This thesis reviews Haam Seok Heon‘s See-al philosophy, the main philosophy about life in terms of women. The See-al philosophy was created by Haam, who went through the turbulent times of Korea. So far, we have had papers that dealt with his philosophy under the political, historical and religious contexts, but there has been no paper focused on women. Actually, Haam confessed that it was his mother who structured the foundation of his philosophy. He also said that he learned from (...) his mother about freedom, equality, and the basics of See-al ideas. He developed his philosophy of life, See-al, through the image of his motherwho devoted her whole life to bring him up with love and willingly sacrificed her life for her beloved son. Haam regarded women as a link of all lives in history. He also thought mothers, women in other words, have that power that gives birth, breeds lives and infuses new structure into eternal life; in addition, he stated that women have energy which pulls clear and new things out of filthy and dirty things. Through his image about women, Haam's See-al philosophy extends itself as an ecological life movement. In this paper, Haam's philosophy about women is not reviewed and analyzed by the western point of view because Haam is not a man who spent his life in so-called the "times of women" in the western view. Since his philosophy emphasizes self-reflective, independent life, freedom andequality, we might find out that there are some discrepancies between his philosophy and the lives of his mother and wife who had sacrificed their lives under the patriarchal social system. However, the meaning of Haam's independent life is totally different from the western concept of if. That is, his idea of independent life is closely related to sacrifice. In the current society under the influence of Neo-liberalism, only competition and economic logic matter; however, Haam's philosophy, which states "Life is no different between you and I, and only love can save you and I as one existence" and cherishes every single life as one organism that connects all existing things--sky, earth, human beings, etc.--is of great importance for us to reconsider. (shrink)

원로 문인의 철학에세이. 삶에 대한 철학적 사색부터 서양철학 사상의전개, 현대 영.미철학의 특성까지를 면밀히 검토하였다.

Bestseller LET'S NOT LOVE by Kim Yong Ok in a Q&A dialogue style with a young man on various subjects of life in Korean society. Kim who is an artist, educator and philosopher uncovers his philosophical perspectives on adversities and challenges Koreans are facing from who will win in the coming presidential election to many social phenomenon and thoroughly overturns common wisdom and expectation. Rich in philosophy, ideology, history, language... In Korean. Annotation copyright Tsai Fong Books, Inc. Distributed by Tsai (...) Fong Books, Inc. (shrink)

Conduct of Muslim women in Turkey in the age of globelization; 20th century.

In lieu of an abstract, here is a brief excerpt of the content:St. Thomas Aquinas's Appeal to St. John the Baptist as a Benchmark of Spiritual GreatnessJohn Baptist Ku, O.P.When we think of sources of St. Thomas Aquinas's speculative theology, we rightly recall teachings given in Scripture—such as that sin came into the world through one man (Rom 5:12) or that all that the Father has belongs also to the Son (John 16:15)—as well as teachings, based on Scripture, imparted by (...) Church councils or Fathers, such as that Christ is one person with two natures1 or that the human nature of Christ is an instrument of his divinity.2 In the project of faith seeking understanding, these teachings lead expeditiously to distinctions and clarifications concerning person and nature, habit and action, primary and instrumental causality, intellect and will, faith and reason, and the like. However, the saints themselves too serve as a source for Aquinas's speculative theological reflection. Though they admittedly constitute a less abundant source than scriptural, conciliar, or patristic teaching, the saints' contribution to Aquinas's theology merits our attention.For instance, in "Jean-Baptiste: figure du prêcheur chez Thomas d'Aquin," Jean-Pierre Torrell observes that Aquinas's research into the Fathers of the Church for the Catena aurea bore considerable influence on his subsequent works, and Torrell documents how Aquinas's treatment of John the Baptist is a precise case that shows this influence.3 More recent [End Page 1119] scholarship has, fortunately, taken note of the saints' contribution to Aquinas's theology—in the figures of St. Benedict and the virgin martyrs.4This article will therefore examine St. John the Baptist as just such a source of Aquinas's speculative theology. Aquinas appeals to St. John as a benchmark of spiritual greatness against which to situate other figures: Christ, angels, Mary, apostles, prophets, evangelists, priests, and the people of God. By examining these cases, we will not only observe the Angelic Doctor's appreciation of the saints as our teachers, as examples to be imitated, and as proofs of God's love in transformative grace; we will also witness aspects of the Dominican master's theological method, that is, in his manner of interpreting Scripture and his application of reason to scriptural data to make arguments and draw conclusions.5 For instance, in his treatment of the least in the kingdom of heaven, Scripture will definitively confirm what theological reasoning can determine concerning the knowledge of those with the beatific vision. Furthermore, his exposition on the Blessed Virgin will reveal that he reads the Bible as a whole with one divine author, in support of traditional interpretations.6 However, he is not naive about diverse human authorship and the literal versus the spiritual senses [End Page 1120] of Scripture,7 and his methodology unveils his explicit conviction that Scripture must be the basis of theological claims.8My presentation will unfold in five sections. After (1) a glance at some of Aquinas's comments on the authority of various sources of theology so as to situate our conversation about the saints as a source of theology, I will review Aquinas's enlistment of John the Baptist as a standard by which to establish: (2) three simple points about Christians and Christ—that all of the articles of faith must be accepted, that prepubescent children can enter religious life, and that Christ's baptism manifests divine power—(3) the superiority of angels to wayfarers, among whom John the Baptist is the greatest, followed by apostles, prophets, and evangelists; (4) the eminence of John the Baptist and a ranking, in order, of God, angels, John the Baptist, prophets, priests, and then God's people; and (5) the holiness of Mary the Mother of God.The Authority of Various Sources of TheologyIn just a few lines in the Summa theologiae, Aquinas identifies the roles of reason and authority in theology. On one hand, "it is most proper" to theology to offer "proofs from authority," since theology's "principles are known through revelation"—making theological arguments dependent on "the authority of those making the revelation." But on the other hand, theology "also uses human reason, not to... (shrink)

Many people find modern art, in whatever medium, meaningless. Its radical questioning of all aesthetic norms, its wild experimentation and its lack of direction stand in stark contrast to the past, with its great tradition of meaningful artistic expression. Of course, it can be argued that modern artists are simply feeling much more deeply what anyone alive today must sense, however vaguely and superficially: a deeply pessimistic and often nihilistic mood. And if art is to have integrity, artists cannot escape (...) that. However, anyone who believes in a first and last ground of meaning of the world and man, even at a time of the disintegration of traditions, can scarcely believe in a definitive chaos of art: if art is a genuine representation of the realities of our time, it should be possible, by understanding it more deeply, to find greater meaning the other side of seeming meaninglessness. This, briefly stated, is the argument of Hans Kueng's latest study, both profound and provocative, which introduces a new and important dimension to his thought. (shrink)

Das Phänomen des Amateurkünstlers und Dilettanten zählt zu den bisher kaum beachteten Gegenständen der kunsthistorischen Forschung. Das Werk dieser Schaffenden darf gleichwohl als ein entscheidender Beitrag zur Kunst- und Künstlergeschichte des 18. Jahrhunderts verstanden werden. Unter einem Dilettanten versteht man gemeinhin einen Laien und Stümper, welcher dem Metier, in dem er sich versucht, eher Schaden als Nutzen bringt. Dabei wird ausser Acht gelassen, dass sich künstlerisch begabte Personen vor allem deshalb als Dilettanten bezeichneten, um sich vom professionellen Künstler abzugrenzen. Dilettieren (...) wurde als eine dem Adel vorbehaltene exklusive Form der Kunstausübung verstanden, die sich weder finanziellen Interessen noch dem Geschmack eines grösseren Publikums unterwerfen musste und sich somit kreative Freiräume ermöglichte. (shrink)

