Emotions are essential for human existence, both lighting the way toward the brightest of achievements and setting the course into the darkness of suffering. Not surprisingly, then, emotion research is currently one of the hottest topics in the field of psychology. Yet to divine the nature of emotion is a complex and extensive task. In this book emotions are approached thought an exploration of the nature of cognition in emotion; the nature of thoughts in feelings. Different approaches to emotions are (...) explored, from brain research to research at the level of experience, and it is argued that all approaches must seriously take into account the experiential dimension. A qualitative study of experiences with art is therefore presented, as emotions and cognition are often expressed in experiences with art. It is the first study of its kind. Descriptions of various affective phenomena are then given which have significant implications for contemporary debates about emotions, resolving several contemporary controversies. ContentsAcknowledgementsIntroductionChapter 1: Describing EmotionChapter 2: Describing CognitionChapter 3: Theories about the Emotion-Cognition RelationshipChapter 4: Experiences with ArtChapter 5: A Phenomenological Study of Art AppreciationChapter 6: DiscussionBibliographyIndex. (shrink)

En el presente trabajo se asume la identidad de América Latina desde una categoría andina, a saber, Chakana , como elemento posibilitador de la integración del subcontinente. El estudio se realiza en el marco de la filosofía intercultural, específicamente desde el autor Josef Estermann, quien ha mostrado un profundo interés por la cuestión del diálogo intercultural entre Andes y Occidente . Interrogantes como: ¿responde el concepto y realidad de Chakana a la exigencia identitaria latinoamericana?, ¿cómo debe concebirse?, ¿puede la identidad (...) de Chakana favorecer al proyecto de integración de América Latina? son las principales preocupaciones de la presente labor. El autor termina señalando algunos elementos de reflexión-acción en torno a la exigencia identitaria-integracionista. (shrink)

What is the core of pedagogical practice? Which qualities are primary to the student–teacher relationship? What is a suitable language for pedagogical practice? What might be the significance of an everyday presentational pedagogical act like for example the glance of a teacher? The pedagogical relation as lived relationality experientially sensed, as well as phenomenologically described and interpreted, precedes educational methods and theories and profoundly challenges educational practice and reflection. The paper highlights the aporetic character of pedagogical practice, reflection and research (...) by suggesting that the pedagogical relation opens up for a practice that is ethically and existentially normative rather than developmentally and socially normative, and thus fundamentally shifts the meaning of education. (shrink)

Introduction It is a goal in nursing education to promote students’ dignity and facilitate this core value. Students’ experience of dignity is shaped by the student–supervisor relationship. Literature shows limited knowledge about how nursing students experience their own dignity during education. Research aim The aim of the study is to develop an understanding of how nursing students experience their own dignity in relation to supervisors, and what significance these experiences have in education. Research design Gadamer’s philosophical hermeneutics was chosen as (...) the approach, and narratives and qualitative interviews were conducted. The interpretation process was inspired by Fleming, Gaidys and Robbs. Participants and research context Nineteen nursing students in the final year of their education were included in the study. They represented six different campuses at three different educational institutions. The qualitative interviews took place at the educational institutions. Ethical considerations The research recommendations of the Declaration of Helsinki were followed. Access to the students was given by the educational institutions. All interested students signed a continuous informed consent. Findings Students’ dignity was at stake in encounters with supervisors during education. Decisive for experience of dignity was the supervisor’s ability to confirm the student through acknowledgment, reassurance and seeing them as individuals. Experienced dignity had a crucial impact on students’ life courage and their ability to be present. Discussion The discussion emphasizes the vulnerable dignity of students, the importance of confirmation and the significance perceived dignity has. Conclusion Students’ experiences tilted between perceived dignity and offense, and placed students’ dignity in a vulnerable position. Crucial for perceived dignity was the confirmation the students received from their supervisors. Perceived dignity gave the students courage and increased their ability to be present, which provided better opportunities for learning and development. (shrink)

Neoliberal educational reforms include extensive use of standardized tests. We examine the Program for International Student Assessment (PISA) initiated and developed by the Organization for Economic Cooperation and Development (OECD). Examining previous research on teachers’ reactions to neoliberal reforms altering their work context, we have identified three theoretical frameworks in use: labour process theory, derived from structural Marxism; post-structuralism, relying primarily on Foucault’s conceptualizations; and ‘new professionalism’, which has emerged from the theory of professions. A major weakness in these frameworks (...) is their inability to account for different reactions to the same structural and cultural conditions. Therefore, we suggest utilizing Archer’s theories of reflexivity and reflexive modes to understand these reactions. Presenting one Norwegian lower secondary school teacher’s reflexive engagement with PISA in the Norwegian school context as an example, our mixed methods case study indicates autonomous reflexivity as the prevailing mode. Meta-reflexivity rates second in prevalence. (shrink)

