Private tutoring is a globally pervasive phenomenon. While scholars have explored the demand for and supply of private tutoring, how tutoring centres organise their services, and the role of temporality in this, remains underexplored. To address this gap in the scholarship, this article draws on ethnographic data, produced during 2014–15 in Dehradun (India), to discuss four aspects of a ‘shadow education’ timescape: how tutoring services are mapped onto the formal schooling structure (Mapping); how tutorial centres benefit from having more time (...) to allocate to educational services over formal schools (Advantage); how tutorial centres diversify the nature of academic support they offer throughout an academic year (Diversity); and, how tutoring services accommodate changing schooling practices over time (Adaptability). This discussion unveils the specific ways in which the temporal facets of private tutoring help tutoring businesses circumvent the schooling system to secure their space alongside – rather than by attempting to replace – the formal institutions of education within the Indian educational landscape. Although this article is empirically grounded in India, the conceptualisation of temporalities of private tutoring it generates will be valuable to the investigations of organisational framings, structural arrangements and practices of tutoring provisions in other contexts. (shrink)

Asymmetric distribution of function between the cerebral hemispheres has been widely investigated in the auditory modality. The current approach borrows heavily from visual local–global research in an attempt to determine whether, as in vision, local–global auditory processing is lateralised. In vision, lateralised local–global processing likely relies on spatial frequency information. Drawing analogies between visual spatial frequency and auditory dimensions, two sets of auditory stimuli were developed. In the high–low stimulus set we manipulate frequency information, and in the fast–slow stimulus set (...) we manipulate temporal information. The fast–slow stimuli additionally mimic visual hierarchical stimulus structure, in which the arrangement of local patterns determines the global pattern. Unlike previous auditory stimuli, the current stimulus sets contain the experimental flexibility of visual local–global hierarchical stimuli allowing independent manipulation of structural levels. Previous findings of frequency and temporal range priming were replicated. Additionally, by presenting stimuli monaurally, we found that priming of frequency ranges (but not temporal ranges) was found to vary by ear, supporting the contention that the hemispheres asymmetrically retain traces of prior frequency processing. These results contribute to the extensive literature revealing cerebral asymmetries for the processing of frequency information, and extend those results to the realm of priming. (shrink)

The control of floral organ identity has received much attention since the first homeotic genes were isolated five years ago. The homeotic factors may be subject to a bewildering variety of control mechanisms including spatial and temporal transcriptional regulation, autoregulation, mutual protein stabilization, specific heterodimerization, post‐transcriptional modification and interaction with accessory factors. Now another level of complexity has been added by the recent discovery that the ‘B function factors’ depend on each other for nuclear localization(1) and can act non‐cell‐autonomously (...) in a polar fashion(2). (shrink)

This article examines how Facebook’s Feed, its dynamic user interface, incorporates and refashions the capacity to temporalize cultural material and experience that has classically been attributed to subjectivity. I problematize the ambiguous historicity of digital culture across the experience of the ordinary that it produces by arranging the subjective time and ‘ruined’ bits of cultural material into algorithmic timelines. Drawing on recent media theory, I underscore the irreducible alienness of algorithmic temporalizations, which undermine habitual normalization. I show subjectivity moves beyond (...) identity and narrative closure through an unconscious affective investment in extremely popular algorithmic timelines. (shrink)

If two stimuli need different times to be processed, this difference should in principle be reflected both by response times (RT) and by judgments of their temporal order (TOJ). However, several dissociations have been reported between RT and TOJ, e.g., RT is more affected than TOJ when stimulus intensity decreases. One account for these dissociations is to assume differences in the allocation of attention induced by the two tasks. To test this hypothesis, different distributions of attention were induced in (...) the present study between two stimulus positions (above and below fixation). Only bright stimuli appeared in one position and either bright or dim stimuli in the other. In the two RT experiments, participants had to respond to every stimulus appearing in one of the two positions. Reaction times to bright stimuli were faster when they appeared in the position where dim stimuli were likely to occur. This finding suggests that the allocation of attention was adapted to the asymmetrical arrangement of stimuli, not suggested by explicit instruction. In the two TOJ experiments, the temporal order of stimuli appearing in the two positions had to be judged. Although bright stimuli appearing at the bright-and-dim location were judged to be earlier, this effect was small and insignificant. Further, the intensity dissociation between RT and TOJ was insensitive to random vs blockwise presentations of intensities, therefore was not modified by attentional preferences. Thus, asymmetrical arrangement of stimuli has an impact on the allocation of attention, but only in the RT task. Therefore dissociations between TOJ and response times cannot be accounted for by an attentional bias in the TOJ task but probably by different use of temporal information in the two tasks. (shrink)

Based on video-recordings of several weeks of rehearsals of a Japanese theater piece played by French actors, and adopting an ethnomethodological and conversation analytic perspective, this paper focuses on how the same few lines of a scene are subsequently enacted. In particular, it explores how the scene is played, not only in relation to the script but also to the situated moment-by-moment unfolding of embodied movements constituting the actions and achieving their detailed formatting and meaning. Whereas the dialogue refers to (...) the scripted text, we argue that the multimodal details of each scene constitute a unique situated course of action achieved for ‘another first time,’ whose multimodal configuration depends on the temporality and the shape of each step, gesture, and body posture, as they are embodied and responded to in the vivid present and its contingencies. We demonstrate this by revealing how variations of the scene are performed, explored, and serendipitously found by the actors. We focus in particular on embodied details like walking, sitting, hugging and kissing, and the sequential and temporal positions at which they co-occur with the lines of the script. The analysis demonstrates both the indexicality of the script interpretations and the creative contingencies of the embodied work of the actors. In this way, it aims at contributing to current growing literature revisiting theater rehearsal as a situated activity and an interactional multimodal achievement. (shrink)

The essays are grouped into four parts, dealing respectively with these topics: The concept of time in Western thought, offering both a historical and conceptual overview. An analysis and rethinking of Kant on time in critical and practical respects. An ontological treatment of time, including an overview of Sherover’s own metaphysics of temporality. The political philosophy that issues from Sherover’s ontology of time. The collection is perspicaciously arranged and helpfully prefaced with a summary of each essay by Gregory R. Johnson.

The paper honors Heda Festini; it’s first part contains author’s personal memories of Heda. The central part of the paper addresses a favorite author of Heda Festini, Franjo Petrić, and his Utopia The Happy City-State. It then places the utopian construction on the map of contemporary understanding of political theorizing. Utopias, like the one due to Petrić, result from thought-experimenting; in contrast to purely epistemic thought-experiments they are geared to “guidance”, as Petrić puts it, namely advice giving and persuading. Political (...) thought-experimenting can be understood to a large extent as work in ideal theorizing; a matter little noticed in the literature. Classical cases cover “ideal theory” in the sense of given, non-temporal arrangement; “ideal” either in a very limited sense of strict compliance (Rawls), or in a wider sense of normatively marked properties, not instantiated in actual political reality. Platonic tradition belongs to a third genus, “ideal” in the sense of recommended end-state; Utopias add to this theoretical quality the dimension of “guidance”, so that they are motivational, time-related ideal theories. The paper depicts these relations between thought-experimenting as a wider genus, and ideal theorizing as its prominent political-philosophical sub-species. The paper is thus a tribute to Heda Festini who helped me find my way to analytic theorizing, and help analytic philosophy to start serious institutional life in our native Croatia. (shrink)