DA: I anledning af Judith Butlers forelæsning om klimasorg på KU er jeg blevet bedt om at besvare spørgsmålet om, hvad man kan bruge Butlers tænkning til i dag og om den stadig er aktuel. Min første tanke var at besvare spørgsmålet med svaret: Man kan bruge Butlers tænkning til ALT! Men for at fokusere mit svar, har jeg besluttet mig for at gennemgå Butlers tænkning i forhold til spørgsmålet om prekære liv og vold og ikke-vold, og hvordan disse emner (...) udspringer af Butlers tænkning om køn i 1990’erne. -/- EN: In connection with Judith Butler's lecture on climate grief at KU, I have been asked to answer the question of how Butler's thinking could be used today and whether it is still relevant. My first thought was to answer the question with the answer: You can use Butler's thinking for EVERYTHING! However, to focus my answer, I have decided to review Butler's thinking in relation to the issues of precarious lives and violence and non-violence and how these issues stem from Butler's thinking on gender in the 1990s. (shrink)

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

Von welchen Annahmen muss eine Ästhetik ausgehen, die nicht hinter der Komplexität der Kunst zurückbleiben will? Einerseits davon, dass Künstler erst wird, wem es gelingt, die ungewöhnliche Kraft aufzubringen oder die eigentümliche Fähigkeit zu entwickeln, alles zu bejahen, was ihn trifft und berührt, was er erleidet, was ihn schmerzt, reizt und verwundet. Es gibt nichts, was der Künstler von seiner Liebe ausschliessen könnte, wenn sich in seiner uneingeschränkten Bejahung eines Aussen eine aktive Zuwendung, Teilnahme und Sorge ausdrückt, die man Liebe (...) nennen kann. Das gilt noch für das Unerträgliche und das Unannehmbare, das Unfassbare, von dem man denken könnte, dass das Subjekt es verwerfen muss oder dass es dieses sogar traumatisiert. Der Künstler ist in diesem Sinn ein radikal promiskuitives Subjekt, nicht ein gegebenes empirisches und psychologisches Individuum, das eine Voraussetzung für die Erzeugung von Kunst bildet. (shrink)

Bezeichnet man im deutschsprachigen Raum eine kulturelle Veranstaltung als 'Spektakel', geht damit oft eine negative Wertung einher. Im Gegensatz dazu zeigt der Band die vielfältigen Begriffsdimensionen, medialen Charakteristika und Funktionen dieser zentralen ästhetischen Kategorie in künstlerischen, epistemischen und politischen Kontexten auf. Beiträge aus Kunstgeschichte, Philosophie, Film-, Literatur-, Medien-, Tanz- und Theaterwissenschaft setzen sich mit ästhetischen Theorien und Praktiken des Spektakels von der Antike bis zur Gegenwart auseinander. Die behandelten Beispiele reichen von der christlichen Liturgie bis zur Barockoper, von Paulinus von (...) Nola bis Christoph Schlingensief, vom populären Wissenschaftstheater des 19. Jahrhunderts bis zu politischen Funktionen des Spektakulären im südkoreanischen Kino oder dem italienischen Roman, in Alltag und Kunst des Sozialismus sowie der globalen Medienkultur. Mit Beiträgen von: Micha Braun, Simon Frisch, Elisabeth Fritz, Antje Géra, Nicola Gess, Martin Hähnel, Sarah Hegenbart, Teresa Hiergeist, Carsten Juwig, Katherina Keller-Grein, Kirsten Maar, Astrid Matron, Kassandra Nakas, Ulf Otto, Rita Rieger, Ivo Ritzer, Tanja Schwan und Christiane Voss"--Back cover. (shrink)

INTRODUCTORY* Teleology, ok Moeal Causation. 1. Man aim 8 Before studying the laws which gov- at Fruition — ie, ern human actions, it is useful, ...