Philosophy of aesthetics and beauty has traditionally prioritized the sense of vision while deprioritizing the more basic-bodily and thus less “noble” sense of touch. This paper examines bodily aspects of how beauty appears in the experience of visual art and motivates the view that touch is fundamental to such experiences. We appeal to Merleau-Ponty to show the relevance given to touch in his phenomenology of aesthetics, to unfold the meaning of touch as “reversible,” and to understand how vision can be (...) conceptualized as a form of touch. Further, we present four cases of feeling touched by beauty in experiences of visual art collected through interviews with art museum visitors. The descriptions of these experiences show that when people open themselves to an artwork they also open themselves to themselves. Based on the qualitative descriptions, we discuss how Merleau-Ponty’s phenomenology of touch is revelatory of the meaning of feeling “touched” in experiences of beauty. (shrink)

A group of economists has recently begun addressing questions at the intersection of ethics and economics. They are preparing new definitions of individual choice that combine self-interest and other-interest, new processes of interpersonal exchange that result in cooperation rather than conflict, and new measures of social well-being that include rights as well as outcomes. This article surveys that work, and suggests areas where conceptual inputs from business ethicists are clearly needed, and where multiple opportunities for interactive research are obviously present.

In this article we present a phenomenological single-case study of a client’s experience of her therapist’s bodily movement in the context of narrative therapy. A client was interviewed regarding her experience of selected bodily movements of the therapist based on a video recording of one of her therapeutic sessions. The movements were analyzed through Maxine Sheets-Johnstone’s cardinal structures of movement while the interview was analyzed through a modification of Giorgi’s method for phenomenological psychology. We focused on the relationship between the (...) therapist’s bodily movement and therapeutic movement in the client and arrived at general structures of the client’s experience of being moved by movement. The experience comprises three core constituents: ‘shifts in sense of self’, ‘sense of togetherness’ and ‘feelings of mobility’, and reveals that the therapist’s bodily movements can lead to therapeutic changes compatible with the aim of narrative therapy. (shrink)

Moments of moral disquiet encounter clock time as well as lived time, and thus professional human practices are existential and take place in time and space. Professional practices as existential involve human bodies and relationships, and are based on trust, responsibility, and vulnerability. The paper explores the relation between lived time and moments of disquiet. We borrow lived experience descriptions from students in professional practices and analyse them phenomenologically. Our informants are students in profession studies of nursing, social work and (...) education interviewed individually in or after external institutional practice during their education. In the interviews they share their experiences of personal responsibility in situations orienting to others in professional practices. As a life existential, time shapes and organises our bodies and activities from birth to grave and is lived and experienced in a variety of ways in daily life and life as such. Time is thus a precondition of human life and life itself. Our interest in this paper is to show and argue phenomenological-pedagogically why and how it is of professional significance to teach students to take the required time to care, and to encourage them to be attentively present in situations when other persons’ lives take place. (shrink)

I must confess that I found [Calvin] Bedient’s account of Kristeva’s theories quite shocking. Since, on the whole, critical essays rarely upset me, my own reaction was quite puzzling to me. What is there in Bedient’s prose to unsettle me so? It certainly can’t be his style or tone: he has produced a perfectly even-tempered essay. Refraining from imputing selfish or dishonest motives to the theorist he wants to disagree with, Bedient never argues ad feminam, and takes much trouble (...) lucidly to explain why he disagrees with Kristeva. There is every reason to commend him for his honest style of argumentation. There can be no doubt that his essay is produced purely by his concern to take issue with a theory he truly believes to be incapable of accounting for the way in which poetry—and particularly modern poetry—actually works.What causes my unease must therefore be something else. It may of course be the fact that Bedient’s account of Kristeva’s theory of language in Revolution of Poetic Language is wrong. His is not a somewhat skewed, or slanted, or one-sided presentation of her views, but—as far as I can see—a total misreading. Briefly put, Bedient’s mistake consists in taking Kristeva’s account of the sentence process in language for a complete theory of poetic language. He does not seem to have noticed Kristeva’s account of the symbolic, her repeated insistence that language—the signifying process—is the product of a dialectical interaction between the symbolic and the semiotic, or even her definition of the “thetic.” Toril Moi, professor of comparative literature at the University of Bergen and professor at Duke University, is the editor of The Kristeva Reader and the author of Sexual/Textual Politics: Feminist Literary Theory . Her most recent book is Feminist Theory and Simone de Beauvoir. (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