The following essay examines the temptations of ultimacy in 20th-century politics, namely, the urge to infuse temporal arrangements with transcendental meaning and purpose. This sets up an idolatry of the state or of political processes and brings to a halt the complex dialectic between immanence and transcendence, between what Bonhoeffer calls the “penultimate” and the “ultimate.” This dialogic encounter between claims, loyalties, purposes, and meanings defines the West at her best. When the window to transcendence is slammed shut (...) and politics is subsequently sacralized, the result is a politics that crushes human freedom in the name of a divinized ideological purpose. In addition to Bonhoeffer, the essay brings the work of Albert Camus to bear in analyzing this matter and offering up a politics that is neither “too low” (simply a remedy for sin) nor that aims too high and thereby, paradoxically, descends into those hells on earth that were 20th-century totalitarian societies. (shrink)

This paper explores new working time arrangements around a critique of the ‘commodification of time’ to illuminate the contradictions of such new flexibilities. Two features of these new arrangements are seen as relevant for evaluating the Marx/Engels analysis. Firstly, it roots the examination of time in commodification, although, as criticised in this paper, some authors have seen this as the generality of time rather than that within the exchange of labour power. Significantly — and central in all working (...) time arrangements — it is labour power that is sold, be it for a particular period of time, rather than the time itself. Hence, working time arrangements set boundaries against ‘free’ time or time in which labour power is not sold as a commodity, that ‘free’ time which was recognised in the traditional arrangements — fought over in early industrialism — which set premium payments against anti-social hours within ‘overtime’. New working time arrangements tend to blur the boundaries between ‘free’ and ‘working’ time, assuming an availability of labour power to capital. While much of the promotion of flexibility stresses the possibility of making adjustment to suit social and domestic requirements it is more usually the means for altering working time to meet the demands of capital. The much-vaunted case of Volkswagen has led to ‘working time accounts’ becoming the established temporal arrangement within the German car industry and increasingly becoming the norm for other European auto producers. The name given to these new working arrangements within the motor industry suggests that time has indeed become further commodified. For workers within these new time regimes, the hours owed to their employer is displayed along with their earnings — and deductions — on their wage slip. (shrink)

In this study the notion of mechanistic entities is analyzed as it has been conceptualized by Hermann Lotze in his article Life. Vital Force (1842), the metaphysical foundation of which has recourse to his Metaphysik (1841) and Logik (1843). According to Lotze, explanations in the sciences are arguments which have a syntactic and a semantic structure—similar to that which became later known as the DN-model of explanation. The syntactic structure is delineated by ontological forms, the semantic by cosmological ones; the (...) latter comprise the preconditions for the construction of appearances in accord with the ontological forms. Mechanisms are embedded into this logical framework by representing the more complex spatio-temporal arrangements of cosmological entities. The coordinated model of a mechanism is a reductive type of explanation. This study also demonstrates how Lotze made use of his concept of mechanisms in order to explain law-like and probabilistic events in organic and inorganic nature, thereby establishing an original ‘oligomeric’ (i. e., a fraction of the parts of a system determines its development) variant of a preformative theory of ontogenesis which anticipates modern concepts of genetic determination. In this context, Lotze alludes to paradigms of dissipative structures. The relevance of these reflections for subsequent theories is shown by contrasting them with Schrödinger’s theory of organisms. Finally, a comparison of some aspects of Lotze’s concept of mechanisms with equivalent aspects of current normative approaches confirms that essential elements of the latter versions can be retrieved in the former one. Above that, Lotze employs the teleological aspect of ontological forms in order to determine the extent of the mechanistic system under consideration. He further differentiates three modal states of mechanisms and includes a concept to explain exceptions or irregularities. The concept of ‘activity’ is strictly excluded from his account and shown to be a metaphysical illusion. (shrink)

Pessimism is, roughly, the view that life is not worth living. In chapter 46 of the second volume of The World as Will and Representation, Arthur Schopenhauer provides an oft-neglected argument for this view. The argument is that a life is worth living only if it does not contain any uncompensated evils; but since all our lives happen to contain such evils, none of them are worth living. The now standard interpretation of this argument (endorsed by Kuno Fischer and Christopher (...) Janaway) proceeds from the claim that the value—or rather valuelessness—of life’s goods makes compensation impossible. But this interpretation is neither philosophically attractive nor faithful to the text. In this paper, I develop and defend an alternative interpretation (suggested by Wilhelm Windelband and Mark Migotti) according to which it is instead the actual temporal arrangement of life’s goods and evils that makes compensation impossible. (shrink)

This book defends a relational theory of the passage of time. The realist view of passage developed in this book differs from the robust, substantivalist position. According to relationism, passage is nothing over and above the succession of events, one thing coming after another. Causally related events are temporally arranged as they happen one after another along observers’ worldlines. There is no unique global passage but a multiplicity of local passages of time. After setting out this positive argument for relationism, (...) the author deals with five common objections to it: (a) triviality of deflationary passage, (b) a-directionality of passage, (c) the impossibility of experiencing passage, (d) fictionalism about passage, and (e) the incompatibility of passage with perduring objects. (shrink)

In a refrigerated warehouse, workers organize distribution and exchange of frozen seafood by the spatial and temporal arrangement of loads. Using videotapes of workers' activities and interviews, this paper investigates how workers organize space, time and artifacts in the activity of frozen seafood distribution and exchange, and how organized space, time and artifacts systematize workers' multiple courses of actions and give direction to them. Particular attention is paid to how the workers use artifacts such as various documents and computers (...) as part of their practices, because the activity of distribution and exchange in this workplace is regarded as the activity of organizing space and time with various artifacts in multiple contexts. Through the analysis of situated literacy of using artifacts, it was shown that the activity of using artifacts is always embedded in multiple contexts. At the same time, diverse artifacts organize multiple contexts of work. Thus, there is the reflexive interaction between the artifacts and the contexts. (shrink)

The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as (...) a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations. (shrink)

The present paper aims to contribute to the substantivalism versus relationalism debate and to defend general relativity (GR) against pseudoscientific attacks in a novel, especially inclusive way. This work was initially motivated by the desire to establish the incompatibility of any ether theories with accelerated cosmic expansion and inflation (motto: where would a hypothetical medium supposedly come from so fast?). The failure of this program is of interest for emergent GR concepts in high energy particle physics. However, it becomes increasingly (...) important to guard scientific results against their misrepresentation by fundamentally anti-scientific agendas. We therefore argue that although it is not known whether the perceived space-time is fundamental (rather than a condensed state or a particular membrane), in a fundamental theory, space-time must be abstract relational: fundamental space-time is the consistent spatial-temporal arrangement of events. To pursue its own goals, this work should be accessible to a wide audience: physicists, philosophers of science, those being tempted by anti-relativity theories, but also those who vigorously defend some orthodox relativity that is not actually supported by GR. It must thus be extensive in order to satisfy the different parties’ desire to have included and understood their respective positions. (shrink)

Le texte est consacré aux temporalités sociales des cuisiniers qui s’articulent autour de deux régimes horaires principaux : la « coupure » et la continuité. Il montre que la synchronisation des repas, du déjeuner et du dîner, sur des horaires concentrés sur la pause méridienne et en fin de journée, scinde les activités professionnelles en deux temps. Cependant, la réduction du temps de travail, les pressions économiques et sanitaires et les formes de rationalisation dans la restauration ont incité les professionnels (...) à repenser les organisations. Ce qui a renforcé le régime de la continuité. Le texte étudie aussi les facteurs qui favorisent l’adaptation d’un des modèles temporels et la question des disponibilités des salariés selon le régime horaire. Il étudie les arrangements qui se construisent autour de trois objets de négociation (coupure, repos, horaires atypiques) et dont les résultats dépendent des biographies des cuisiniers, des contextes d’action et des systèmes de valeurs professionnelles. (shrink)