Table of contentsI1 Proceedings of the 4th World Conference on Research IntegrityConcurrent Sessions:1. Countries' systems and policies to foster research integrityCS01.1 Second time around: Implementing and embedding a review of responsible conduct of research policy and practice in an Australian research-intensive universitySusan Patricia O'BrienCS01.2 Measures to promote research integrity in a university: the case of an Asian universityDanny Chan, Frederick Leung2. Examples of research integrity education programmes in different countriesCS02.1 Development of a state-run “cyber education program of research ethics” in (...) KoreaEun Jung Ko, Jin Sun Kwak, TaeHwan Gwon, Ji Min Lee, Min-Ho LeeCS02.3 Responsible conduct of research teachers’ training courses in Germany: keeping on drilling through hard boards for more RCR teachersHelga Nolte, Michael Gommel, Gerlinde Sponholz3. The research environment and policies to encourage research integrityCS03.1 Challenges and best practices in research integrity: bridging the gap between policy and practiceYordanka Krastev, Yamini Sandiran, Julia Connell, Nicky SolomonCS03.2 The Slovenian initiative for better research: from national activities to global reflectionsUrsa Opara Krasovec, Renata SribarCS03.3 Organizational climate assessments to support research integrity: background of the Survey of Organizational Research Climate and the experience with its use at Michigan State UniversityBrian C. Martinson, Carol R. Thrush, C.K. Gunsalus4. Expressions of concern and retractionsCS04.1 Proposed guidelines for retraction notices and their disseminationIvan Oransky, Adam MarcusCS04.2 Watching retractions: analysis of process and practice, with data from the Wiley retraction archivesChris Graf, Verity Warne, Edward Wates, Sue JoshuaCS04.3 An exploratory content analysis of Expressions of ConcernMiguel RoigCS04.4 An ethics researcher in the retraction processMichael Mumford5. Funders' role in fostering research integrityCS05.1 The Fonds de Recherche du Québec’s institutional rules on the responsible conduct of research: introspection in the funding agency activitiesMylène Deschênes, Catherine Olivier, Raphaëlle Dupras-LeducCS05.2 U.S. Public Health Service funds in an international setting: research integrity and complianceZoë Hammatt, Raju Tamot, Robin Parker, Cynthia Ricard, Loc Nguyen-Khoa, Sandra TitusCS05.3 Analyzing decision making of funders of public research as a case of information asymmetryKarsten Klint JensenCS05.4 Research integrity management: Empirical investigation of academia versus industrySimon Godecharle, Ben Nemery, Kris Dierickx5A: Education: For whom, how, and what?CS05A.1 Research integrity or responsible conduct of research? What do we aim for?Mickey Gjerris, Maud Marion Laird Eriksen, Jeppe Berggren HoejCS05A.2 Teaching and learning about RCR at the same time: a report on Epigeum’s RCR poll questions and other assessment activitiesNicholas H. SteneckCS05A.4 Minding the gap in research ethics education: strategies to assess and improve research competencies in community health workers/promoteresCamille Nebeker, Michael Kalichman, Elizabeth Mejia Booen, Blanca Azucena Pacheco, Rebeca Espinosa Giacinto, Sheila Castaneda6. Country examples of research reward systems and integrityCS06.1 Improving systems to promote responsible research in the Chinese Academy of SciencesDing Li, Qiong Chen, Guoli Zhu, Zhonghe SunCS06.4 Exploring the perception of research integrity amongst public health researchers in IndiaParthasarathi Ganguly, Barna Ganguly7. Education and guidance on research integrity: country differencesCS07.1 From integrity to unity: how research integrity guidance differs across universities in Europe.Noémie Aubert Bonn, Kris Dierickx, Simon GodecharleCS07.2 Can education and training develop research integrity? The spirit of the UNESCO 1974 recommendation and its updatingDaniele Bourcier, Jacques Bordé, Michèle LeducCS07.3 The education and implementation mechanisms of research ethics in Taiwan's higher education: an experience in Chinese web-based curriculum development for responsible conduct of researchChien Chou, Sophia Jui-An PanCS07.4 Educating principal investigators in Swiss research institutions: present and future perspectivesLouis Xaver Tiefenauer8. Measuring and rewarding research productivityCS08.1 Altimpact: how research integrity underpins research impactDaniel Barr, Paul TaylorCS08.2 Publication incentives: just reward or misdirection of funds?Lyn Margaret HornCS08.3 Why Socrates never charged a fee: factors contributing to challenges for research integrity and publication ethicsDeborah Poff9. Plagiarism and falsification: Behaviour and detectionCS09.1 Personality traits predict attitude towards plagiarism of self and others in biomedicine: plagiarism, yes we can?Martina Mavrinac, Gordana Brumini, Mladen PetrovečkiCS09.2 Investigating the concept of and attitudes toward plagiarism for science teachers in Brazil: any challenges for research integrity and policy?Christiane Coelho Santos, Sonia VasconcelosCS09.3 What have we learnt?: The CrossCheck Service from CrossRefRachael LammeyCS09.4 High p-values as a sign of data fabrication/falsificationChris Hartgerink, Marcel van Assen, Jelte Wicherts10. Codes for research integrity and collaborationsCS10.1 Research integrity in cross-border cooperation: a Nordic exampleHanne Silje HaugeCS10.3 Research integrity, research misconduct, and the National Science Foundation's requirement for the responsible conduct of researchAaron MankaCS10.4 A code of conduct for international scientific cooperation: human rights and research integrity in scientific collaborations with international academic and industry partnersRaffael Iturrizaga11. Countries' efforts to establish mentoring and networksCS11.1 ENRIO : a network facilitating common approaches on research integrity in EuropeNicole FoegerCS11.2 Helping junior investigators develop in a resource-limited country: a mentoring program in PeruA. Roxana Lescano, Claudio Lanata, Gissella Vasquez, Leguia Mariana, Marita Silva, Mathew Kasper, Claudia Montero, Daniel Bausch, Andres G LescanoCS11.3 Netherlands Research Integrity Network: the first six monthsFenneke Blom, Lex BouterCS11.4 A South African framework for research ethics and integrity for researchers, postgraduate students, research managers and administratorsLaetus OK Lategan12. Training and education in research integrity at an early career stageCS12.1 Research integrity in curricula for medical studentsGustavo Fitas ManaiaCS12.2 Team-based learning for training in the responsible conduct of research supports ethical decision-makingWayne T. McCormack, William L. Allen, Shane Connelly, Joshua Crites, Jeffrey Engler, Victoria Freedman, Cynthia W. Garvan, Paul Haidet, Joel Hockensmith, William McElroy, Erik Sander, Rebecca Volpe, Michael F. VerderameCS12.4 Research integrity and career prospects of junior researchersSnezana Krstic13. Systems and research environments in institutionsCS13.1 Implementing systems in research institutions to improve quality and reduce riskLouise HandyCS13.2 Creating an institutional environment that supports research integrityDebra Schaller-DemersCS13.3 Ethics and Integrity Development Grants: a mechanism to foster cultures of ethics and integrityPaul Taylor, Daniel BarrCS13.4 A culture of integrity at KU LeuvenInge Lerouge, Gerard Cielen, Liliane Schoofs14. Peer review and its role in research integrityCS14.1 Peer review research across disciplines: transdomain action in the European Cooperation in Science and Technology “New Frontiers of Peer Review ”Ana Marusic, Flaminio SquazzoniCS14.2 Using blinding to reduce bias in peer reviewDavid VauxCS14.3 How to intensify the role of reviewers to promote research integrityKhalid Al-Wazzan, Ibrahim AlorainyCS14.4 Credit where credit’s due: professionalizing and rewarding the role of peer reviewerChris Graf, Verity Warne15. Research ethics and oversight for research integrity: Does it work?CS15.1 The psychology of decision-making in research ethics governance structures: a theory of bounded rationalityNolan O'Brien, Suzanne Guerin, Philip DoddCS15.2 Investigator irregularities: iniquity, ignorance or incompetence?Frank Wells, Catherine BlewettCS15.3 Academic plagiarismFredric M. Litto16. Research integrity in EuropeCS16.1 Whose responsibility is it anyway?: A comparative analysis of core concepts and practice at European research-intensive universities to identify and develop good practices in research integrityItziar De Lecuona, Erika Löfstrom, Katrien MaesCS16.2 Research integrity guidance in European research universitiesKris Dierickx, Noémie Bonn, Simon GodecharleCS16.3 Research Integrity: processes and initiatives in Science Europe member organisationsTony Peatfield, Olivier Boehme, Science Europe Working Group on Research IntegrityCS16.4 Promoting research integrity in Italy: the experience of the Research Ethics and Bioethics Advisory Committee of the Consiglio Nazionale delle Ricerche Cinzia Caporale, Daniele Fanelli17. Training programs for research integrity at different levels of experience and seniorityCS17.1 Meaningful ways to incorporate research integrity and the responsible conduct of research into undergraduate, graduate, postdoctoral and faculty training programsJohn Carfora, Eric Strauss, William LynnCS17.2 "Recognize, respond, champion": Developing a one-day interactive workshop to increase confidence in research integrity issuesDieter De Bruyn, Bracke Nele, Katrien De Gelder, Stefanie Van der BurghtCS17.4 “Train the trainer” on cultural challenges imposed by international research integrity conversations: lessons from a projectJosé Roberto Lapa e Silva, Sonia M. R. Vasconcelos18. Research and societal responsibilityCS18.1 Promoting the societal responsibility of research as an integral part of research integrityHelene IngierdCS18.2 Social responsibility as an ethical imperative for scientists: research, education and service to societyMark FrankelCS18.3 The intertwined nature of social responsibility and hope in scienceDaniel Vasgird, Stephanie BirdCS18.4 Common barriers that impede our ability to create a culture of trustworthiness in the research communityMark Yarborough19. Publication ethicsCS19.1 The authors' forum: A proposed tool to improve practices of journal editors and promote a responsible research environmentIbrahim Alorainy, Khalid Al-WazzanCS19.2 Quantifying research integrity and its impact with text analyticsHarold GarnerCS19.3 A closer look at authorship and publication ethics of multi- and interdisciplinary teamsLisa Campo-Engelstein, Zubin Master, Elise Smith, David Resnik, Bryn Williams-JonesCS19.4 Invisibility of duplicate publications in biomedicineMario Malicki, Ana Utrobicic, Ana Marusic20. The causes of bad and wasteful research: What can we do?CS20.1 From countries to individuals: unravelling the causes of bias and misconduct with multilevel meta-meta-analysisDaniele Fanelli, John PA IoannidisCS20.2 Reducing research waste by integrating systems of oversight and regulationGerben ter Riet, Tom Walley, Lex Marius BouterCS20.3 What are the determinants of selective reporting?: The example of palliative care for non-cancer conditionsJenny van der Steen, Lex BouterCS20.4 Perceptions of plagiarism, self-plagiarism and redundancy in research: preliminary results from a national survey of Brazilian PhDsSonia Vasconcelos, Martha Sorenson, Francisco Prosdocimi, Hatisaburo Masuda, Edson Watanabe, José Carlos Pinto, Marisa Palácios, José Lapa e Silva, Jacqueline Leta, Adalberto Vieyra, André Pinto, Mauricio Sant’Ana, Rosemary Shinkai21. Are there country-specific elements of misconduct?CS21.1 The battle with plagiarism in Russian science: latest developmentsBoris YudinCS21.2 Researchers between ethics and misconduct: A French survey on social representations of misconduct and ethical standards within the scientific communityEtienne Vergès, Anne-Sophie Brun-Wauthier, Géraldine VialCS21.3 Experience from different ways of dealing with research misconduct and promoting research integrity in some Nordic countriesTorkild VintherCS21.4 Are there specifics in German research misconduct and the ways to cope with it?Volker Bähr, Charité22. Research integrity teaching programmes and their challengesCS22.1 Faculty mentors and research integrityMichael Kalichman, Dena PlemmonsCS22.2 Training the next generation of scientists to use principles of research quality assurance to improve data integrity and reliabilityRebecca Lynn Davies, Katrina LaubeCS22.3 Fostering research integrity in a culturally-diverse environmentCynthia Scheopner, John GallandCS22.4 Towards a standard retraction formHervé Maisonneuve, Evelyne Decullier23. Commercial research and integrityCS23.1 The will to commercialize: matters of concern in the cultural economy of return-on-investment researchBrian NobleCS23.2 Quality in drug discovery data reporting: a mission impossible?Anja Gilis, David J. Gallacher, Tom Lavrijssen, Malwitz David, Malini Dasgupta, Hans MolsCS23.3 Instituting a research integrity policy in the context of semi-private-sector funding: an example in the field of occupational health and safetyPaul-Emile Boileau24. The interface of publication ethics and institutional policiesCS24.1 The open access ethical paradox in an open government effortTony SavardCS24.2 How journals and institutions can work together to promote responsible conductEric MahCS24.3 Improving cooperation between journals and research institutions in research integrity casesElizabeth Wager, Sabine Kleinert25. Reproducibility of research and retractionsCS25.1 Promoting transparency in publications to reduce irreproducibilityVeronique Kiermer, Andrew Hufton, Melanie ClyneCS25.2 Retraction notices issued for publications by Latin American authors: what lessons can we learn?Sonia Vasconcelos, Renan Moritz Almeida, Aldo Fontes-Pereira, Fernanda Catelani, Karina RochaCS25.3 A preliminary report of the findings from the Reproducibility Project: Cancer biologyElizabeth Iorns, William Gunn26. Research integrity and specific country initiativesCS26.1 Promoting research integrity at CNRS, FranceMichèle Leduc, Lucienne LetellierCS26.2 In pursuit of compliance: is the tail wagging the dog?Cornelia MalherbeCS26.3 Newly established research integrity policies and practices: oversight systems of Japanese research universitiesTakehito Kamata27. Responsible conduct of research and country guidelinesCS27.1 Incentives or guidelines? Promoting responsible research communication through economic incentives or ethical guidelines?Vidar EnebakkCS27.3 Responsible conduct of research: a view from CanadaLynn PenrodCS27.4 The Danish Code of Conduct for Research Integrity: a national initiative to promote research integrity in DenmarkThomas Nørgaard, Charlotte Elverdam28. Behaviour, trust and honestyCS28.1 The reasons behind non-ethical behaviour in academiaYves FassinCS28.2 The psychological profile of the dishonest scholarCynthia FekkenCS28.3 Considering the implications of Dan Ariely’s keynote speech at the 3rd World Conference on Research Integrity in MontréalJamal Adam, Melissa S. AndersonCS28.4 Two large surveys on psychologists’ views on peer review and replicationJelte WichertsBrett Buttliere29. Reporting and publication bias and how to overcome itCS29.1 Data sharing: Experience at two open-access general medical journalsTrish GrovesCS29.2 Overcoming publication bias and selective reporting: completing the published recordDaniel ShanahanCS29.3 The EQUATOR Network: promoting responsible reporting of health research studiesIveta Simera, Shona Kirtley, Eleana Villanueva, Caroline Struthers, Angela MacCarthy, Douglas Altman30. The research environment and its implications for integrityCS30.1 Ranking of scientists: the Russian experienceElena GrebenshchikovaCS30.4 From cradle to grave: research integrity, research misconduct and cultural shiftsBronwyn Greene, Ted RohrPARTNER SYMPOSIAPartner Symposium AOrganized by EQUATOR Network, Enhancing the Quality and Transparency of Health ResearchP1 Can we trust the medical research literature?: Poor reporting and its consequencesIveta SimeraP2 What can BioMed Central do to improve published research?Daniel Shanahan, Stephanie HarrimanP3 What can a "traditional" journal do to improve published research?Trish GrovesP4 Promoting good reporting practice for reliable and usable research papers: EQUATOR Network, reporting guidelines and other initiativesCaroline StruthersPartner Symposium COrganized by ENRIO, the European Network of Research Integrity OfficersP5 Transparency and independence in research integrity investigations in EuropeKrista Varantola, Helga Nolte, Ursa Opara, Torkild Vinther, Elizabeth Wager, Thomas NørgaardPartner Symposium DOrganized by IEEE, the Institute of Electrical and Electronics EngineersRe-educating our author community: IEEE's approach to bibliometric manipulation, plagiarism, and other inappropriate practicesP6 Dealing with plagiarism in the connected world: An Institute of Electrical and Electronics Engineers perspectiveJon RokneP7 Should evaluation of raises, promotion, and research proposals be tied to bibliometric indictors? What the Institute of Electrical and Electronics Engineers is doing to answer this questionGianluca SettiP8 Recommended practices to ensure conference content qualityGordon MacPhersonPartner Symposium EOrganized by the Committee on Freedom and Responsibility in the Conduct of Science of ICSU, the International Council for ScienceResearch assessment and quality in science: perspectives from international science and policy organisationsP9 Challenges for science and the problems of assessing researchEllen HazelkornP10 Research assessment and science policy developmentCarthage SmithP11 Research integrity in South Africa: the value of procedures and processes to global positioningRobert H. McLaughlinP12 Rewards, careers and integrity: perspectives of young scientists from around the worldTatiana Duque MartinsPartner Symposium FOrganized by the Online Resource Center for Ethics Education in Engineering and Science / Center for Engineering, Ethics, and Society of the National Academy of EngineeringP13 Research misconduct: conceptions and policy solutionsTetsuya Tanimoto, Nicholas Steneck, Daniele Fanelli, Ragnvald Kalleberg, Tajammul HusseinPartner Symposium HOrganized by ORI, the Office of Research Integrity; Universitas 21; and the Asia Pacific Research Integrity NetworkP14 International integrity networks: working together to ensure research integrityPing Sun, Ovid Tzeng, Krista Varantola, Susan ZimmermanPartner Symposium IOrganized by COPE, the Committee on Publication EthicsPublication without borders: Ethical challenges in a globalized worldP15 Authorship: credit and responsibility, including issues in large and interdisciplinary studiesRosemary ShinkaiPartner Symposium JOrganized by CITI, the Cooperative Institutional Training InitiativeExperiences on research integrity educational programs in Colombia, Costa Rica and PeruP16 Experiences in PeruRoxana LescanoP17 Experiences in Costa RicaElizabeth HeitmanP18 Experiences in ColumbiaMaria Andrea Rocio del Pilar Contreras NietoPoster Session B: Education, training, promotion and policyPT.01 The missing role of journal editors in promoting responsible researchIbrahim Alorainy, Khalid Al-WazzanPT.02 Honorary authorship in Taiwan: why and who should be in charge?Chien Chou, Sophia Jui-An PanPT.03 Authorship and citation manipulation in academic researchEric Fong, Al WilhitePT.04 Open peer review of research submission at medical journals: experience at BMJ Open and The BMJTrish GrovesPT.05 Exercising authorship: claiming rewards, practicing integrityDésirée Motta-RothPT.07 Medical scientists' views on publication culture: a focus group studyJoeri Tijdink, Yvo SmuldersPoster Session B: Education, training, promotion and policyPT.09 Ethical challenges in post-graduate supervisionLaetus OK LateganPT.10 The effects of viable ethics instruction on international studentsMichael Mumford, Logan Steele, Logan Watts, James Johnson, Shane Connelly, Lee WilliamsPT.11 Does language reflect the quality of research?Gerben ter Riet, Sufia Amini, Lotty Hooft, Halil KilicogluPT.12 Integrity complaints as a strategic tool in policy decision conflictsJanneke van Seters, Herman Eijsackers, Fons Voragen, Akke van der Zijpp and Frans BromPoster Session C: Ethics and integrity intersectionsPT.14 Regulations of informed consent: university-supported research processes and pitfalls in implementationBadaruddin Abbasi, Naif Nasser AlmasoudPT.15 A review of equipoise as a requirement in clinical trialsAdri LabuschagnePT.16 The Research Ethics Library: online resource for research ethics educationJohanne Severinsen, Espen EnghPT.17 Research integrity: the view from King Abdulaziz City for Science and TechnologyDaham Ismail AlaniPT. 18 Meeting global challenges in high-impact publications and research integrity: the case of the Malaysian Palm Oil BoardHJ. Kamaruzaman JusoffPT.19 University faculty perceptions of research practices and misconductAnita Gordon, Helen C. HartonPoster Session D: International perspectivesPT.21 The Commission for Scientific Integrity as a response to research fraudDieter De Bruyn, Stefanie Van der BurghtPT. 22 Are notions of the responsible conduct of research associated with compliance with requirements for research on humans in different disciplinary traditions in Brazil?Karina de Albuquerque Rocha, Sonia Maria Ramos de VasconcelosPT.23 Creating an environment that promotes research integrity: an institutional model of Malawi Liverpool Welcome TrustLimbanazo MatandikaPT.24 How do science policies in Brazil influence user-engaged ecological research?Aline Carolina de Oliveira Machado Prata, Mark William NeffPoster Session E: Perspectives on misconductPT.26 What “causes” scientific misconduct?: Testing major hypotheses by comparing corrected and retracted papersDaniele Fanelli, Rodrigo Costas, Vincent LarivièrePT.27 Perception of academic plagiarism among dentistry studentsDouglas Leonardo Gomes Filho, Diego Oliveira GuedesPT. 28 a few bad apples?: Prevalence, patterns and attitudes towards scientific misconduct among doctoral students at a German university hospitalVolker Bähr, Niklas Keller, Markus Feufel, Nikolas OffenhauserPT. 29 Analysis of retraction notices published by BioMed CentralMaria K. Kowalczuk, Elizabeth C. MoylanPT.31 "He did it" doesn't work: data security, incidents and partnersKatie SpeanburgPoster Session F: Views from the disciplinesPT.32 Robust procedures: a key to generating quality results in drug discoveryMalini Dasgupta, Mariusz Lubomirski, Tom Lavrijssen, David Malwitz, David Gallacher, Anja GillisPT.33 Health promotion: criteria for the design and the integrity of a research projectMaria Betânia de Freitas Marques, Laressa Lima Amâncio, Raphaela Dias Fernandes, Oliveira Patrocínio, and Cláudia Maria Correia Borges RechPT.34 Integrity of academic work from the perspective of students graduating in pharmacy: a brief research studyMaria Betânia de Freitas Marques, Cláudia Maria Correia Borges Rech, Adriana Nascimento SousaPT.35 Research integrity promotion in the Epidemiology and Health Services, the journal of the Brazilian Unified Health SystemLeila Posenato GarciaPT.36 When are clinical trials registered? An analysis of prospective versus retrospective registration of clinical trials published in the BioMed Central series, UKStephanie Harriman, Jigisha PatelPT.37 Maximizing welfare while promoting innovation in drug developmentFarida LadaOther posters that will be displayed but not presented orally:PT.38 Geoethics and the debate on research integrity in geosciencesGiuseppe Di Capua, Silvia PeppoloniPT.39 Introducing the Professionalism and Integrity in Research Program James M. DuBois, John Chibnall, Jillon Van der WallPT.40 Validation of the professional decision-making in research measureJames M. DuBois, John Chibnall, Jillon Van der Wall, Raymond TaitPT.41 General guidelines for research ethicsJacob HolenPT. 42 A national forum for research ethicsAdele Flakke Johannessen, Torunn EllefsenPT.43 Evaluation of integrity in coursework: an approach from the perspective of the higher education professorClaudia Rech, Adriana Sousa, Maria Betânia de Freitas MarquesPT.44 Principles of geoethics and research integrity applied to the European Multidisciplinary Seafloor and Water Column Observatory, a large-scale European environmental research infrastructureSilvia Peppoloni, Giuseppe Di Capua, Laura BeranzoliF1 Focus track on improving research systems: the role of fundersPaulo S.L. Beirão, Susan ZimmermanF2 Focus track on improving research systems: the role of countriesSabine Kleinert, Ana MarusicF3 Focus track on improving research systems: the role of institutionsMelissa S. Anderson, Lex Bouter. (shrink)