_Background:_ Experimental research exploring the sleep/pain-relationship has typically focused on total or partial sleep deprivation, hereby failing to reproduce the mere fragmented sleep pattern typically observed in patients with chronic pain. Further, little research is done on how affect moderates the sleep–pain relationship after sleep fragmentation. The present study sought to clarify the relationship between pain, sleep and positive and negative affect. _Methods:_ In an experimental counterbalanced crossover design, 35 healthy young adults were subjected to several pain measures after one (...) night of fragmented sleep, compared to one control night of normal sleep, both conducted in their own homes, and respectively, positive and negative affect induction using validated film clips and facial feedback procedures. Sleep was monitored using sleep diaries. _Results:_ Increased pain sensitivity after one night of experimentally induced sleep fragmentation was found, compared to after one control night of undisturbed sleep. No main effects of induced affect on pain were found, and sleep x induced affect interaction was not significant. _Conclusion:_ The present study supports the adverse effect of sleep fragmentation on pain sensitivity, however, affect was not found to be a moderator in the sleep–pain relationship. The results underline the need for further research within this field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews The Historian and History. By Page Smith. (New York: Alfred A. Knopf, 1964. Pp. viii + 249 + Bibliography 261. $4.95.) The dedication of this book to Rosenstock-Huessy sets the stage for what may become the call for reform in "history" in the United States. In later recognizing Rosenstock-Huessy's insights as "the first historical work under the new dispensation," Smith sustains his critique of historical thought. And (...) when historian Smith decries the ignoble rejection which met Rosenstock-Huessy's earlier call for a re-evaluation of "the most basic assumptions of the prewar West" (p. 95), it is well within the style and mood of this book to characterize Smith not simply as a reformer but as a prophet---one grasped and informed by Judeo-Christian tradition. It is Smith's belief that "history," as taught and practiced in the educational-professional matrix, has lost its vision and thereby its relevance to a generation struggling for identity. The blame for this situation is deeply rooted in the historian and the method he has pursued. However, as a review of the contents of the book will reveal, Smith's concern is constructive as well as critical: His purpose is to direct attention to the wider implications of historiography -metaphysical or theological--wherein a promise for meaningful existence in an imperfect world may be forthcoming. In broad outline the book contains four parts. The first, chapters 1-6 inclusively, traces the evolution of the idea of history. In this context the contributions of the Jews ("who discovered history," p. 5), the Greeks, Christianity, Augustine, Nietzsche, and Dilthey--to name only a few of the particulars--are presented. The theme is that modern historical thought, consciously or unconsciously, is more deeply rooted in the heritage of the Christian linear-time motif, as opposed to the Greek cyclical-time scheme, than historians have been predisposed to admit. The second part, chapters 7-10, presents some of the more outstanding characteristics and trends of modern-contemporary historiography. In this connection the impact of the neoorthodox movement in theology, reacting to the shock of World War I, is dialectically interpreted among the more recent moods of philosophic existentialism on the one hand, and scientific historicism on the other. The thrust of this section is the positive acknowledgment that "history" is too much immersed in the contingencies of human existence---with all its frailties--to be uncritically delimited by any particular "science." In the third section, chapters 11-14, a more definitive analysis and critique of contemporary standards of historiography is presented. Subjects which come under Smith's perspicacious and sometimes sardonic criticism include "objectivity," "subjectivism," "relativism," "individualism," "sciantism," and "historicism," to name only a few. The insight of this part, provocatively delineated and defended in the Twelfth Chapter ("A Case in Point: The American Revolution") is that generally speaking it is an illusion to believe that "perspective" or "distance in time" necessarily guarantees a "truer interpretation." More specifically and positively Smith argues that the relation between "historic event" and the "authentic integrity of the participant" must remain inviolable. The fourth and final part, chapter 15, discerns how an awareness of the historic dimension of human existence may provide a help, albeit a limited one, to those who seek meaningfulness amidst "the turbulent waters of our time." The theme of this section, although somewhat confessional and poetic in tone, is that "the historic" frees the individual ]tom the weight of the present and ]or the wider dimensions of authenticity in terms of community, on the one hand, and the Divine, on the other. The underlying thesis which unites the four parts of the book is: The historian's task is a moral one in which it is his responsibility to discern from the drama of the race a vision of authentic selfhood aetualizable in terms of transcendence. Just what the implications of this [251] 252 HISTORY OF PHILOSOPHY thesis are, and what it presages for "history" in "a new frame of reference" (p. 224) can be appreciated in part by reading it from the point of view of more explicit themes characteristic of Smith's position. In this regard his contributions to the... (shrink)

