conservation of values, a narrative space which tells citizens what is good and right and what is wrong and alien? Can it replace religion in its deepest essence – in its intimate sense of an exploration and discovery of transcendence? Will it not become a caricature of religion, and a caricature of politics, and ultimately a trap for freedom? (shrink)

AI-generated images of “cats” offer novel opportunities to consider the semic role of expectations in sign formation where they act as a constraints on semiosis through the potential identification of the AImage as “correct,” or as a “glitch.” Because the identification of “errors” depends on a range of technical and cultural expertise, they offer valuable insights into the interpretive process. The automated generation of media by AI separates the artist’s decision-making process from image production, continuing a trajectory that began (...) with the invention of photography in the nineteenth century that brings the sign formation process into consciousness by distinguishing “intentional” and “unintentional” encoding. The identification AI-produced images as-glitched provides a vehicle to consider how the sign formation process informs identifications of creative action as an intentional action: aesthetic appraisals are central to this process where cultural beliefs about creativity become ideological constraints on interpretation. The potential to understand AI “glitches” as expressive features of the image-object, rather than errors, proceeds via the aesthetics and affects of earlier art, such as the “painterly motion” shown in old master paintings by Peter Paul Rubens, or via the heritage of Surrealism. These affective constraints on sign formation reveal the central role of “glitches” in the distinction of creative and uncreative action. (shrink)

The truth-conditional theory of sense holds that a theory of truth for a natural language can serve as a theory of sense: if knowledge of a theory of truth for a language L is sufficient for understanding utterance of L-sentences, the T-sentences of the theory 'show' the sense of the uttered object-language sentences. In this paper I aim to show that indexicals create a serious problem for this prima facie attractive theoretical option. The so-called 'instantiation problem' is that a truth-theory (...) for indexical languages needs to contain universal statements that show how the reference of indexicals depends on features of the utterance context. Now one can deduce from such statements T-sentences that do not show the sense of an indexical sentence on an occasion of use. I survey proposed solutions to the instantiation problem by Evans and Sainsbury and, unfortunately, find them all wanting. Perhaps there is nothing like the sense-giving truth-condition for an indexical sentence. (shrink)

Over the past 50 years the diversity of higher education faculty in the mathematical, physical, computer, and engineering sciences has advanced very little at 4-year universities in the United States. This is despite laws and policies such as affirmative action, interventions by universities, and enormous financial investment by federal agencies to diversify science, technology, mathematics, and engineering career pathways into academia. Data comparing the fraction of underrepresented minority postdoctoral scholars to the fraction of faculty at these institutions offer a straightforward (...) empirical explanation for this state of affairs. URM postdoc appointments lag significantly behind progress in terms of both undergraduate and Ph.D.-level STEM student populations. Indeed, URM postdoc appointments lag well-behind faculty diversity itself in the MPCES fields, most of which draw their faculty heavily from the postdoctoral ranks, particularly at research-intensive universities. Thus, a sea-change in how postdocs are recruited, how their careers are developed, and how they are identified as potential faculty is required in order to diversify the nation’s faculty, and particularly the R1 MPCES professoriate. Our research shows that both Ph.D. students and postdocs benefit from intentional structure at various levels of their respective “apprentice” experiences, a factor that we believe has been neglected. Several key structural approaches are highly effective in these regards: A collaborative approach in which leading research universities collectively identify outstanding URM candidates; Faculty engagement in recruiting and supporting these postdocs; Inter-institutional exchange programs to heighten the visibility and broaden the professional experiences of these postdocs; Community-building activities that create a sense of belonging and encourage continuing in academia for each cohort; and Continuing research based on outcomes and new experimental approaches. The California Alliance, consisting of UC Berkeley, UCLA, Caltech, and Stanford, has been engaged in such a program for almost a decade now, with most of the California Alliance URM postdocs now in tenure track positions or on the path toward careers as faculty at research intensive institutions. If this approach was brought to scale by involving the top 25 or so URM Ph.D.-producing R1 institutions in the MPCES fields, about 40% of the national URM postdoctoral population in these fields could be affected. Although this impact would fall short of bringing URM MPCES faculty ranks up to full representation of the United States population as a whole, it would vastly improve the outlook for URM students and their aspirations to take on leadership roles as scientists and engineers. (shrink)