This paper enquires into the politics of real-time in online media. It suggests that real-time cannot be accounted for as a universal temporal frame in which events happen, but explores the making of real-time from a device perspective focusing on the temporalities of platforms. Based on an empirical study exploring the pace at which various online media produce new content, we trace the different rhythms, patterns or tempos created by the interplay of devices, users’ web activities and issues. What (...) emerges are distinct forms of ‘realtimeness’ which are not external from but specific to devices, organized through socio-technical arrangements and practices of use. Realtimeness thus unflattens more general accounts of the real-time web and research, and draws attention to the agencies built into specific platform temporalities and the political economies of making real-time. (shrink)

Biological species are spatio-temporally localized entities. This fact led to the concept of species as individuals [11], [14], and, at the same time, to the refutation of essentialism in evolutionary biology and taxonomy. On the other hand, molecular biology is compatible with essentialisms of chemistry and physics. The new concept of "historical essences", which is presented in this paper, tries to reconcile antiessentialism of evolutionary biology with essentialism of molecular biology. Historical essences are those parts of genetic information which determine (...) characters relevant for the identification of a taxon. Since membership in a particular taxon is defined by the sharing of the most recent common ancestor, historical essences correspond to the genetic information responsible for the creation of such common ancestor. Historical essences, which are spatiotemporally localized, generate a particular arrangement of spatiotemporally unrestricted processes which lead to the creation, maintenance and reproduction of organisms. These arrangements are results of fortuitous confluence of biological and extrabiological circumstances . In historical essences such a sequence of historical contingencies is "conserved", which allows molecular taxonomy to reconstruct the phylogenetic relationships. The concept of historical essences can be seen as a post-Darwinian modification of the original Aristotleś term of essence - "to-ti-en-einai". (shrink)

People can represent temporal stimuli (e.g., pictures depicting past and future events) as spatially connoted dimensions arranged along the three main axes (horizontal, sagittal, and vertical). For example, past and future events are generally represented, from the perspective of the individuals, as being placed behind and in front of them, respectively. Here, we report that such a 3D representation can also emerge for facial stimuli of different ages. In three experiments, participants classified a central target face, representing an individual (...) at different age stages, as younger or older than the reference face of 40 years. Manual responses were provided with two keys placed along the horizontal axis (Experiment 1), the sagittal axis (Experiment 2), and the vertical axis (Experiment 3). The results indicated that the younger faces were represented on the left/back/top side of the space, whereas the older faces were represented on the right/forward/bottom side of the space. Furthermore, in all experiments, the latencies decreased with the absolute difference between the age of the target face and that of the reference face (i.e., a distance effect). Overall, this work suggests that the spatial representation of time includes social features of the human face. (shrink)

“Readiness cohorts” are an innovation in clinical trial design to tackle the scarcity of time and people in drug studies. This has emerged in response to the challenges of recruiting the “right” research participants at the “right time” in the context of precision medicine. In this paper, we consider how the achievement of “readiness” aligns temporalities, biologies, and market processes of pharmaceutical innovation: how the promise of “willing bodies” in research emerges in relation to intertwined economic and biological time imperatives. (...) Drawing on long-term engagement with the field of Alzheimer’s disease prevention and interviews with researchers from academia and the pharmaceutical industry, we describe the discursive construction and practical arrangement of readiness. This paper contributes to understandings of temporal specificity, or “timing,” within prevention research and casts critical light on the way this specificity—the threshold for “trial readiness”—relates to an opaque and highly speculative drug development pipeline. Extending the study of biomedical potential, as that which holds promise but may not yet exist, we consider how absences operate in adaptive trials. By highlighting these absences, we outline an opportunity for socio-ethical research to intervene in the speculative gaps of drug development. (shrink)

On the fictional level, La Route des Flandres deploys a world in the process of complete disintegration. The manifestly privileged situation is the debacle of the French army in 1940 in which a number of the novel's protagonists are involved: George, the narrator; his cousin, Captain de Reixach; Iglésia, previously the Captain's jockey, now his orderly; Blum, Wack, and their horses. The havoc wrought by the military debacle can be subdivided into five categories. With the dissociation and decimation of the (...) army . . . and the disintegration of the discipline which had consolidated it . . . an entire military order is in the course of demolition. The breakdown of the military organization is accompanied by a parallel dissolution of the social order. Scattered along the roads, the civilians have lost their essential function, their trade. And, in an incident which occurs in front of the captain, when a peasant threatens the deputy mayor with his hunting rifle, we detect a direct reversal of the civic order. In the mechanical order, the all but dismembered automobiles . . . and the dismantlement of their motors contribute to the general tide of dilapidation and decay. The spatial order, represented here by the traditional military space, endowed with significance and hierarchically divided into front and rear, becomes depolarized with the disappearance of the battle lines and the inextricable entanglement of the two armies . . . The temporal order, the chronological arrangement of events, is subject to a similar vitiation. Jean Ricardou is equally well known for his fiction, including L'Observatoire de Cannes , La Prise de Constantinople , Les Lieux-dits , and his criticism, including Problèmes du Nouveau Roman , Pour une Theorie du Nouveau Roman , and Le Nouveau Roman ."ARTISTS ON ART: Birth of a Fiction" appeared in the Winter 1977 issue of Critical Inquiry. Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy and modern literature from the University of Paris and the University of Geneva. (shrink)

Multimedia learning theories suggest presenting associated pieces of information in spatial and temporal contiguity. New technologies like Augmented Reality allow for realizing these principles in science laboratory courses by presenting virtual real-time information during hands-on experimentation. Spatial integration can be achieved by pinning virtual representations of measurement data to corresponding real components. In the present study, an Augmented Reality-based presentation format was realized via a head-mounted display and contrasted to a separate display, which provided a well-arranged data matrix in (...) spatial distance to the real components and was therefore expected to result in a spatial split-attention effect. Two groups of engineering students performed six experiments exploring fundamental laws of electric circuits. Cognitive load and conceptual knowledge acquisition were assessed as main outcome variables. In contrast to our hypotheses and previous findings, the Augmented Reality group did not report lower extraneous load and the separate display group showed higher learning gains. The pre- and posttest assessing conceptual knowledge were monitored by eye tracking. Results indicate that the condition affected the visual relevancy of circuit diagrams to final problem completion. The unexpected reverse effects could be traced back to emphasizing coherence formation processes regarding multiple measurements. (shrink)