Here is an example using a picture book story: A New House, in Grasshopper on the Road: by Arnold Lobel Grasshopper sees an apple on top of a hill and decides, yum! lunch, as he takes a big bite out of the apple. This, however, causes the apple to start rolling down the hill. Grasshopper hears a voice inside the apple, telling him to keep his house from being destroyed as it is rolling down the hill. My bathtub is in (...) the living room; my bed is in the kitchen. Grasshopper is trying to catch the apple, as it is rolling faster and faster down the hill. In the end it crashes into a tree at the bottom of the hill and is smashed into a hundred pieces. Luckily, it is an apple tree, and Worm has decided to find a new house to live in, one without a big bite in it, either. The question is, should Worm be angry at Grasshopper? The children often agree that he shouldn’t be angry. Grasshopper didn’t mean to hurt Worm and destroy his home. The aporia question is, isn’t Worm justified in being angry at Grasshopper for destroying his home, even though it was an accident? Should I be angry with someone who hurt me, even if it is not done on purpose? I am hurt; so can’t I be angry because I have been hurt? The children often feel that when it was not done on purpose, you can’t really be angry. Another aporia question is, can you punish someone when what they have done wasn’t done on purpose? Is it OK for your parents to punish you when you have done something wrong, even though you didn’t do it on purpose? Another aporia question is then whether we are justified in punishing someone who is innocent? Does it make sense to punish your baby brother for breaking your toy? Or are the police ever justified in shooting an unarmed Black man? (shrink)