An award-winning author explores how the world works in our age of "continuous now" Back in the 1970s, futurism was all the rage. But looking forward is becoming a thing of the past. According to Douglas Rushkoff, "presentism" is the new ethos of a society that's always on, in real time, updating live. Guided by neither history nor long term goals, we navigate a sea of media that blend the past and future into a mash-up of instantaneous experience. Rushkoff shows (...) how this trend is both disorienting and exhilarating. Without linear narrative we get both the humiliations of reality TV and the associative brilliance of The Simpsons. With no time for long term investing, we invent dangerously compressed derivatives yet also revive sustainable local businesses. In politics, presentism drives both the Tea Party and the Occupy movement. In many ways, this was the goal of digital technology--outsourcing our memory was supposed to free us up to focus on the present. But we are in danger of squandering this cognitive surplus on trivia. Rushkoff shows how we can instead ground ourselves in the reality of the present tense. (shrink)

Career shocks are the norm, not the exception. Yet, much of research and counseling on career-development holds unrealistic assumptions of a makeable career. Little is understood about the role of shocks on the career path and how the interplay of individual reactions to shocks shapes careers. The purpose of this study is to provide understanding of responses to different attributes of career shocks and career shocks as antecedents to career and job change. A qualitative approach was chosen and data were (...) obtained from 25 semi-structured interviews with a sample of mid-career individuals who had experienced shocks in their work lives. The analysis was 2-fold and aimed at unearthing of individual responses to shocks and the question of the role of shocks on changes in the career path. Firstly, the analysis of career shocks revealed a pattern of distinct agentic responses in relation to shocks of different attributes. Secondly, from the analysis of shock attributes and corresponding responses over time career changer profiles emerged which differ in regard to career change behavior and magnitude of changes in the career. A process model which depicts how post-shock careers are shaped distinctively in relation to different shock attributes and corresponding responses is presented. This study underlines the importance of understanding the unplannable in career development and shows a variety of options for individuals to develop their careers despite shocks. Limitation stems from the investigation of a sample limited to mid-career individuals. The findings provide a new conceptual lens to theorize and conduct research on career shocks and career changes and facilitate the development of coping strategies for career shocks. The originality lies in the investigation of the momentum of career shocks on career paths with detail to different attributes of career shocks and how they impact the career path. (shrink)

This article discusses Benjamin's interpretation of Baudelaire's poetry as a key to reading modernity. Understanding the ambiguities between novelty and archaism, typical of the time, is only possible thanks to the poet’s gesture of privileging radical contingency. On the one hand, the violence of unwanted encounters amid the crowd does not allow for reflection; on the other, its productive dimension makes contingency speakable. The poet’s verses will make possible the encounter of the now of experience with the available past in (...) terms of expectation: explanatory images are produced from the singularity of language. Finally, the Lacanian real is produced thanks to the understanding of the psyche as structure. (shrink)

"Jesus Shock is the second in a series of short works on seminal concerns of the impact that Jesus Christ made in the world. The first work, The Philosophy of Jesus, explored philosophy in light of Jesus, rather than the other way around. The present work investigates the reception Jesus received both in His lifetime and continuously to the present time, not only from His enemies, but from His friends, a reception of shock, astonishment, even disgust." "Jesus-Shock (...) shows the reasons why to this day the name of "Jesus" stirs up controversy, even revulsion, in polite society. In the true spirit of ecumenism, it also points the way toward a true rapprochement among His modern-day disciples."--BOOK JACKET. (shrink)

Tagba is a tone language that presents tonal patterns that appear quite regular at first glance. However, these are difficult to model under standard autosegmental hierarchical assumptions regarding the placement of skeleton, segments and tones. In this paper, we will present Tagba tonology and demonstrate that it can be accounted for by readjusting the tiers of hierarchization. From this, we reason that the proposed hierarchy is parametric and language specific.

This paper tries to show how the Fregean semantic framework, especially the notions of sense and tone, can be used to explain certain features of history. Following Michael Dummett's interpretation of Gottlob Frege's notion of meaning, it is possible to conceive of historical works as proposing particular modes of presentation of past events. In fact, alternative historical works about the same past events could be viewed as differing in what sense and tone they express. In this paper, I (...) first outline some of the points and distinctions made by Frege. Second, I examine how the notions of sense, reference, and tone can be applied in semantic analysis of historical work. Finally, I point to a certain similarity between the Fregean framework and some of the views presented in the recent philosophy of history. My account suggests how to make use of some of the classical insights of Frege when dealing with the semantic issues of historical work. (shrink)

Studies based on the Rankine-Hugoniot relations have classified MHO shock waves as fast, switch-on, intermediate, switch-off, and slow. Any waves found in nature must also: possess steady-state structures and be stable in the presence of small-flow disturbances. In this monograph, Dr. Anderson examines these criteria in relation to plane shocks for which the collision frequency is large compared with cyclotron frequency. It contains a three-dimensional graphic representation of shock end states and presents an exact solution for the (...) class='Hi'>shock adiabatic curve in a convenient form. An MIT Press Research Monograph. (shrink)