Álvarez J.F. (2016) Conflicts, Bounded Rationality and Collective Wisdom in a Networked Society. In: Scarafile G., Gruenpeter Gold L. (eds) Paradoxes of Conflicts. Logic, Argumentation & Reasoning (Interdisciplinary Perspectives from the Humanities and Social Sciences), vol 12. Springer, Cham -/- The adoption of an individualistic perspective on reasoning, choice and decision is a spring of paradoxes of conflicts. Usually the agents immerse in conflicts are drawn or modelled as rational individuals with targets well defined and full capabilities to access to (...) information, without both temporal limitations and perfect reasoning abilities to obtain their preferences are taken account. -/- However, other models of agent, in the bounded rationality perspective, could help to understand better the interrelationships. I adopt embedded argumentative reasoning processes as satisfying criteria to analyze the expert function in a new socio technical environment that has changed deeply the mechanism and tools to access and to aggregate information. The open access to information and institutional arrangements addressed towards team knowledge could offer other kind of tools to affront the conflict, even its possible benefits. -/- The “crowd expertise” is emerging as an actual possibility and it must be incorporated to affront with conflicts. The very possibility of obtaining knowledge generated by “many minds”, collective wisdoms, brings up a real challenge to the conservative or elitist conception of the masses, because masses now emerge as a smart collective user, with new mechanisms to select and produce quality knowledge. These new collective actions differ deeply from the traditional modes of social organization. A new mass society is emerging now as a hybrid one that breaks some conceptual traditional models, such as Ortega y Gasset’s ones, and induces a structured way of flourishing both new practices and new knowledge with transforming capabilities. (shrink)

In the study of human cognitive activity using electroencephalogram (EEG), the brain dynamics parameters and characteristics play a crucial role. They allow to investigate the changes in functionality depending on the environment and task performance process, and also to access the intensity of the brain activity in various locations of the cortex and its dependencies. Usually, the dynamics of activation of different brain areas during the cognitive tasks are being studied by spectral analysis based on power spectral density (PSD) estimation, (...) and coherence analysis, which are de facto standard tools in quantitative characterization of brain activity. PSD and coherence reflect the strength of oscillations and similarity of the emergence of these oscillations in the brain, respectively, while the concept of stability of brain activity over time is not well defined and less formalized. We propose to employ the detrended fluctuation analysis (DFA) as a measure of the EEG persistence over time, and use the DFA scaling exponent as its quantitative characteristics. We applied DFA to the study of the changes in activation in brain dynamics during mental calculations and united it with PSD and coherence estimation. In the experiment, EEGs during resting state and mental serial subtraction from 36 subjects were recorded and analyzed in four frequency ranges: θ1 (4.1–5.8 Hz), θ2 (5.9–7.4 Hz), β1 (13–19.9 Hz), and β2 (20–25 Hz). PSD maps to access the intensity of cortex activation and coherence to quantify the connections between different brain areas were calculated, the distribution of DFA scaling exponent over the head surface was exploited to measure the time characteristics of the dynamics of brain activity. Obtained arrangements of DFA scaling exponent suggest that normal functioning of the brain is characterized by long-term temporal correlations in the cortex. Topographical distribution of the DFA scaling exponent was comparable for θ and β frequency bands, demonstrating the largest values of DFA scaling exponent during cognitive activation. The study shows that the long-term temporal correlations evaluated by DFA can be of great interest for diagnosis of the variety of brain dysfunctions of different etiology in the future. (shrink)

In this chapter we argue that the four principles of medical ethics -- beneficence, non-maleficence, respect for autonomy and justice (Beauchamp & Childress, 2001; Gillon, 1985), a new Family Interest Principle (introduced below) and a consideration of ‘capacity’ provide a reasoned practice guide for work with mothers experiencing health problems, focussing here on mental health when a parent is a patient. Our concern is the relationship of the clinician with a parent and through the parent their child. Ethics of service (...) provision or services planning (e.g. Culyer, 2001; McLachlan, 2005; see also Newbigging and Paul, chapter xxx), or the provision of other services (e.g. education, child protection) although intensely relevant to this area are not addressed in this chapter nor will we deal with the complex aspects of medical ethics relating to the treatment of children (Baines, 2008). We use the term ‘parent’ to refer to any adult person who fulfils a substantive parental role with a child. Defining what counts as a family will in certain circumstances be contentious. There are diverse patterns of family arrangements that may be influenced by cultural, political economic and temporal factors. For the purposes of our discussion, we define a family in terms of its role in childrearing, as a group of at least one adult and at least one child, living together in long term relationships on an ongoing basis with vested interest in the well being of each of the family members. (shrink)

Cancer registries are an important part of the public health infrastructure, since they allow to monitor the temporal trends of this illness as well as facilitate epidemiological research. In order to effectively set up such registries, it is necessary to create a system of data collection that permits to record health-related information from patients who are diagnosed with cancer. Given the sensitive nature of such data, it is debated whether their recording should be based on consent or whether alternative (...) arrangements are possible (eg, opt-out systems where information is automatically collected but patients can later withdraw). In the recent reform of the Swiss cancer registration legislation, the lawmaker set out to implement rules about the recording of data in cancer registries that would allegedly go beyond a consent-based model, in order to balance accurate registration with respect of patient rights. However, by analysing the operational norms of the new legislation and comparing them with those of other systems, it emerges that the Swiss rules de facto closely resemble a system of registration based on informed consent—in partial contradiction with the objective pursued by the lawmaker. In this paper, we show how the details of a policy are crucial to determine its true nature and we highlight some critical elements—from an ethical standpoint—of the recently reformed Swiss policy on cancer registration. (shrink)

In response to Meilaender’s critique of my earlier work, I argue that Rawlsian and Augustinian ‘liberalisms’ are closer in spirit than Meilaender allows. Rawlsians and Augustinians can agree that the concern to preserve temporal peace under modern pluralistic conditions affords a warrant for political arrangements that require allegiance to no particular all-encompassing world view. This agreement on a certain kind of political neutrality extends to constitutional essentials but does not prohibit appeals to particular comprehensive visions in political debate (...) so long as such appeals are consistent with maintaining the social peace that liberal institutions are designed to preserve. (shrink)

The relevance of the research is that the information and computer communications of scientific and educational activity as a factor of the development of the information society are analyzed. Statement of the task - the modern stage of the socio-political development of Ukraine is characterized by the unprecedented pace of development of a new information and communication arrangement of scientific and educational activities in society and, as a result, its development as informational and civic. Object of research - information and (...) computer communications of scientific and educational activity as a complex social, cultural and economic phenomenon. The subject of research is the influence of the information society on the development of information and computer communication of scientific and educational activities. Analysis of recent publications and research. The author focuses on the analysis of the problems of the informational society, which was investigated in the works of I. Wallerstain, Z.Bzhezynsky, D. Bell, J.Gelbreyt, P.Drucker, A.Lazarevich, A.Porter, O.Toffler, and R.Hatcheson, as well as in the works of domestic scientists - V. Andrushchenko, V.Voronkova, O.Kivlyuk, M.Kyrychenko, A.Punchenko, D.Sviridenko. Selection of unexplored parts of the general problem. Unsolved earlier part of the general problem. Setting objectives. Representatives of the modern scientific and educational environment did not notice in due time that with the advent of the computer in the world fundamental concepts of education, man, science, the Universe, temporal measurements of time, tendencies of the development of the modern world have changed significantly. Education determines the pace of world development, and the ownership of its markets began an unprecedented rigorous competition. Information and knowledge have become a tremendous wealth, an intangible asset to the development of nations and states. Methodology of the research - the use of synergistic and axiological methods that contribute to deep penetration into the essence of the object and subject of research. Scientific novelty of the research. This scientific study involves addressing the socio-philosophical meaning of the concept of information and computer communications of scientific and educational activity as a factor in the development of the information society. Presenting the main material : the problems concerning the global informatization of the society that stimulated all processes of international cooperation of people have been revealed; due to the development of the information and communication sphere, the needs of management systems of the states, societies and their citizens in various informational services have been determined, radical changes in all security systems of socio-political relations; the historical tendency of development of industrial, then - postindustrial and informational society on the basis of the concept of J.Masuda is analyzed; it was disclosed that the progress of the information and education problem requires us to improve considerably the educational information and communication systems and technologies of education; the directions of improvement of information and computer communications of scientific and educational activity as the factor of development of the information society are substantiated. Conclusions - the concept of information and computer communications of scientific and educational activity as a factor of development of the information society is formed. The result of the research is the development of the directions of reforming the education system in Ukraine and the use of concepts for the introduction of computer information and communication technologies for these purposes. (shrink)