1. P'it'agorasŭ Hakp'a ŭi ŭmangnon kwa ujuron -- 2. Arisŭt'ok'ŭsenusŭ ŭi kyŏnghŏm kwahakchŏk ŭmak iron -- 3. P'ŭllat'on-P'it'agorasŭjŏk chŏnt'ong -- 4. Kŭndae roŭi ihaeng -- 5. K'ep'ŭllŏ ŭi ŭmakchŏk ujuron -- 6. Sirhŏm kwahak kwa ŭmak ŭi hamnihwa -- 7. Nyut'ŏn ŭi ŭmakchŏk yubi -- Maejŭmmal : Nyut'ŏn ihu.

T hese are indignant times. Reading news- papers, talking to friends or coworkers, we seem often to live in a state of perpetual moral outrage.The targets of our indignation depend on the particular group, religion, and political party we are associated with. If the Terry Schiavo case does not convince of you of this, take the issue of same-sex marriage. Conservatives are furious over the prospect of gays and lesbians marrying, and liberals are furious that conservatives are furious. But has (...) anyone on either side subjected their views to serious scrutiny? What’s the response, for example, when conservatives are asked exactly why gays and lesbians shouldn’t be allowed to marry? “It threatens the institution of marriage.” OK. How? “Marriage is between a man and a woman.” (Democ- rats give this answer as well.) Right, but why? “It’s unnatu- ral.” Isn’t that true of marriage in general? “Well… look… I.. (shrink)