Catholic philosophical anthropologists have defended views of the human person on which we are not reducible to anything non-personal. For example, it is not the case that we are nothing but matter, souls, or parts of society. Nevertheless, most Catholic anthropologies have been reductionistic in other ways. Mark K. Spencer presents a philosophical portrait of human persons on which we are entirely irreducible to anything non-personal, by synthesizing claims from many strands of the Catholic tradition. These include Thomism, (...) Scotism, phenomenology, personalism, nouvelle théologie, analytic philosophy, Greek and Russian thought, and several others. It adjudicates among these traditions' claims by considering whether they are grounded in how we appear in experience and whether they are non-reductionistic. While many metaphysical claims about persons are defended, the picture that ultimately results is one on which persons are best grasped not through abstract concepts but through aesthetic perception, as unique kinds of beauty. This portrait also shows how we have many irreducible parts, principles, and powers. Various chapters explore the irreducibility of our subjectivity, senses, intellect, freedom, and affections, and of our souls, bodies, acts of existence, and activities. Readers will also find explorations of divine simplicity and causality, the nature of matter, organisms, and artifacts, all of which must be understood to fully grasp our own irreducibility. In considering how to synthesize various traditions' claims, the book also offers new solutions to a number of prominent debates in contemporary Catholic philosophy. These include debates over natural law, the natural desire to see God, the separated soul, the nature of gifts, integralism and personalism, idealist and realist phenomenology, and various scholastic accounts of the act of existence. The picture of persons thereby developed helps the reader to perceive persons more perfectly. (shrink)

Western culture has been moving away from its Christian roots for several centuries but the turn from Christianity accelerated in the 20th century. At the core of this decline is a loss of a sense of our own transcendence. Scientific materialism has so seriously impacted our belief in human transcendence that many people find it difficult to believe in God and the human soul. This anti-transcendent perspective has not only cast its spell on the natural sciences, psychology, philosophy, (...) and literature, it has also negatively impacted popular culture through the writings of Richard Dawkins, Daniel Dennett, and many others. The warning signs of this loss of transcendence have been expressed by thinkers as diverse as Carl Jung (psychiatrist), Mircea Eliade (historian of religion), Gabriel Marcel (philosopher), C.S. Lewis and J.R.R. Tolkien. These warnings were validated by a 2004 study in the American Journal of Psychiatry which showed that the absence of religion alone was responsible for a marked increase in suicide rates, sense of meaningless, substance abuse, separation from family, and other psychiatric problems. Thus, the loss of transcendence is negatively affecting not only individuals’ sense of happiness, dignity, ideals, virtues, and destiny, but also the culture. Ironically, the evidence for transcendence is greater today than in any other period in history. The problem is – this evidence has not been compiled and propagated. Fr. Spitzer’s book provides a bright light in the midst of this cultural darkness by presenting both traditional and contemporary evidence for God and a transphysical soul from several major sources. He also shows how human consciousness and intelligence is completely special – and cannot be replicated by artificial intelligence or animal consciousness. We are transcendent beings with souls capable of surviving bodily death – self-reflective beings aware of perfect truth, love, goodness, and beauty. We are beings with an unrestricted capacity to know and create science, law, culture, art, music, literature, and so much more. The evidence reveals that we have the dignity of being created in the very image of God, and if we underestimate it, we will undervalue one another, underlive our lives, and underachieve our destiny. This work is the most comprehensive treatment of human transcendence available today. (shrink)

Following other contributions about the MAX accidents to this journal, this paper explores the role of betrayal and moral injury in safety engineering related to the U.S. federal regulator’s role in approving the Boeing 737MAX—a plane involved in two crashes that together killed 346 people. It discusses the tension between humility and hubris when engineers are faced with complex systems that create ambiguity, uncertain judgements, and equivocal test results from unstructured situations. It considers the relationship between moral injury, principled (...) outrage and rebuke when the technology ends up involved in disasters. It examines the corporate backdrop against which calls for enhanced employee voice are typically made, and argues that when engineers need to rely on various protections and moral inducements to ‘speak up,’ then the ethical essence of engineering—skepticism, testing, checking, and questioning—has already failed. (shrink)