Background: Ethical conflicts in nursing have generally been studied in terms of temporal frequency and the degree of conflict. This study presents a new perspective for examining ethical conflict in terms of the degree of exposure to conflict and its typology. Objectives: The aim was to examine the level of exposure to ethical conflict for professional nurses in critical care units and to analyze the relation between this level and the types of ethical conflict and moral states. Research design: (...) This was a descriptive correlational study. Central and dispersion, normality tests, and analysis of variance were carried out. Participants and research context: A total of 203 nurses were from two third-level teaching hospitals in Spain. Both centers are part of the University of Barcelona Health Network. Participants filled out the Ethical Conflict in Nursing Questionnaire–Critical Care Version. Ethical considerations: This investigation received the approval of the ethical committees for clinical investigation of the two participating hospitals. Participants were informed of the authorship and aims of the study. Findings: The index of exposure to ethical conflict was [Formula: see text]. The situations involving analgesic treatment and end-of-life care were shown to be frequent sources of conflict. The types of ethical conflict and moral states generally arranged themselves from lesser to greater levels of index of exposure to ethical conflict. Discussion: The moderate level of exposure to ethical conflict was consistent with other international studies. However, the situations related with family are infrequent, and this presents differences with previous research. The results suggest that there is a logical relationship between types of conflict and levels of exposure to ethical conflict. Conclusion: The types of ethical conflict and moral states were related with the levels of exposure to ethical conflict. The new perspective was shown to be useful for analyzing the phenomenon of ethical conflict in the nurse. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In mediaeval Arabic belles-lettres (adab), accounts of lives are usually made up of quite short reports akhbár. These akbar are arranged in different ways, one of which is chronological order, but the compilers of such accounts apparently accord relative insignificance to chronological order. This paper examines some "biographies' compiled by al-Suli and Abú l-Faraj al-Isbaháni, showing that temporal progression can exist in a "biographical" presentation, either alone or more often combined with other ways of organising the material. It then (...) focuses on the placing of subjects' deaths in life accounts and on bow they are integrated with the rest of the material. In conclusion, 1 suggest that when temporal progression is absent in "biographical" presentations, this should be seen as reflecting a mediaeval Arabic approach to life writing which differs from modern expectations but has its own rationale. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music and Structure in Roman ComedyTimothy J. MooreWell over a century ago, Friedrich Ritschl and Theodor Bergk independently reached the same conclusion regarding the markings of DV and C in some of the manuscripts of Plautus: the initials stand for diverbium and canticum; and their association, respectively, with scenes in iambic senarii and scenes in other meters implies that in Roman comedy passages in iambic senarii were unaccompanied, whereas (...) passages in all other meters were cantica, accompanied by the tibiae (Ritschl 1871–72, Bergk 1872).1 Ritschl’s and Bergk’s conclusions provide the best explanation not only of the rubrics in the manuscripts, but also of descriptions of performance in the grammarians and other ancient authors, and several allusions to the tibicen in the plays of Plautus. It is therefore not surprising that while there have been a few dissenters, most scholars have agreed with Ritschl’s and Bergk’s basic distinction between iambic senarii and other meters based on accompaniment.2 The implications of that distinction for the structure of Roman comedy, however, have remained unappreciated.Not that meter has been ignored by those proposing structural rules for Roman comedy. Soon after Ritschl and Bergk presented their [End Page 245] discoveries, Andreas Spengel (1877) argued that arrangement of lyric passages, accompanied stichic verse, and iambic senarii contributed to a five-act structure in all the plays of Plautus. Much more recently, Adolf Primmer has contended that all Roman comedies can be divided into three or more acts comprised of combinations of accompanied and unaccompanied meters (1984, 16–20). Although both Spengel and Primmer offer some valuable insights into the metrical arrangement of the plays, two factors vitiate their theories. First, in their determination to find universal structural principles, both scholars try to force the metrical patterns of many plays into procrustean schemata, ignoring passages which do not fit the molds they have created.Second, both scholars assume regular division of the plays of Roman comedy into acts divided by musical interludes. There is indeed one passage where a musical interlude certainly occurred (Pseud. 573a; see below), and in other passages the exit and reentrance of a character would make such an interlude likely (Cistell. 630, Trin. 601). Spengel, Primmer, and others who have assumed regular musical interludes have postulated that these occurred regularly when the text suggests that the stage was empty, and temporal verisimilitude would demand that an interval should pass before one of the characters reenters.3 Given the freedom with which Plautus and Terence apparently ignore the constraints of temporal verisimilitude even when the stage is not left empty, however, any attempt to prove the existence of interludes based on how much time must pass between events on stage divided by an empty stage is doomed to failure; and as Conrad, Questa and others have shown, there is much evidence to suggest that with a very few exceptions Roman comedies were performed continuously, without act breaks.4In her study of Plautus’ polymetric cantica Helen Hull Law approaches musical structure from another perspective. She observes that a great number of Plautus’ plays feature regular patterns of iambic senarii, followed by polymetric cantica, followed by trochaic septenarii; [End Page 246] and that on many occasions polymetric cantica occur at the beginning of new units of action (1922, 103–5). Law’s observations are invaluable for an appreciation of the musical structure of Plautus’ plays; nevertheless, they are limited by her emphasis on the polymetric cantica.It is not at all clear how the polymetric cantica were performed. Most scholars have assumed that polymetric passages were sung, whereas the performance of stichic verse other than iambic senarii was either “melodramatic,” with actors speaking independently of the accompaniment, or “recitative,” in which actors chanted in time with the tibiae.5 There is, however, no evidence that the polymetric cantica were “sung” in our sense of the word, or that the method in which the polymetrics were performed differed from the performance of other passages labeled cantica in the manuscripts.6 The most important musical distinction therefore appears to have been not that between the polymetric cantica and stichic meters, but rather that between unaccompanied iambic senarii... (shrink)

Human Brain Project: Ethics Management or Proceduralization of Reflexivity? Everywhere, the reflexivity and responsibility of research and innovation is called for – the neurosciences being no exception. Undesirable side effects of scientific‐technical developments should be recognized early on and opportunities for participation by non‐scientific actors should be made available. In addition to the well‐known reflective programs such as Technology Assessment, Public Understanding of Science, Ethical Legal and Social Implications (ELSI) of Science, Science Communication and Citizen Science, a new program is (...) emerging: Responsible Research and Innovation (RRI). With the dimensions of anticipation, reflexivity, inclusiveness and responsiveness advocated here, social accountability of research has just been expanded again: factually (applying to the scientific practice of all domains), temporally (becoming more and more permanent) and socially (involving more and more actors). The following study will first reconstruct the current prominence of RRI as the dynamics of a changing relationship between science and society, then explore into the claim and reality of RRI as documented in publicly available material. The observation: While RRI at the level of its program aims at legitimacy through democratization of knowledge production, the organization of RRI demonstrates highly orchestrated bureaucratic arrangements and procedures. In the case of the Human Brain Project, it thus becomes clear that and how RRI is being put to the service of supporting neuroinformatic big science through targeted reductions: it is mainly framed as ‘ethics management’ and hardly integrated into research practice or even public discourse. (shrink)