Abstract A Note to Cogito Les Jones Blackburn College Previous submissions include -Intention, interpretation and literary theory, a first lookWittgenstein and St Augustine A DiscussionAreas of Interest – History of Western Philosophy, Miscellaneous Philosophy, European A Note on Cogito Descartes' brilliance in driving out doubt, and proving the existence of himself as a thinking entity, is well documented. Sartre's critique (or maybe extension) is both apposite and grounded and takes these enquiries on to another level. Let's take a look. 'I (...) think' somehow, for all its power, lacks something. What? Consider what one does when thinking (difficult, but we can try). Implicit in the word 'think', in fact the very essence of the word 'think', is that activity is going on, and if such activity is going on then it must be going on about something, an object, an emotion, a problem,or maybe some dreamlike state, but common to all these is that something is going on. Is that really so? Well, if that wasn't so we would be able to think in a pure state, wouldn't we? But what does a pure state of 'thinking' mean? It can't mean that there isnothing there, because if there were nothing there then no thinking would be taking place. Can it mean that we are thinking of nothing? Well no, because if we are thinking of nothing then we are thinking of something, we are contemplating the notion, or the nature, of nothing. In fact, one can argue that if we talk of something, inthis case nothing or nothingness, then in our head we have some notion of what that is, i.e. something exists in the mind for it to come out of our mouths. Thinking is a recognition of something outside the individual, for the very act of direction, which isan indispensable part of thinking, recognises, must recognise, that there are things to address outside the individual. Something else to bear in mind. According to Sartre human beings are condemned to freedom. Why condemned? Human beings did not choose to be born, but the act ofbeing born also imparts the freedom of which Sartre speaks. Freedom is something which we parrot off as being a sine qua non for the human condition. I believe that's true, but freedom in this sense isn't without its consequences for the individual humanbeing, for individual human beings handle freedom differently. To some it enables them to fly, to others it imparts immense pressures, anguish, heartbreak, unhappiness can all be associated with such freedom. Each individual is responsible for his destiny, for his direction. If someone says that God impelled him, that individual chose his or her God, and chose to obey his or her God. This believer has to sift through the multitude of things that his or her God desire of him or her. All this is fine, so long as we acknowledge what is going on here. Belief in God is, by definition, a belief. Belief, following Wittgenstein, is a language game with its rules and its boundaries. The essential feature of religion as language game are its boundaries, which can be summed up in the word belief. OK, belief has its practises which are its constituent parts, but belief is the boundary between religion and other language games, as the proof constituents are different. Our world is determined by the language used to describe everything that goes on within it. The boundaries of our world are set by the language we use. This might be better put as language gives access to ever expending boundaries. Ever expanding boundaries are only possible by ever expanding thought, and ever expanding thought is only possible by ever expanding directions to our thought brought about through language. It is a fact taken that to be conscious is to think. How could this be otherwise? Consciousness without thought just does not make sense. Imagine a state of consciousness without directional thought. What would it be like? It would be something never experienced, completely out of our understanding. Why? Because understanding itself is a directional thought process. If we say we are going outside our understanding then that is a world of void, and a world of void does not exist. Can such a world be contemplated in our thinking? Well, yes, but then it requires thinking, and thinking requires direction, and such direction requires language. Why does direction require language? Because there is no other way for human beings to articulate a directional thought. Could one point at an image without language? Well, one could have an image in mind, but the essence of saying something about it, of descriptive power, brings us back to the essence, to the power of language to direct. So what of this language of which we speak? Wittgenstein's private language argument points us towards the notion that language itself constantly develops and redevelops through human interaction. Descarte's cogito implies that thinking rules out doubt of one's own existence. But such thinking, to be valid, to make sense, to direct, must develop in a language that has developed, has been verified, by a plurality, by a plurality whose essence is social. Correct use of language symbols, i.e. words, requires that we verify and reverify the accuracy of such symbols. How do we do that? We do that in constant usage, in constant interaction, with other human beings. An individual using a private language could not be understood by others, his symbol system has not been verified by others, his meanings may not be your meanings. It follows from what we have said above that language is constructed, and is continually constructed, in a social context. Given our previous thoughts regarding verification this could not be otherwise. Language has a normative form. All language users are required, by their very use of the language, to verify the use of terms, grammar etc etc. As Wittgenstein cites (appropriately) games as a model, let us take a look. If I play e.g. Ludo, I am governed by the rules. It is not just that I may play dishonestly, for if I were to play at all that very dishonesty, to count as Ludo, would have to be rule governed. The rules of Ludo are Ludo, they are the essence and the constitution of it. Wittgenstein, particularly in his later writings, interweaves many concepts, and connects them in different and sometimes rather elusive ways. Wittgenstein sees concepts like emotions, sentiments and experiences in these interweaving maps. Of course these can be regarded as psychological concepts ** Language can be considered in another but related way, as embodying the elements of a cultural heritage. Language was seen as embodying the notion of higher culture in the arts, architecture etc. Over recent decades this has tended to shift to consider less tangible benefits, such things as oral traditions, cultural values and cultural identity. So language enables us to explore, through the achievements of past generations, cultural mores that may have laid unchallenged for many years. Many of these values and mores may be seen as independent of the language by which they are transmitted, but still this monumental accomplishment of mankind i.e. language, enables man to explore, to modify, to codify, to extend the boundaries of human experience. There are therefore massive implications for our Note on Cogito of Wittgenstein's work. Following Wittgenstein emotions and other psychological concepts can be termed depth grammar, and are distinguished by the fact that the third person of the present is recognised by observation, the first person is not. Taking Wittgenstein's well known pain example the sentence 'He is in pain' is a third person statement of an observational nature. The sentence 'I am in pain' is not derived from observation but from experience, it is an expression of that experience, it's essence is the experience. The asymmetry consists in the fact that predicting psychological attributes of others is warranted by what they do and say. By contrast, the use of such statements in the first person present tense does not rest on one's observation of one's own behaviour. (Hacker 2010:287) p 9 According to Wittgenstein 'I am in pain' is more like a cry of pain, an expression of pain, than a report of some pain. Of course this appertains for other similar statements. 'I feel good' etc. (shrink)

Spekulation ist ein riskantes Unterfangen. Als Wette auf unverfügbare Zukünfte, kommende Gegenwarten oder alternative Vergangenheiten ist sie geprägt vom Nicht-Wissen, auf das sie sich ausrichtet und von dem sie ihren Ausgang nimmt. Im Unterschied zu Ökonomie und Zukunfts-forschung, die dem Nicht-Wissen mit Strategien des Risikomanagements begegnen, erforschen die Künste Möglichkeitsräume jenseits von gesicherter Erfahrung und prognostischem Wert. Sie sind dem Ungewissen verpflichtet? also dem, was man (noch) nicht wissen, über das man jedoch spekulieren kann. Im ästhetischen Spekulieren vermögen die Künste (...) gleichermassen plausible und widersprüchliche Szenarien zu testen, Heterochronien zu erproben und andere Körper zu denken. Der Band fragt, welches andere Wissen die spekulativen Verfahren der Kunst freilegen. Wie wird Künftiges, Virtuelles oder Utopisches vorstellbar? Und wie lassen sich vor diesem Hintergrund Kategorien wie künstlerische Produktion, ästhetische Erfahrung oder der Wert des Kunstwerks neu bestimmen? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Translating Care for the Voiceless PatientLeo AlmazanUndocumented immigrants do not have the luxury of having a professional interpreter by their bedside to help them navigate the complexities of their often-dire situation. Most of the time, they have to rely on the kindness of volunteers or untrained medical personnel to help them. In 2001, I was a non-clinical student in training at a level 1 trauma hospital in the Midwest. (...) The night in question, one of the residents asked me to go to the infectious diseases unit to translate for a newly admitted undocumented patient. [End Page 152]The patient was in his early twenties. This was the second time he had arrived in the US after walking through the desert. His diagnosis was dire—he drank stagnant water during his journey, and he had acquired an aggressive type of infection whose origin (viral? bacterial?) the specialists could not as yet determine. After initial testing, the doctors discovered that he was also suffering from full-blown AIDS.When I entered the room where the young man was lying, shaking violently due to a high fever, I felt deep anger and profound sadness. People looked at the young man with a mixture of disdain and anger. He was, after all, "wasting" the hospital's precious resources. At the same time, his immediate reaction after hearing me speak to him in his native language and sensing that I understood him, that is, that I could empathize with his fears, made me decide that I would do whatever I could to help him.After a brief initial conversation, it became painfully clear that he neither had any formal education nor did he understand the gravity of his medical condition, aggravated by AIDS. Besides that, he did not comprehend what was being done to him, which included the use of experimental drugs that he had not consented to take.My task then morphed from an untrained translator trying to help someone understand a foreign language to a new ally trying to help someone navigate the short-, mid-, and long-term life-altering decisions he would have to make without full knowledge or understanding of his actual circumstances. In short, I quickly transition from interpreter to advocate.It was probably the result of the stress and pressure I suddenly found myself experiencing, but I remember thinking back to my high school etymologies class and realizing that the verb "to advocate," from ad-vocare, means to support, defend, or protect someone. "When did I commit to any of those things?" I thought to myself. And then I immediately remember thinking, "Not at all! I did not commit to any of those things! All I said "yes" to was to lend my voice for a couple of minutes so that a doctor and a patient could understand each other. I surely did not intend to lend my voice to someone who has no voice!"A second and even bigger surprise for me, however, was that, in the process of translating, I could hear what the young man and the physician were truly saying to each other. In other words, as my mouth moved to speak, now in Spanish and now in English, I was able to capture and translate not only the words being said but also the feelings and emotions and the deeper meaning of what was being communicated. For example, when the young man asked, "¿Voy a estar bien?" ["Am I going to be OK?"] I could "hear" his real question, "Am I dying?" When the doctor said, "Your CD4+ cell count is less than 200," I heard him say, "Couldn't you have chosen another place to die?" Conscious of my role, however, I limited myself to performing my duties as professionally and precisely as possible.The following day, I consulted with a professional interpreter who worked at the same hospital, and I asked her how I could be more helpful to the young man. As she advised me how to proceed, I could tell she was truly torn.On the one hand, she wanted me to proceed with the outmost professionalism, to remain "neutral," "objective," and to avoid, at all... (shrink)