In this paper I explicate a technique which can be used to make subtle relational features of experience more evident to awareness. Results of this method could be employed to diffuse one intuition that drives the common critique of functionalist-information theoretic accounts of mind that "qualia" cannot be exhaustively characterized in information theoretic-functional terms. An intuition that commonly grounds this critique is that the qualitative aspects of experience do not entirely appear in consciousness as informational-functional structures. The first section of (...) the paper is a schematic overview of nature of the qualitative and the problem that qualia are taken to create for information theoretic-functionalist theories of mind. §2 contains a précis of the concept of different levels of functional scale in mental activity that was developed by Armstrong and the Churchlands and that is needed to interpret (possible) results of the proposed experiment. In §3, I outline a method whereby analogies would be generated between purely relational forms, structures, configurations, etc. and purely qualitative aspects of experience. These analogies would be created by subjects through forced choice selection of presented images of structures that "most resembled" a pure quality. Repeated choices would then be shaped by a genetic program into the structural configuration that "most resembled" the pure quality. The final section of the paper explores how consistent, reliable results from the experiment would make information-theoretic functionalism more intuitively plausible in spite of the "fact" that the qualitative aspects of experience do not immediately appear as entirely relational/structural. (shrink)

This study juxtaposes an imaginal inquiry into the myth of Orpheus and Eurydice with a historical exegesis of the ancient religious movement generally termed Orphism, which came to be associated with it. Inviting unconscious elements into the study of myth and subsequently elaborating a theoretical analysis as well as a creative project---as this study does in the form of a screenplay adaptation---corresponds to Carl Jung's theory of the transcendent function, which states that a new level of being is possible by (...) balancing these two approaches to such material. This study unfolds the myth's latent theology by dreaming it forward in this way. ;The principal thesis---that Orpheus looks back to Eurydice with purpose and an awareness that his gaze will cause her to return to Hades---is itself an example of unconscious material emerging into consciousness. The greater part of this study is devoted to deriving meaning from the twist that this re-imagining implies for the elucidation of myth in general and for the study of this myth in particular. ;A principle question addressed is "What aspects of the latent theology found to exist in this myth can be said to constitute a founder story of Orphism?" In addition, this study proposes the figure of Orpheus as emblematic of the active masculine principle---exalted in his balancing of solar and lunar masculinity---that provides a blueprint for a dualistic cognitive model of archetypal experience. ;This model posits that the dualities found in the myth, and sometimes in life, derive their patterning from the individual's inability to experience the archetype directly. Orpheus' look back exemplifies a breaching of the veil that separates us from the archetype, allowing a momentary interpenetration of the individual's sphere of consciousness with the essence of the archetype. It is thought that integration of unconscious and conscious material follows. Finally, how these insights can be applied to the lives of men and women is addressed in this study's conclusion. (shrink)

Five experiments explored how source reliability influences people’s tendency to rate statements as more credible when they were encountered earlier . Undergraduates read statements from one reliable source and one unreliable source. Statements read multiple times were perceived as more valid and were more often correctly identified on a general knowledge test than statements read once or not at all. This occurred at varying retention intervals whether the statements originated from a reliable or unreliable source, when people had (...) little memory for the statements themselves or their source, and when the discrediting information about the sources came either before or after reading the facts. While repetition aided recognition and source accuracy, both were unaffected by the reliability of the source. Consistent with the source monitoring framework, familiarity may create an illusion of truth for statements when people lack source-specifying cues, especially cues regarding the reliability of the source. (shrink)

Aristotle sets the horizons of our inquiry: What is it when we say we know something? And is the object of knowledge a universal or particular [tode ti] object? Aristotle's critique of Plato's theory of form/Forms in light of his notion of actuality has generated a variety of topics that frame our inquiry: "Understanding Eidos as Form in the Works of Aristotle as Plato's Critical Student"; "Aristotle on Plato's Forms as Causes"; "Notes on the Relationship between Plato's Parmenides and Aristotle's (...) Metaphysics Alpha"; "'Separate' and 'Inactive'? Aristotle's Most Challenging Critique of Plato's 'Forms'"; "Too Much Unity in a City Is Destructive of the City: Aristotle against Plato's Unification Project of the Polis"; "Aristotle on the Soul as Actuality"; "Delphic Piety in the De Anima of Alexander of Aphrodisias"; "Aristotle and Plotinus: Act and Potency and the Two Acts"; and "Al-Fārābīon Habit and Imagination." Here, the Peripatetic readings of form and actuality are parsed from the precipice of historical, analytic, and continental approaches to the mind/language/object problem, with advocacy of the importance of Aristotle's contribution to this inquiry for the present age. (shrink)