Quando olha atentamente para os detalhes de uma obra literária, o leitor mais perspicaz toma consciência de mecanismos que regem e organizam o texto com objetivos específicos para a economia da narrativa. No romance Memorial do Convento , de José Saramago (1994), a relação entre Literatura e Religião é um desses mecanismos, algo que se torna visível no confronto entre sagrado e profano, na inversão de seus valores e na afinidade entre “poder espiritual” e “poder temporal”, o que se (...) assemelha àquilo que Giacomo Marramao definiu como “jogo de espelhos”, ou seja, a “estatização” da Igreja e a “eclesiastização” do Estado. Investigar o estatuto do sagrado e da relação entre a Igreja e a corte portuguesa do século XVIII, analisando suas implicações na narrativa literária, constitui-se como objetivo primordial deste texto. Dessa forma, o artigo se insere no movimento atual que Umberto Eco chamou de “a volta ao pensamento religioso”, um retorno frenético a tudo o que diz respeito ao sagrado e que se situa na contracorrente do cientificismo iluminista, trazendo explicitamente de volta à literatura a “questão de Deus”. Palavras-chave: José Saramago. Literatura portuguesa. Religião. Sagrado. Profano.When the more insightful reader takes a careful look at the details of a literary work, he realizes mechanisms that govern and organize the text with specifics goals for the arrangement of the narrative. In the novel "Memorial do Convento", by José Saramago, the relationship between literature and religion is one of such mechanisms, which becomes visible in the confrontation between sacred and profane, as well as in the reversal of their values and in the affinity between "spiritual power" and "temporal power", resembling what Giacomo Marramao has defined as "game of mirrors", i.e. the "nationalization" of the Church and the "ecclesiastization" of the State. The present text aims to investigate the status of the sacred and the relationship between the Church and the Portuguese court in the 18th century, analyzing its implications in the literary narrative. This article is part of the current movement that Umberto Eco called “the come back to religious thought", one frenetic regress to everything that reports to the sacred, somewhat that is in the countercurrent of Enlightenment scientism, explicitly bringing back the "question of God" to literature. Keywords: José Saramago. Portuguese literature. Religion. Sacred. Profane. (shrink)

In this work, I investigate the nature of the alleged binding force of decisions and commitments on future conduct. Contrary to pretheoretical intuitions, decisions and commitments are not means for the control of future conduct. Future-directed commitments do not constrain future action by either imposing causal restraints, or modifying the future situation of choice, or providing a reason to act as originally decided. According to my theory commitments determine the agent's conduct only if renewed at the time of action. The (...) agent must take the original decision ex nihilo at the time of action. I argue that this renewal does not threaten either intrapersonal transtemporal coordination of conduct or engagement in temporally extended activities. If the agent can assume the stability of her rationality over time, she can anticipate her future decision and action without settling in advance what she will do. This anticipation is sufficient for coordination. When uncertainty about the future makes the anticipation of future decision impossible, the agent can make preparatory arrangements in advance that create conditions for the rationality of the future conduct. The effects of preparatory arrangements are compatible with genuine commitments provided that they are understood as directed to a temporally extended activity that begins with the arrangements, rather than to a distal momentary action. ;I then show how the Sartrean account can be applied to limited agents like us, who do not have sufficient resources to engage in the constant renewal of their past resolutions. The solution rests in the division of deliberative labor. At the time of action the agent might endorse a past assessment about her present conduct and make it executive, thereby avoiding the full rehearsal of the deliberation. ;I argue that the Sartrean account satisfies all pretheoretical desiderata about the nature of commitments and that it also dissolves the puzzled about the transmission of the force of reasons over time. Finally, I discuss the role of the assumption of the temporal stability of rationality and suggest that it is related to the question of the persistence of the agent over time. (shrink)

The objective of this essay is to provide the beginning of a principled classification of some of the ways space is intelligently used. Studies of planning have typically focused on the temporal ordering of action, leaving as unaddressed questions of where to lay down instruments, ingredients, work-in-progress, and the like. But, in having a body, we are spatially located creatures: we must always be facing some direction, have only certain objects in view, be within reach of certain others. How (...) we manage the spatial arrangement of items around us is not an afterthought: it is an integral part of the way we think, plan, and behave. The proposed classification has three main categories: spatial arrangements that simplify choice; spatial arrangements that simplify perception; and spatial dynamics that simplify internal computation. The data for such a classification is drawn from videos of cooking, assembly and packing, everyday observations in supermarkets, workshops and playrooms, and experimental studies of subjects playing Tetris, the computer game. This study, therefore, focuses on interactive processes in the medium and short term: on how agents set up their workplace for particular tasks, and how they continuously manage that workplace. (shrink)

The adoption of an individualistic perspective on reasoning, choice and decision is a spring of paradoxes of conflicts. Usually the agents immerse in conflicts are drawn or modelled as rational individuals with targets well defined and full capabilities to access to information, without both temporal limitations and perfect reasoning abilities to obtain their preferences are taken account.However, other models of agent, in the bounded rationality perspective, could help to understand better the interrelationships. I adopt embedded argumentative reasoning processes as (...) satisfying criteria to analyze the expert function in a new socio technical environment that has changed deeply the mechanism and tools to access and to aggregate information. The open access to information and institutional arrangements addressed towards team knowledge could offer other kind of tools to affront the conflict, even its possible benefits.The “crowd expertise” is emerging as an actual possibility and it must be incorporated to affront with conflicts. The very possibility of obtaining knowledge generated by “many minds”, collective wisdoms, brings up a real challenge to the conservative or elitist conception of the masses, because masses now emerge as a smart collective user, with new mechanisms to select and produce quality knowledge. These new collective actions differ deeply from the traditional modes of social organization. A new mass society is emerging now as a hybrid one that breaks some conceptual traditional models, such as Ortega y Gasset’s ones, and induces a structured way of flourishing both new practices and new knowledge with transforming capabilities. (shrink)

Beginning with his mancounters and exploring their temporality, materiality, and spatiality, the author explains in vivid detail how gaming as a gendered practice becomes possible. The author is interested in (and does really well) grounding gaming as gendered practice. Specifically, the author looks at gaming sites, humans and non-humans, infrastructures, power relations and the conditions that enables gaming a social activity. He is looking at the material conditions that make possible the phenomenological experiences and mobilities of certain kinds of subjects. (...) He connects home to gaming sites to colleges to clouds to gaming conventions and accomplishes this as a talented story-teller, which I appreciate as a scholar, reader, and teacher... Gender and the Grounds of Gaming is brilliant work, to begin with." - Ergin Bulut, author of A Precarious Game: The Illusion of Dream Jobs in the Video Game Industry Places provided for digital game play like remote gaming setups, campus computer labs, esports arenas, and convention centers, the overall cultures of video game play, spectatorship, and production are characterized by stark gender disparities. Despite new franchises, platforms, and initiatives expanding games beyond their conventional audience of young, cis-het white men, gaming still feels off limits or unsafe for many. Gender and the Grounds of Gaming explores the physical places, any physical context in which games are played or observed, where games are played and how they contribute to the persistence of gaming's problematic gender politics. Through a series of case studies that document the gender dynamics of the various sites where video games literally take and make place, author Nicholas Taylor unpacks questions about how place matters to digital play, how issues in gaming cultures and politics are perpetuated through particular arrangements of bodies, technologies, spaces, and infrastructures. In charting the connections between place, masculinities, and play, Gender and the Grounds of Gaming makes space for marginalized perspectives, practices, and populations in gaming cultures. (shrink)