This paper takes a recently published text and, in examining it closely, argues that it exemplifies trends within feminist scholarship in law, which might be characterised asestablishing a form of orthodoxy. The paper explores some of the ways in which thiso rthodoxy is constructed and presented, and argues that it is characterised by a commitment both to `grand theory' and Hegelian dialectics. The adoption of this model of work seems to offer a chance to hold together the triangular figure of (...) women/theory/law reform. The paper will argue that, whilst this model is clearly a valid choice, and attractive to feminist scholars in the promise it seems to hold, the model is not to be presumed but rather should be examined and considered in terms of its potential for feminist scholarship. Both within its own terms, and as part of the construction of an orthodoxy, the paper will argue that it is in fact problematic and that feminist scholarship would be better served by seeking an alternative theoretical model. An alternative is suggested, using the work of Deleuze, but it is acknowledged that this will require the acceptance of a very different theoretical configuration from that suggested by the triangular model of women/theory/lawreform. (shrink)

The present account, based on introspective comments, deals with motivation and hedonic tone as subjective factors which affect continuous work at high speeds. Actual introspective reports are given. The earlier papers in the series described the experimental procedure and presented objective data.

Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory–acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, (...) or an extremely low average formant dispersion. To assess the average formant dispersion per stanza, all words were phonetically transcribed and the distance between the first and second formant per vowel was calculated. Building on a long tradition of research on associations between sound frequency on the one hand and non‐acoustic concepts such as size, strength, or happiness on the other hand, we hypothesized that stanzas with an extremely high average formant dispersion would be rated lower on items referring to Potency (dominance) and higher on items referring to Activity (arousal) and Evaluation (emotional valence). The results confirmed our hypotheses for the dimensions of Potency and Evaluation, but not for the dimension of Activity. We conclude that, at least in poetic language, extreme values of acoustic features of vowels are a significant predictor for the emotional tone of a text. (shrink)

The work argues that the koans of Zen Buddhism have several intriguing non-accidental parallels with the short stories of Catholic author Flannery O'Connor. Both typically portray characters in a state of non-enlightenment in which they are egoistically obsessed with something which prevents them from perceiving and properly responding to the real world around them. Both present the characters with some opportunity for enlightenment, which they may or may not take up. Both come in a variety of forms, in order to (...) portray and address a rich variety of ways in which such obsessions become obstacles to human self-understanding and fulfillment. And both are ultimately presented for the sake of the listener or reader, who may recognize in the stories parallels to their own state, and perhaps take a lesson therefrom on their own journey towards what Zen calls enlightenment, or what Christians call grace. (shrink)

Worries about the artistic integrity (for lack of a better term) of twelve-tone music are not new. Critics, philosophers, musicians, even composers them- selves have assailed the idiom with a fervor usually reserved for individual artists or works. Just why it is supposed to be defective is not entirely clear, however. I want to revisit these questions by way of putting some insights from music history and theory together with some insights from the philosophy and psychology of music. To (...) find out whether twelve-tone composition is defective we will need to reflect carefully upon our concepts of music and art in general, so if all goes well our conclusions should have some broader import. Because I will be pulling together considerations from several domains, I will need to lay a fair amount of groundwork at the beginning; but once that is done, we will have a vantage on the present issues that would not otherwise be open to us. (shrink)

Recent research into climate shocks and what this means for the on-farm production of food revealed mixed and unanticipated results. Whilst the research was triggered by a series of catastrophic, climate related disruptions, Australian beef producers interviewed for the study downplayed the immediate and direct impacts of climate shocks. When considering the changing nature of production under shifting climatic conditions, producers offered a commentary on the digital technology and data which interconnected with climate solutions deriving from both on and off (...) the farm. Perceptions of digital technologies were mixed. Some viewpoints outlined how data driven climate solutions supported on farm planning and decision making, helping to manage climate risks and shocks. However, alongside these narratives, concerns were raised about satellite-based sustainability surveillance and their implications for producer agency. These concerns include the data-informed actions of non-farming third parties, such as bank loan call-ins for properties perceived to be a climate risk, remote surveillance of ground cover, and the commercial re-appraisal of pastoral lands as carbon sinks. Digital solutions to climate shocks thus emerge as inherently ambivalent, a response to shocks and a potential catalyst for renewed crisis. Drawing upon the theoretical lens of relationality, we argue that digital data are increasingly entangled with other material and non-material elements that may disrupt and/or reconfigure the management of farming and with that, the future security of food production. In some instances, data-based solutions to climate risks and shocks present even greater risks to producer agency than climate risks and shocks themselves. (shrink)