Many egalitarians believe that social inequalities are worse than natural ones. Others deny that one can coherently distinguish between them. I argue that although one can separate the influence of these factors by an analysis of variance, the distinction is morally irrelevant. It might be alleged that my argument in favour of moral irrelevance attacks a straw man. While I think this allegation is incorrect, I accommodate it by distinguishing between four claims that are related to, and sometimes confused with, (...) the claim that social inequalities are worse. These are: that one has a stronger reason to eliminate inequalities that obtain between, or are produced by, members of one's own society; that inequalities that result from unfair treatment are worse; that inequalities that we make, rather than merely allowing to exist, are worse; and that it is bad if people are treated unfairly. Correspondence:c1 [email protected]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Transformation:Power in Persistence and PerspectiveTyler BendrickWe've got another meth napper," my resident stated. With an introduction like that, it is hard not to be immediately labeled as a "difficult patient." Being the only Spanish-speaking person on the team, I, a third-year medical student, became the primary point of contact for this severely injured patient. He was an only-Spanish-speaking, 36-year-old male admitted [End Page 7] to our trauma service (...) after he was hit by a truck while riding his bicycle. Unbeknownst to me at the time, the 14 days I spent caring for this man would become one of the most pivotal learning experiences of my medical school career. It changed not only how I understand and approach "difficult patients" but expanded my knowledge of the complexities and challenges of the current healthcare system and how we, as physicians and healthcare providers, can deliver the best care to patients with low health literacy and limited resources.So, what is a "meth napper?" I questioned. "Well, meth is a super stimulant," my resident explained. "When people are frequent meth users, they get used to functioning normally with high levels of stimulants in their body, reducing the normal regulation of wakefulness. When the amphetamine is removed (such as upon admission to the hospital), the body is left to fend for itself, and thus patients oftentimes sleep for 23 hours a day for about 3 to 5 days while their body works to detox and normalize hormones."As predicted, my new friend, "Joe," was napping when I first went to see him. Thinking back, the word "napping" does not accurately describe his level of somnolence. He was virtually unarousable, and I took to a sternal rub to wake him up at 5 a.m. after his traumatic exploratory laparotomy the night before. Once aroused, he was furious. "Estoy bien. Tengo dolor y tengo hambre," he grunted at me. (I am fine, and I am in pain and hungry!). "Ok, Joe," I replied in Spanish, "I am just going to do a quick exam and you can go back to sleep. We will give you medications for your pain. You had a big surgery on your intestines, so you cannot eat or drink right now. If everything goes well in the next couple of days and you start walking around, we can advance your diet." He begrudgingly let me examine him, never opening his eyes, and I left and went about my day.We continued this routine for five days. I would periodically check on him and usually found him sleeping. When awake, he refused to work with physical therapists, get up and walk or go to the bathroom, shower, use his spirometer, or converse with the nursing staff. He seemed completely disinterested in recovery. About day three, we slowly advanced his diet to clear liquids so he could quench his thirst. Sometimes his wife was there, and she would ask for updates, to which I could only reply, "We have to wait until he is more awake or willing to work with us." I was getting frustrated, as it seemed that his noncompliance was becoming his barrier to discharge.But on day six, everything changed. I went to check on Joe, and he was wide awake, vomiting, and irate. He shouted that he was in incredible pain, and his incision was wet. He was also complaining that he had not eaten in five days, and was insisting that we were starving him. Again, I calmly explained (as I had multiple times a day for the past five days) that his major abdominal surgery prevented us from feeding him until his intestines healed. We were giving him fluids and nutrition through his IV lines, so he was not starving to death. I rushed to get my resident to examine his oozing wound, and after a CT scan and an x-ray, we discovered what we feared: His wound had opened down to the fascia, "dehiscence," as it is called. On top of this, he now had a bowel obstruction, causing his vomiting. His lack of mobility for the past five days had slowed his... (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Keiji Nishitani and Karl Rahner: A Response to NihilityHeidi Ann RussellIn his essay “Kenosis and Emptiness,” Buddhist scholar Masao Abe states that “the necessity of tackling the Buddhist-Christian dialogue not merely in terms of interfaith dialogue, but also as an inseparable part of the wider sociocultural problem of religion versus irreligion has become more and more pressing in the past few decades.” 1 From Keiji Nishitani’s perspective a culture (...) of self-centeredness has developed out of the inability of many people to move beyond a sense of nihilism in their lives. Furthermore, technological advances and an increased understanding of the laws of nature have allowed humans to manipulate those laws for their own purposes. In this development, Nishitani believes that “the perversion that occurred in the original relationship of man to the laws of nature has taken the shape of a fundamental intertwining of the mechanization of man and his transformation into a subject in pursuit of its desires, at the ground of which nihility has opened up as a sense of the meaninglessness of the whole business.” 2Both Nishitani and Karl Rahner see in the development of science and technology a tendency to manipulate the laws of nature for one’s own benefit in a way that increases the self-centeredness and self-absorption of humankind while at the same time devaluing humanity and engendering an attitude of meaninglessness. In a world today that is confronted with issues such as war and global warming and in which religious communities are trying to make sense out of scientific issues such as stem cell research and cloning, the ability to address a nihilistic standpoint that sees the surrounding world as simply being at human disposal has never been more crucial. So how does one confront this crisis of a nihilistic culture? Abe recommends that both Buddhism and Christianity need “to pursue a fundamental reorganization in characterizing their faith such that the prevailing basic assumptions are drastically changed—for example, a revolutionary reinterpretation of the concept of God in Christianity and the concept of Emptiness in Buddhism—thereby allowing a new paradigm or model of understanding to emerge.” 3 The concept of emptiness or nothingness in Keiji Nishitani’s Religion and Nothingness and the concept of God as incomprehensible mystery in the theology of Karl Rahner 4 could allow for the [End Page 27] emergence of a model of understanding that addresses the problem of irreligion or nihility from an interreligious perspective.5 While in no way negating the very real dissimilarities between the concepts of Nishitani and Rahner or the respective religious traditions of which they are a part, one need not think of their concepts as diametrically opposed to one another in such a way that dialogue is impossible. To that effect, this essay will explore the common ground between Nishitani’s concept of śūnyatā6 (often translated or defined as ku /emptiness or mu /nothingness) and Rahner’s incomprehensible God 7 based on their interpretations of the human experience of meaninglessness and the need for a surrender of the self that manifests itself in one’s loving relationship with others. Common human experience, such as the experience of death or meaninglessness, and the interpretations of that experience found in various religions can provide ground from which to begin interreligious dialogue. One can search for a connection between the religious concepts by looking at the way they make sense out of a common affective experience without requiring an absolute identity between the cognitive religious concepts themselves.8 The important point of comparison is not manufacturing a false identity between the concepts, but the way the concepts work within the living communities to move one to volitive action. In this way the practical or ethical implications of the concepts and how they are lived out in the world become the focus. In the work of Nishitani and Rahner, that common human experience is the meaninglessness encountered in the world today and the call for a selfless love that will transcend such meaninglessness. In their roles as philosopher-theologians, both Nishitani and Rahner have probably had more influence on individuals or leaders within certain Buddhist and Christian... (shrink)