Book description: The capacity to represent and think about time is one of the most fundamental and least understood aspects of human cognition and consciousness. This book throws new light on central issues in the study of the mind by uniting, for the first time, psychological and philosophical approaches dealing with the connection between temporal representation and memory. Fifteen specially written essays by leading psychologists and philosophers investigate the way in which time is represented in memory, and the role (...) memory plays in our ability to reason about time. They offer insights into current theories of memory processes and of the mechanisms and cognitive abilities underlying temporal judgements, and draw out fundamental issues concerning the phenomenology and epistemology of memory and our understanding of time. The chapters are arranged into four sections, each focused on one area of current research: Keeping Track of Time, and Temporal Representation; Memory, Awareness and the Past; Memory and Experience; Knowledge and the Past: The Epistemology and Metaphysics of Time. A general introduction gives an overview of the topics discussed and makes explicit central themes which unify the different philosophical and psychological approaches. (shrink)

Most contemporary metaphysicians are sceptical about the reality of familiar objects such as dogs and trees, people and desks, cells and stars. They prefer an ontology of the spatially tiny or temporally tiny. Tiny microparticles 'dog-wise arranged' explain the appearance, they say, that there are dogs; microparticles obeying microphysics collectively cause anything that a baseball appears to cause; temporal stages collectively sustain the illusion of enduring objects that persist across changes. Crawford L. Elder argues that all such attempts to (...) 'explain away' familiar objects project downwards, onto the tiny entities, structures and features of familiar objects themselves. He contends that sceptical metaphysicians are thus employing shadows of familiar objects, while denying that the entities which cast those shadows really exist. He argues that the shadows are indeed really there, because their sources - familiar objects - are mind-independently real. (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)

Across cultures people construct spatial representations of time. However, the particular spatial layouts created to represent time may differ across cultures. This paper examines whether people automatically access and use culturally specific spatial representations when reasoning about time. In Experiment 1, we asked Hebrew and English speakers to arrange pictures depicting temporal sequences of natural events, and to point to the hypothesized location of events relative to a reference point. In both tasks, English speakers (who read left to right) (...) arranged temporal sequences to progress from left to right, whereas Hebrew speakers (who read right to left) arranged them from right to left, replicating previous work. In Experiments 2 and 3, we asked the participants to make rapid temporal order judgments about pairs of pictures presented one after the other (i.e., to decide whether the second picture showed a conceptually earlier or later time-point of an event than the first picture). Participants made responses using two adjacent keyboard keys. English speakers were faster to make “earlier” judgments when the “earlier” response needed to be made with the left response key than with the right response key. Hebrew speakers showed exactly the reverse pattern. Asking participants to use a space-time mapping inconsistent with the one suggested by writing direction in their language created interference, suggesting that participants were automatically creating writing-direction consistent spatial representations in the course of their normal temporal reasoning. It appears that people automatically access culturally specific spatial representations when making temporal judgments even in nonlinguistic tasks. (shrink)

In this paper we examine how English and Mandarin speakers think about time, and we test how the patterns of thinking in the two groups relate to patterns in linguistic and cultural experience. In Mandarin, vertical spatial metaphors are used more frequently to talk about time than they are in English; English relies primarily on horizontal terms. We present results from two tasks comparing English and Mandarin speakers’ temporal reasoning. The tasks measure how people spatialize time in three-dimensional space, (...) including the sagittal (front/back), transverse (left/right), and vertical (up/down) axes. Results of Experiment 1 show that people automatically create spatial representations in the course of temporal reasoning, and these implicit spatializations differ in accordance with patterns in language, even in a non-linguistic task. Both groups showed evidence of a left-to-right representation of time, in accordance with writing direction, but only Mandarin speakers showed a vertical top-to-bottom pattern for time (congruent with vertical spatiotemporal metaphors in Mandarin). Results of Experiment 2 confirm and extend these findings, showing that bilinguals’ representations of time depend on both long-term and proximal aspects of language experience. Participants who were more proficient in Mandarin were more likely to arrange time vertically (an effect of previous language experience). Further, bilinguals were more likely to arrange time vertically when they were tested in Mandarin than when they were tested in English (an effect of immediate linguistic context). (shrink)

A healthy work-life balance has become increasingly important to people trying to cope with the pressures of contemporary society. This trend highlights the fallacy of assessing well-being in terms of finance alone; how much time we have matters just as much as how much money. The authors of this book have developed a novel way to measure 'discretionary time': time which is free to spend as one pleases. Exploring data from the US, Australia, Germany, France, Sweden and Finland, they show (...) that temporal autonomy varies substantially across different countries and under different living conditions. By calibrating how much control people have over their time, and how much they could have under alternative welfare, gender or household arrangements, this book offers a new perspective for comparative cross-national enquiries into the temporal aspects of human welfare. (shrink)

As has been widely observed, histories of feminism have often been conceived via notions of generation where feminism is positioned as a kind of familial property, a form of inheritance and legacy which is transmitted through generations. Thus feminism and its history have been imagined as following a familial mode of social reproduction. Despite the dominance of this model, it has nonetheless been subject to critique, not least because of its reliance on teleological and progressive notions of history. Judith Roof, (...) for example, has called for new conceptualizations of temporality in an attempt to decouple histories of feminism from a generational model. This need to move away from a generational model is also underscored by what commentators such as Angela McRobbie have identified as a dispersal of feminism – a broad-scale circulation of feminist values in popular culture – as well as by the emergence of a certain kind of reflexivity whereby past and current feminist practices are increasingly subject to critique. For McRobbie such developments are understood as part of the articulation of a post-feminism in which feminism can no longer be passed on as it is positioned as having already passed away. However, in this article via an exploration of recent accounts of the passing of feminism it is suggested that what allows for a declaration of this passing is an attachment to feminism as a particular way of knowing as well as to a particular arrangement of the social. Indeed, it will be suggested that recent histories of feminism and commentaries on the state of contemporary feminism are driven not only by generational logics but also by these attachments – attachments which lose and fix both feminism and women in time. (shrink)