"_The Moment of Complexity_ is a profoundly original work. In remarkable and insightful ways, Mark Taylor traces an entirely new way to view the evolution of our culture, detailing how information theory and the scientific concept of complexity can be used to understand recent developments in the arts and humanities. This book will ultimately be seen as a classic."-John L. Casti, Santa Fe Institute, author of _Gödel: A Life of Logic, the Mind, and Mathematics_ The science of complexity accounts (...) for that inscrutable mix of chaos and order that governs our natural world. Complexity explains how networks emerge and function, how species organize into ecosystems, how stars form into galaxies, and how just a few sequences of DNA can account for so many different life forms. Recently, the idea of complexity has taken the worlds of business and politics by storm. The concept is used to account for phenomena as varied as the behavior of the stock market, the response of voting populations, and the effects of risk management. Even Disney has used complexity theory to manage crowd control at its theme parks. Given the startling development of new information technologies, we now live in a moment of unprecedented complexity, an era in which change occurs faster than our ability to comprehend it. With _The Moment of Complexity_, Mark C. Taylor offers a timely map for this unfamiliar terrain opening in our midst, unfolding an original philosophy through a remarkable synthesis of science and culture. According to Taylor, complexity is not just a breakthrough scientific concept, but the defining quality of the post-Cold War era. The flux of digital currents swirling around us, he argues, has created a new network culture with its own distinctive logic and dynamic. Drawing on resources from information theory and evolutionary biology, Taylor explains the operation of complex adaptive systems in social and cultural processes and captures a whole new zeitgeist in the making. To appreciate the significance of our emerging network culture, he claims, we need not only to understand contemporary scientific and technological transformations, but also to explore the subtle influences of art, architecture, philosophy, religion, and higher education. _The Moment of Complexity_, then, is a remarkable work of cultural analysis on a scale rarely seen today. To follow its trajectory is to learn how we arrived at this critical moment in our culture, and to know where we might head in the twenty-first century. (shrink)

Can the power of digital communications create opportunities for overcoming generational renewal problems on farms? This interdisciplinary review explores the reported impacts of digital communication on career initiation into farming from a global perspective via the lens of career theories. Seventy-three papers were synthesized into two domains: (1) the impact of digital communication interactions on farming career initiation, and (2) the dynamics of digital communication initiatives that create opportunities to inspire youth into farming. The finding shows that the mainstream (...) literature primarily aims to support the continuity of farming careers but pay little attention to the potential of digital communication to attract youth into farming. This review argues that career communications for farming receives insufficient attention, and could be better integrated into agricultural communications strategies by using the potential of digital communications. Study concludes that while economic and geographic factors, as well as societal and cultural norms, lead to negative perceptions on farming careers, there are three pathways that may contribute to breaking down these negative perceptions. Firstly, taking the changing nature of career motivations, such as the trend towards sustainable farming linked to self-fulfillment, among today’s youth into consideration is essential. Secondly, highlighting technological advances in digital agriculture practices, like geographical flexibility or innovation capacity of farming, for example, is important to increase awareness about new opportunities in the profession. Lastly, communication campaigns with targeted groups (e.g., young females) play a role to change the negative perceptions of the rural way of life and the farming profession. (shrink)

Porter and Kramer's “creating shared value” (CSV) proposal has achieved significant penetration into both the academic and corporate communities. Building on other critiques of CSV, this paper assesses whether the CSV framework, notwithstanding its popularity, currently possesses an appropriate and adequate theoretical foundation to represent an overarching normative framework for the entire business and society field. The analysis does so by comparing CSV with a series of other dominant business and society approaches including corporate social responsibility, business ethics, stakeholder (...) management, sustainability, and corporate citizenship. The analysis finds that while CSV does address the fundamental business and society normative requirement that business activities should contribute to sustainable net societal value, it currently fails to adequately incorporate the equally important notions of (i) appropriately balancing stakeholder interests with those of the corporation's shareholders, as well as (ii) demonstrating sufficient accountability (i.e., taking responsibility) by properly reporting on and addressing any negative impacts resulting from the firm's activities. The paper concludes with a revised and expanded restatement of the CSV concept, which attempts to take into account and address its current theoretical limitations in order to enhance its appeal as an overarching business and society normative paradigm. (shrink)