To construct their first lexicon, infants must determine the relationship between native phonological variation and the meanings of words. This process is arguably more complex for bilingual learners who are often confronted with phonological conflict: phonological variation that is lexically relevant in one language may be lexically irrelevant in the other. In a series of four experiments, the present study investigated English–Mandarin bilingual infants’ abilities to negotiate phonological conflict introduced by learning both a tone and a non-tone language. (...) In a novel word learning task, bilingual children were tested on their sensitivity to tone variation in English and Mandarin contexts. Their abilities to interpret tone variation in a language-dependent manner were compared to those of monolingual Mandarin learning infants. Results demonstrated that at 12–13 months, bilingual infants demonstrated the ability to bind tone to word meanings in Mandarin, but to disregard tone variation when learning new words in English. In contrast, monolingual learners of Mandarin did not show evidence of integrating tones into word meanings in Mandarin at the same age even though they were learning a tone language. However, a tone discrimination paradigm confirmed that monolingual Mandarin learning infants were able to tell these tones apart at 12–13 months under a different set of conditions. Later, at 17–18 months, monolingual Mandarin learners were able to bind tone variation to word meanings when learning new words. Our findings are discussed in terms of cognitive adaptations associated with bilingualism that may ease the negotiation of phonological conflict and facilitate precocious uptake of certain properties of each language. (shrink)

ABSTRACT:While tone at the top is widely regarded as an important predictor of ethical behavior in organizations, we argue that recent research overlooks the various conflicting ethical tones present in many multi-organizational work settings. Further, we propose that the resolution processes promulgated in many firms and professional associations to reconcile this conflict reinforce the tone at the bottom or a tone at the top of the employee’s organization, and that both of these approaches can conflict with the (...) tone at the top of other important organizations such as professional and regulatory organizations. Here we adapt Integrative Social Contract Theory’s priority rules to propose a multi-tone reconciliation process which prioritizes conflicting ethical tones based upon features of the organization and the effects on society. Using three contextualizations, we demonstrate the effectiveness of the multi-tone reconciliation process over current processes. We conclude with recommendations for future research and implications for practice. (shrink)

This paper will attempt to establish a framework for the term vedanā. Then it will present the range of the different feeling tones: pleasant, unpleasant and neutral. It will point out that ‘neutral’ feeling tone can be defined in different ways as either non-existing, indeterminate, indifference or the beginning of equanimity. Following this, vedanā will be discussed in the context of the five nāma factors: contact, feeling-tone, perception, intention and attention. This paper will suggest that mindfulness can be (...) of benefit because it possibly gives rise to what is referred to in the early Pāli texts as ‘unwordly pleasant’ feeling tones. The paper concludes by making a connection between the practice of mindfulness of feeling-tones and the cultivation of the ethical precepts as an antidote to unskilful reactive patterns that arise in relation to vedana. (shrink)

Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a (...) tone in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

Speakers with autism spectrum disorder are found to exhibit atypical pitch patterns in speech production. However, little is known about the production of lexical tones as well as neutral tones by tone-language speakers with ASD. Thus, this study investigated the height and shape of tones produced by Mandarin-speaking children with ASD and their age-matched typically developing peers. A pronunciation experiment was conducted in which the participants were asked to produce reduplicated nouns. The findings from the acoustic analyses showed that (...) although ASD children generally produced both lexical tones and neutral tones with distinct tonal contours, there were significant differences between the ASD and TD groups for tone height and shape for T1/T1N, T3/T3N, and T4/T4N. However, we did not find any difference in T2/T2N. These data implied that the atypical acoustic pattern in the ASD group could be partially due to the suppression of the F0 range. Moreover, we found that ASD children tended to produce more errors for T2/T2N, T3/T3N than for T1/T1N, T4/T4N. The pattern of tone errors could be explained by the acquisition principle of pitch, similarities among different tones, and tone sandhi. We thus concluded that deficits in pitch processing could be responsible for the atypical tone pattern of ASD children, and speculated that the atypical tonal contours might also be due to imitation deficits. The present findings may eventually help enhance the comprehensive understanding of the representation of atypical pitch patterns in ASD across languages. (shrink)

We discuss how the approach taken by regulators to address financial reporting issues has a significant influence on tone at the top. While tone must ultimately be established internally, regulators are more likely to have a positive impact on the quality of financial reporting by addressing organizational tone. A strong tone at the top should ensure that the financial reports are characterized by greater transparency and complete disclosures, and a regulator’s response will depend upon their perspective (...) as to what motivates management. A compliance-based approach, rooted in agency theory’s assumption that managers act in their own best interests, seeks to mandate desirable behavior through elevated monitoring and reduced managerial discretion. Alternatively, an empowerment-based approach rooted in stewardship theory views managers as trustworthy guardians and grants them greater discretion without burdensome external monitoring. In practice, regulations fall on a continuum between these two approaches. To illustrate the continuum between compliance and empowerment, we present three cases in financial and tax reporting and examine the outcomes of these recent regulatory responses. We then provide conclusions regarding the effectiveness of each regulation by considering how tone was influenced within organizations. (shrink)