The configurational dimension, in turn, displays temporal features that may be opposed to these "features" of episodic time. The configurational arrangement makes the succession of events into significant wholes that are the correlate of the act of grouping together. Thanks to this reflective act—in the sense of Kant's Critique of Judgment—the whole plot may be translated into one "thought." "Thought," in this narrative context, may assume various meanings. It may characterize, for instance, following Aristotle's Poetics, the "theme" that accompanies (...) the "fable" or "plot" of a tragedy.1 "Thought" may also designate the "point" of the Hebraic maschal or of the biblical parable, concerning which Jeremias observes that the point of the parable is what allows us to translate it into a proverb or an aphorism. The term "thought" may also apply to the "colligatory terms" used in history writing, such terms as "the Renaissance," "the Industrial Revolution," and so on, which, according to Walsh and Dray, allow us to apprehend a set of historical events under a common denominator. In a word, the correlation between thought and plot supersedes the "then" and "and then" of mere succession. But it would be a complete mistake to consider "thought" as a-chronological. "Fable" and "theme" are as closely tied together as episode and configuration. The time of fable-and theme, if we may make of this a hyphenated expression, is more deeply temporal than the time of merely episodic narratives. · 1. It may be noted in passing that this correlation between "theme" and "plot" is also the basis of Northup Frye's "archetypal" criticism. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. Some of his works to appear in English are Husserl: An Analysis of His Phenomenology, Main Trends in Philosophy, and The Conflict of Interpretations: Essays on Hermeneutics. His previous contribution to Critical Inquiry, "The Metaphorical Process as Cognition, Imagination, and Feeling," appeared in the Autumn 1978 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Caring for Landscapes of Justice in Perilous Settler EnvironmentsMishuana Goemanindians are the "singing remnants" or "graffiti," in the words of Leanne Betasamosake Simpson ("i am graffiti"). The forms this graffiti takes, our inscriptions on the landscape, are as numerous as our Nations, abundant as our ancestors who loved, lived, and passed down knowledge of our lands and histories. "You are the result of the love of thousands," writes Linda (...) Hogan, who beseeches us to listen to the environment surrounding us (159). Deborah Miranda (Coastal Esselen and Chumash) reminds us that we are also the result of violent histories, in her tribal memoir Bad Indians, a book that relishes the tales of her ancestors who resist and act out to survive. This harm, genocide, and settler mapping of worlds also must be attuned to in our surroundings and in "our bodies [that are] bridges over which our descendants cross, spanning unimaginable landscapes of loss" (Miranda 74). Visual cartographic mapping has been part and parcel of the erasure of California Indians, relegated to the small, contained, and past temporal space of a romanticized mission.This paper centers on the NDN Collective's work and the photography of Cara Romero's project Tongvaland and the works of Gabrielino Tongva artist Mercedes Dorame. The setting of these projects is in the sprawling landscape of Los Angeles, or the homelands of the Gabrielino Tongva people, who call it Tovaangar. I will examine the anti-colonial aesthetics and care practices mapped out in the work rather than presenting a "true" Indigenous map or alternative map. Mapping a history of the landscape by creating a "new" narrative or "true" narrative is not enough. As Maori scholar Linda Tuhwi Smith states, "[w]e believe that history is also about justice, that understanding history will enlighten our decisions about the future. Wrong. History is also about power. In fact, history is mostly about power. … [A] thousand accounts of the truth will not alter the fact that indigenous peoples are still marginal [End Page 50] and do not possess the power to transform history into justice" (34). The Gabrielino Tongva, who comprise an estimated 2,300 people, do not possess the population power and cannot access the form of voting or democracy to make the changes needed just by telling their truth. Across California, people know about the raw deal, the embezzlement, the genocide, and the so-called lost treaties. In fact, under Eisenhower, recompense was paid out in small amounts to Tongva families of the dispossessed. Instead, to continue with the words of Smith, "[i]t is also about reconciling and reprioritizing what is really important about the past with what is important about the present" (111). What Romero and the NDN Collective—made up of numerous tribal leaders, scholars, and other artists—did was relay and prioritize how they wanted to be seen in their homelands. These billboards invite us in, in a gift of sharing, or what tribal cultural leader Craig Torres related to me as a spirit of Maxxa, a sharing, gifting, or swapping of knowledge. Dorame's beautiful and critical installations in public art spaces reflect Maxxa—they invite the viewers to think through land from her curious arrangements. As artists, part of their practice is not that of a Western version of a tortured genius but instead is energized by pulling in community and creating a collective practice. They undo settler space together and with us. The cartographic practices of these California Indians' creative arts exemplify communities of care that must be considered when we think through the unmapping of settler terrains. This question requires an approach of radical care. As Hi'ilei Hobart and Tamara Kneese make clear, the notion of care is "inseparable from systemic inequalities and power systems" (Hobart and Kneese 1).The work of the NDN Collective and Dorame counters a settler-based, commercial map of Los Angeles. Indigenous people, relegated by the settler state as expendable and erasable graffiti, confront capitalist and state ordinances at various scales. Rather than understand this as a subjugated positionality, I posit that graffiti is the critique necessary and valuable to understanding interlocking structures of oppression. In the following words of Leanne... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 267-296 [Access article in PDF] Allegory and Democratic Public Culture in the Postmodern Era Robert Hariman The man lies on the hotel bed, clad only in his underwear, as he watches the TV screen just beyond his feet. His right hand holds the remote control, which he uses to scan through the cable channels. To his left sits Abraham Lincoln, clothed in long-sleeved white (...) shirt and black pants and reading a book. Lincoln's long, angular frame is just a bit stooped, and his brow is slightly furrowed, as if long accustomed to thinking on the edge of melancholy. Lincoln is mulling over a statement by Walter Benjamin: "Allegories are, in the realm of thoughts, what ruins are in the realm of things" (Benjamin 1977, 178). 1Seated to the man's right is a woman wearing the terry cloth bathrobe provided by the hotel. She leans slightly forward, legs crossed, as she reads the New York Times Magazine cover story about President Clinton. "Listen to this," she says with a bemused smile. "In the clutter around his desk in the Oval Office stands not a single bust of a favorite predecessor, but five: Lincoln, Teddy Roosevelt, Truman and two of F.D.R., plus a statuette of Will Rogers for good measure. If governing is choosing, this collection is a metaphor for this President's trouble with choices, and he himself allows, 'That's the story of my Presidency, that desk'" (Purdum 1996, 36).The man says nothing as he continues to watch the succession of images on the screen: a lizard flicks its tongue in the desert heat; a child in a stroller laughs as she holds a strawberry ice cream cone; a congressman in blue suit, white shirt, and red tie jabs his finger into the air as he talks earnestly; cars plastered with automotive product logos curl around a race track; Fred and Ginger swirl around the dance floor; soldiers wade ashore at Omaha Beach; the Space Shuttle lifts off; Groucho lifts his eyebrows; Regis smiles; mushrooms and peppers simmer in a pan.The succession of images could go on indefinitely. The tableau remains static. The composition is an allegory: a figural presentation that organizes multiple interpretations regarding collective experience. It also contains and comments on other forms of itself: Clinton's desk is an example [End Page 267] of the figural anecdote that has been a staple of American public address. The manifold of televisual images exemplifies the allegorical encoding that operates within postmodern art forms, including fragmentary appropriation, paratactic association, encyclopedic range, and non-linear temporality. The statement by Benjamin illuminates the nature of allegory in a specific genre and historical period, and as it is a general mode of representation, and perhaps as it is a model for all textual interpretation.The composition also evokes a set of dialectical tensions that are characteristic of both allegory in general and fundamental anxieties in the contemporary period. Past and present sit side by side, but incongruously, as if by artifice alone. So it is also with the print and visual media, which are held together by mutual competencies but otherwise in figural isolation that perhaps represents different destinies. Likewise, one might wonder about the peculiar relationship between public affairs and private life: the succession of images on the screen adhere to no hierarchy of values, no principle of loyalty or sacrifice, no basis for discerning obligations or maintaining rights, yet they are replete with the paraphernalia of these concerns, and the arrangement of figures in the room likewise is at once suggestive yet inconclusive. If this tableau contains familiar features of the mass-mediated experience that now saturates American politics, one might wonder: Is the democratic tradition in ruins?Allegories give us dynamic juxtapositions in a static frame. This principle of composition seems particularly suited to periods of cultural change. To the extent that the genre of allegory has a history, it is one of eternal recurrence at periods of loss and fragmentation produced by the expansion of a new, somewhat... (shrink)