The chief goal of this dissertation is to attain some clarity with respect to the interconnected issues which constitute the problem of personal identity. The logical and linguistic categories developed by Saul Kripke provide the tools through which these issues can be separated and put into perspective. In the first two chapters I examine the modal and other semantic features of rigid singular terms and such rigid predicates as natural kind terms. I defend both the transworld identity of named individuals (...) and the real essence of genuine natural kinds. ;In the third chapter this linguistic framework is used to explicate the distinction between the numerical identity of individuals and the qualitative identity of properties. I suggest that individual identity consists in a principle of uniqueness typically supplied through indexical identification and a principle of individuation through which a given individual can be tracked through qualitative change. Property identity is explicated as a form of qualitative similarity. ;In the final two chapters I consider personal identity as a form of individual identity and personal identity as a form of property identity. I reject the former interpretation on the grounds that 'person' fails to supply a principle of individuation for actual persons. I adopt the latter interpretation and suggest that person designates a necessary dispositional property of actual persons. I consider alternative theories of personal identity from the standpoint of a property identity theory of personal identity and I argue that the property identity theory provides a compelling account of a series of widely discussed problem cases. (shrink)

Wells's The New Machiavelli (1911) offers an excellent case study of the use of anti-Machiavellian Machiavellism as both a philosophical and a rhetorical strategy. In Remington, Wells creates a protagonist who follows Machiavellian rules of behaviour and denounces those who do likewise. The novel is structured to show Remington's progress from an idealist refutation of Machiavellism, through a recognition of its necessity, to the formulation of a private and political method for the necessary pursuit of Machiavellian principles under the (...) disguise of anti-Machiavellism, including trenchant criticisms of Fabians as anti-Machiavellian Machiavellians. These stages, culminating in complete personal and public failure, are reflected in Remington's party allegiances, and broadened by Wells into an account of British party ideologies around the turn of the twentieth century. Wells's rhetorical design for mapping and assessing anti-Machiavellian Machiavellism is paralleled by an exploration of that technique in himself, attested by the predominance of autobiographical elements in The New Machiavelli, and by similarities between Remington's and Wells's own deception of others and themselves. Far from incidental, anti-Machiavellian Machiavellism is the motif that unites the shifting party allegiances, political conceits and moral hypocrisies, and private and public failures of Wells, Remington, and of the period of British politics that they intend to encapsulate. (shrink)

This article attempts to respond to Simon Critchley's claim in a recent debate with Richard Rorty, that the latter, by not fully recognizing its indebtedness to Levinas, misunderstands the political import of the work of Jacques Derrida. I maintain, pace Critchley, that trying to push the Derrida-Levinas connection too far will not only further compound Rorty's view of Derrida as a thinker devoid of political efficacy, but that it will moreover serve to obscure the significant differences which exist between Levinas (...) and Derrida - differences which cannot be overlooked in any serious discussion of the two thinkers in question. In the second half, I try to convince Critchley that what separates Derrida from Levinas is precisely what hooks him up with Rorty at a political level. Both, I argue, are committed to a civic religion of social hope. In so doing, I try to convince Rorty that his caricature of Derrida as a private writer without political consequence, ought now to be seriously reconsidered. Key Words: community • Critchley • democracy • Derrida • ethics • justice • law • Levinas • politics • religion • Rorty • sentiment • singularity • social hope. (shrink)

J. L. Mackie distinguished himself in twentieth-century philosophy by presenting an important objection to the traditional free will explanation for why God would allow evil: If evil is due to the free choice of creatures, why wouldn’t an omnipotent God simply create free creatures who would choose better? Alvin Plantinga, in turn, distinguished himself with his critique of Mackie. Plantinga’s main point is that Mackie made a mistake in assuming that it is within the power of omnipotence fully to create (...) just any possible world. However, Mackie made a second questionable assumption which Plantinga does not critique, and which I aim to clarify in this article. Mackie assumes that a God, as construed by classical theistic belief, who could create either of two people—one of whom would freely choose right and the other of whom would freely choose wrong—must create the one who would freely choose right. This assumption motivates Plantinga’s own account of trans-world depravity, which suggests that every free creature God might have created would have sinned had God created them. I consider Plantinga’s suggestion highly improbable. More importantly, under Mackie’s assumption, if there is at least one possible creature who would choose rightly, then there is no possibility of God ever allowing any other creature to sin, which would seem to be incompatible with their having any free will. -/- This version of the paper does have the same pagination as the published version. Permission has been granted from the Editor of Philosophia Christi to upload this contribution according to Philosophy Documentation Center terms of use. Learn more about the Journal by going to wwwepsociety. org/philchristi. (shrink)