Following a suggestion made by Aquino and Arnell (2007), we assumed that the processing of emotional words is influenced by their context of presentation. Supporting this idea, previous studies using the emotional Stroop task in its visual or auditory variant revealed different results depending on the mixed versus blocked presentation of the stimuli (Bertels, Kolinsky, Pietrons, & Morais, 2011; Richards, French, Johnson, Naparstek, & Williams, 1992). In the present study, we investigated the impact of these presentation designs on the occurrence (...) of spatial attentional biases in a modified version of the beep-probe task (Bertels, Kolinsky, & Morais, 2010). Attentional vigilance to taboo words as well as non-spatial slowing effects of these words were observed whatever the mixed or blocked design, whereas attentional vigilance to positive words was only observed in the mixed design. Together with the results from our previous study (Bertels et al., 2010), the present data support the reliability of the effects of shocking stimuli, while vigilance to positive words would only be observed in a threatening context. (shrink)

Introduction: Neurobiological systems engineering models are useful for treating patients. We show a model of “high opioid tone” autism and present a hypothesis about how autism is caused by administration of opioids during childbirth.Main Symptoms: Clinical diagnosis of autism in a 25 year old man was confirmed by a Social Responsiveness Scale self-rating of 79, severe, and a Social Communications Questionnaire by the patient's father scoring 27. Cold pressor time was 190 seconds—unusually long, consonant with the high pain tolerance (...) of autism.Therapeutic Intervention and Outcomes: At naltrexone 50 mg/day SRS fell to 54 and SCQ-−2–9; both non-significant. CPT fell to 28, repeat 39 s. Improved relatedness was experienced ambivalently, understood as feelings never before experienced—causing pain. Non-compliance with naltrexone was followed by cutting open his palm and drinking alcoholically. Transference focused psychotherapy has helped him remain naltrexone—compliant while he works on issues of identity and relatedness.Conclusion: The model suggests studies that could be conducted to both prevent and treat this form of autism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

Previous electrophysiological studies that have examined temporal agreement violations in (Indo-European) languages that use grammatical affixes to mark time reference, have found a Left Anterior Negativity (LAN) and/or P600 ERP components, reflecting morpho-syntactic and syntactic processing, respectively. The current study investigates the electrophysiological processing of temporal relations in an African language (Akan) that uses grammatical tone, rather than morphological inflection, for time reference. Twenty-four native speakers of Akan listened to sentences with time reference violations. Our results demonstrate that a (...) violation of a present context by a past verb yields a P600 time-locked to the verb. There was no such effect when a past context was violated by a present verb. In conclusion, while there are similarities in both Akan and Indo-European languages, as far as the modulation of the P600 effect is concerned, the nature of this effect seems to be different for these languages. (shrink)

If modernity involves a view through which it is possible to read the uninterrupted historical continuity of social utopia and the harmony of class and the progress of the 19th century, it is fundamental to explore what is the other face of this fantasy of progress that places the individual in modernity in a situation of depression and debt, inasmuch as those promises are never fully fulfilled. Walter Benjamin builds his idea of history rethinking this legacy. He imagines the way (...) in which the materialist historian must act, that is, the one who will articulate justice and redemption of the past as it is proposed on the thesis of On the concept of history, a text of 1940 on which he worked until the end of his life. In this text, we can find what Michael Löwy called a critical constellation, which links the past with the present. Regarding these considerations, we pursue two main objectives: on the one hand, to delineate what a theory of modernity could mean in the frame of Benjamin's work; on the other, to examine the relationship between the experience of modernity, linked to melancholy and loss, and the aesthetic experience, understood as a privileged device to make thinkable the human doing. (shrink)

BackgroundDeficits in phonological processing are commonly reported in dyslexia but longitudinal evidence that poor speech perception compromises reading is scant. This 2-year longitudinal ERP study investigates changes in pre-attentive auditory processing that underlies categorical perception of mandarin lexical tones during the years children learn to read fluently. The main purpose of the present study was to explore the development of lexical tone categorical perception to see if it can predict children’s reading ability.MethodsBoth behavioral and electrophysiological measures were taken in (...) this study. Auditory event-related potentials were collected with a passive listening oddball paradigm. Using a stimulus continuum spanning from one lexical tone category exemplar to another, we identified a between-category and a within-category tone deviant that were acoustically equidistant from a standard stimulus. The standard stimulus occurred on 80% of trials, and one of two deviants equiprobably on the remaining trials. 8-year-old Mandarin speakers participated in both an initial ERP oddball paradigm and returned for a 2-year follow-up.ResultsThe between-category MMN and within-category MMN significantly correlate with each other at age 8 but not at age 10. The between-category MMN at age 8 can predict children’s ability at age 10 but the within-category cannot.ConclusionThe categorical perception of lexical tone is still developing from age 8 to age 10. The behavioral and electrophysiological results demonstrate that categorical perception of lexical tone at age 8 predicts children’s reading ability at age 10. (shrink)

Speech variability facilitates non-tonal language speakers’ lexical tone learning. However, it remains unknown whether tonal language speakers can also benefit from speech variability while learning second language (L2) lexical tones. Researchers also reported that the effectiveness of speech variability was only shown on learning new items. Considering that the first language (L1) and L2 probably share similar tonal categories, the present study hypothesizes that speech variability only promotes the tonal language speakers’ acquisition of L2 tones that are different from (...) the tones in their L1. To test this hypothesis, the present study trained native Mandarin (a tonal language) speakers to learn Cantonese tones with either high variability (HV) or low variability (LV) speech materials, and then compared their learning performance. The results partially supported this hypothesis: only Mandarin subjects’ productions of Cantonese low level and mid level tones benefited from the speech variability. They probably relied on the mental representations in L1 to learn the Cantonese tones that had similar Mandarin counterparts. This learning strategy limited the impact of speech variability. Furthermore, the results also revealed a discrepancy between L2 perception and production. The perception improvement may not necessarily lead to an improvement in production. (shrink)

The present paper studies Ernst Mach’s experimental work with “spark waves” and other types of shock waves, which brought him to the 1887–88 famous schlieren photographs of supersonic phenomena triggered by bullets shot at high speed. Against what it is traditionally argued, I show (1) that Ernst Mach’s visualization attempts do not depend on his commitment to any particular philosophical doctrine about the role of sensations as the foundation of empirical science, and (2) that his inclination toward experimental research (...) may have crucially contributed to the development of his epistemological and ontological views. (shrink)

This study investigated the relative role of sub-syllabic components in spoken word recognition of Mandarin Chinese using an eye-tracking experiment with a visual world paradigm. Native Mandarin speakers were presented with four pictures and an auditory stimulus. They were required to click the picture according to the sound stimulus they heard, and their eye movements were tracked during this process. For a target word, nine conditions of competitors were constructed in terms of the amount of their phonological overlap with the (...) target: consonant competitor, rime competitor, tone competitor, consonant plus rime competitor, consonant plus tone competitor, rime plus tone competitor, cohort competitor, cohort plus tone competitor, and baseline competitor. A growth curve analysis was conducted with the fixation to competitors, targets, and distractors, and the results showed that competitors with consonant or rime overlap can be adequately activated, while tone overlap plays a weaker role since additional tonal information can strengthen the competitive effect only when it was added to a candidate that already bears much phonological similarity with the target. Mandarin words are processed in an incremental way in the time course of word recognition since different partially overlapping competitors could be activated immediately; like the pattern found in English, both cohort and rime competitors were activated to compete for lexical activation, but these two competitors were not temporally distinctive and mainly differed in the size of their competitive effects. Generally, the gradation of activation based on the phonological similarity between target and candidates found in this study was in line with the continuous mapping models and may reflect a strategy of native speakers shaped by the informative characteristics of the interaction among different sub-syllabic components. (shrink)

In the field of modern photography, aesthetic recreations to varying degrees through the content of the images presented by photography, while forming a certain degree of philosophical aesthetic awareness, can awaken people's emotions and philosophical cognition. As a modeling language, the tone in photography is crucial in embodying the contrasting relationship between light and shade, virtual reality, and the different levels of black and white in black and white portrait photography. It is the most basic factor that constitutes a (...) character's image. Based on the unique performance characteristics of the art of black and white portrait photography, and based on the art of tone in photography and cognitive and aesthetic perspectives in philosophy, this article discusses the role, classification, and influencing factors of tone in black and white portrait photography, and expounds the different philosophical concepts of the East and the West represented by the differences in tone in black and white portrait photography. By analyzing the philosophical concepts and expressions of tone in black and white portrait photography, it can be seen that black and white portrait photography has simple and highly generalized artistic characteristics. It represents the characteristics, connotations, and aesthetic characteristics of black and white portrait photography with a unique art, and at the same time builds a bridge between the photographer and the viewer at the philosophical and aesthetic levels. (shrink)