Pro-poor value chains intend to integrate smallholding farmers into high value markets to contribute to poverty alleviation and food security. Although income benefits of pro-poor value chains have been found, scant evidence exists regarding the potential for these markets to enhance food security. This study focuses on components of food access—dietary diversity, physical and financial access, and social acceptability—among households that participate in pro-poor value chains and non-participating households in the central highlands of Peru where development interventions have created high (...) value market niches for the native potato varieties that smallholding farmers have conserved for thousands of years. Using a mixed methods approach, this study assessed dietary diversity among households that participate and do not participate in pro-poor value chains, as well as their perceptions of their food access. Findings indicated that households that participate in value chains have higher dietary diversity than non-participating households but that these differences are likely due to pre-existing differences in socioeconomic status rather than any causal effect provided by value chains. The study also concluded that while participation in pro-poor value chains sometimes enhance the purchasing power of participating households, they may also weaken financial access, important for both purchasing food and travel to make those purchases. Community perspectives also indicated concerns with the acceptability of diets, which cannot likely be comprehensively addressed by pro-poor value chains. Collectively, the findings from this study cast doubt on the assumption that a linear flow exists between pro-poor value chains and enhanced food access. (shrink)

History of science is, we are told, an important subject for study. Its rise in recent years to become a ‘stand alone’ discipline has been mirrored by an expansion of popular history of science texts available in bookstores. Given this, it is perhaps surprising that little attention has been given to how history of science is written. This article attempts to do that through constructing a typology of histories of science based upon a consideration of audiences who read these texts (...) and writers who construct them. It identifies four ideal types of history of science which describe the opposite poles of two continua running from exoteric to esoteric. The article also examines the content of a sample of history of science texts and finds that often these texts, whether esoteric or exoteric, provide only a chronology of events (often incredibly detailed), avoiding discussion or even mention of wider social, economic and political contexts. Such histories serve to reinforce a ‘standard’ account of science as ‘separate’ from the rest of society, an account that is at odds with almost all contemporary sociology of science and science and technology studies. This prompts the question: why should I read histories of science? (shrink)

In the common law world, Albert Venn Dicey is known as the high priest of orthodox constitutional theory, as an ideological and nationalistic positivist. In his analytical coldness, his celebration of sovereign power, and his incessant drive to organize and codify legal rules separate from moral values or political realities, Dicey is an uncanny figure. This book challenges this received view of Dicey. Through a re-examination of his life and his 1885 book Law of the Constitution, the high (...) priest Dicey is defrocked and a more human Dicey steps forward to offer alternative ways of reading his canonical text, who struggled to appreciate law as a form of reasoned discourse that integrates values of legality and authority through methods of ordinary legal interpretation. The result is a unique common law constitutional discourse through which assertions of sovereign power are conditioned by moral aspirations associated with the rule of law. (shrink)

As literally every East European nation struggles to reformits agricultural sector, land reform in its many forms figures preeminently in strategic thinking on the problem. Estonia's historic program, instituted during the first republican period, was a highly successful reform from many perspectives. With political as well as economic goals, the reform had an important social dimension as well in that it reinvigorated entire rural regions and established a vital family farming system. The land reform's achievements owe as much to (...) the social and human infrastructure created in Estonia as it did to changes in land tenure, land assembly, and land use. This may be one of its most important lessons for those attempting to craft a new agricultural structure for this and other nations in the region. (shrink)

In his political philosophy, John Rawls has a normative notion of reasonable behaviour expected of citizens in a pluralist society. We interpret the various strands of this idea and introduce them to the discourse on stakeholder dialogue in order to address two shortcomings in the latter. The first shortcoming is an unnoticed, artificial separation of words from actions which neglects the communicative power of action. Second, in its proposed new role of the firm, the discourse of political CSR appeared (...) to offer a promising synthesis of deliberation and action. However, the discourse has been criticized for its shortcoming in failing to provide a regulatory environment for corporation—stakeholder dialogue. Through our interpretation of Rawls’ notion of reasonableness in citizens, the article makes two important theoretical contributions to the debate on stakeholder dialogue. First, we transfer Rawls’ injunction in insisting that dialogues between business corporations and their weaker stakeholders must be understood as consisting of both verbal exchanges and actions. Second, we propose that the coercive power of government ought to provide a necessary context for stakeholder dialogue, and that by doing so, it can provide a way forward for the discourse of political CSR. We illustrate the usefulness of this contribution from Rawls in an analysis of BP’s behaviour towards thousands of victims following the Deepwater Horizon blowout in 2010. (shrink)