This paper offers a review of the catalogue composed by Myriam Vogelaar of one of the largest and most important collections of Fight Books and fencing manuals in the field of Historical European Martial Arts Studies (HEMAS). The Mokken Collection is named after Wiebe Mokken, the man who meticulously built it up over the past decades in Amsterdam. The book also highlights the glaring lack of contemporary knowlegde about other major historical fencing-related collections, like Gotti’s spectacular private collection held at (...) the Museo dell Arte Marziale in Brescia, Italy. Others, such as the Corble collection at the KU Leuven Libraries, recently published their catalogue on line. This catalogue thus constitutes an important milestone for this exciting and still relatively new subdomain in the field of European cultural studies, by making accessible one of the most important collections of source materials dedicated to it. (shrink)

Diversität ist eines der zentralen Themen unserer Zeit. Sie durchdringt alle Lebensbereiche unserer Gesellschaften. Das Nachdenken über Diversität reicht von den Naturwissenschaften über die Geschichtswissenschaften, die Gesellschaftswissenschaften, die Philosophie bis zu den Künsten. Diversität ist zudem politisch und emotional beladen. Man denke an gesellschaftliche Minderheiten und ihre Rechte oder an das massive Artensterben unserer Tage. In diesem Buch wird nicht nur über Einzelaspekte von Diversität berichtet, es wird auch eine Synthese versucht. Drei einleitende Kapitel der HerausgeberInnen führen verständlich in komplexe (...) interdisziplinäre Problemzusammenhänge ein. Der Band versammelt 17 Beiträge namhafter Autorinnen und Autoren aus den Bereichen Kunst-, Kultur- und Wissenschaftsgeschichte, Medizin und Gesellschaftstheorie.00. (shrink)

Prezentowana tu książka jest poświęcona relacjom między filozofią a polityką, politycznemu zaangażowaniu filozofii bądź jej ucieczce przed owym zaangażowaniem. W moim ujęciu pytania o autowizerunek filozofa w XX wieku są pytaniami o jego uwikłania, i uwikłania jego filozofii, w politykę. Nigdy wcześniej filozofowie nie żywili takich nadziei na przemodelowanie społeczeństwa z pomocą polityki (i tym się różnili od licznych wcześniejszych utopistów) zgodnie ze swoją filozoficzną wizją jak właśnie w XX wieku. Jest to zarazem książka o tradycyjnych antynomiach i opozycjach filozoficznych: (...) bios teoretikos i bios praktikos, teoria i praktyka, myśl i działanie, interpretowanie świata i jego zmienianie, człowiek kontemplacji i człowiek czynu, wieża z kości słoniowej i zaangażowanie etc. etc. I dlatego, pisząc tu o autowizerunku filozofa, mam na myśli jego autowizerunek ujmowany z punktu widzenia polityki. Interesują mnie tu odpowiedzi na pytanie o stosunek między filozofią a polityką, bowiem to pytanie uważam dzisiaj z racji historycznych za fundamentalne. Dlaczego pytam tu o autowizerunek filozofa? Uważam, że w filozofii (pytającej o swoje uwikłania w politykę) sposób ujmowania siebie determinuje sposób ujmowania świata. Im bardziej filozofia zostaje odniesiona do „teraz”, tym wymaga większej precyzji, dokładniejszego usytuowania siebie w ramach dostępnych bądź wyobrażonych w kulturze możliwości. Autowizerunek to platforma, z której korzysta filozof, to pewien horyzont konstytuujący jego tożsamość, podający zakres możliwych do przyjęcia ról w kulturze. Zupełnie inny jest autowizerunek filozofa w filozofii odniesionej do „teraz”, a zupełnie inny w filozofii nastawionej na uniwersalność, wieczne i niezmienne prawa, na spoglądanie na świat sub specie aeternitatis. Kluczowe słowa w takiej perspektywie to choćby rewolucja intelektualna, przemoc, nowy świat, nowy człowiek, nowa era, zmiana, postęp, konstruktywny wkład, przyłączenie się i zaangażowanie czy wymogi chwili. Pytam tutaj o chęć wywoływania zmian politycznych mocą filozofii i poprzez filozofię jako narzędzie, pytam o filozofa jako politycznego „zbawcę” (Habermas o Martinie Heideggerze), o filozofa jako egzekutora wyroków historii dysponującego pełną świadomością doniosłości chwili, która nikomu poza filozofami nie może się w pełni odsłonić i ujawnić. Dlaczego jednak filozofia potrzebuje siły? Skąd bierze się jej odwieczne marzenie o wykroczeniu poza uniwersum teorii, myśli, kontemplacji - ku realnemu światu, w którym filozof działa? Książka ta w pewnej mierze stanowi analizę marzeń o filozofii działającej, o filozofii czynu - o filozofie przekonanym o swoim posłannictwie jako posłannictwie człowieka działania. Filozof działający to człowiek oddany wspólnocie - przekonany o politycznie sprawczej roli wypowiadanego, filozoficznego słowa; zwierciadlanym odbiciem tego ideału jest filozof oddany tekstowi, czyli (bezpośrednio) lekceważący społeczne powinności i zobowiązania — przekonany o politycznej i społecznej bezsilności tegoż słowa, skoncentrowany na dostarczaniu interpretacji kolejnych interpretacji tekstów filozoficznych. Jednak oprócz nich w perspektywie autowizerunku politycznego pojawiają się i inni: tekstualiści marzący o drobnych, choć społecznie wpływowych wspólnotach czytelników; wspólnotowcy pragnący działać poprzez filozoficzne słowo, a jednak zarazem pozbawieni złudzeń co do swojej historycznej skuteczności, poniekąd z góry świadomi, że tą drogą świata (przynajmniej w przewidywalnym horyzoncie czasowym) zmienić się nie da; miłośnicy tekstu budujący programy społecznej naprawy świata, a poszukujący wśród tekstualistów (na przykład genealogicznej czy dekonstrukcjonistycznej) „metody”, którą można by wprost zastosować w praktyce, na sposób działających w historii wspólnotowców. Tekst, wspólnota - to jedynie ogólne hasła wywoławcze mające ewokować pewne marzenia o miejscu filozofii i filozofa w kulturze. Z jednej strony stoi autowizerunek, w ramach którego naczelnym hasłem jest „robienie historii” (Emil Cioran) czy „robienie rewolucji”, z drugiej autowizerunek z naczelnym hasłem „robienia tekstów”, czyli bycia uważnym czytelnikiem tekstów filozoficznych i uważnym ich autorem. A oprócz tego, pomiędzy nimi, jest miejsce na autowizerunki pośrednie, mieszane i mniej czy bardziej skłaniające się ku któremuś ze skrajnych wyborów oraz na autowizerunki, których powyższe przeciwstawienie nie uchwytuje. Oba motywy mają do pewnego stopnia organizować prezentowaną książkę, ale nie mają stać się jakimś nowym kluczem pozwalającym na zupełnie nową odsłonę filozoficznego pejzażu. Stoi przecież za nimi długa, filozoficzna tradycja, korzystająca na przestrzeni dziejów z określeń pochodzących z różnych słowników. Kto powiedział, że filozofia ma „robić rewolucję”, tzn. gruntować ją i przygotowywać, promować i usprawiedliwiać, znajdować dla niej wielki intelektualny kontekst, stanowić jej awangardę i magazyn niezbędnych pojęć, legitymizować jej przemoc i uzasadniać jej terror, dawać jej broń w walce i podtrzymywać marzenia o jej nieuchronności, wyjątkowości, celowości i wartości? Kojeve, Heidegger, de Man, Sartre, Bataille (w analizowanych tu przeze mnie tekstach i w ściśle określonych okresach) - byli o tym przekonani. Dlaczego odpowiadał im właśnie taki autowizerunek? Co więcej - albo co innego - daje filozofowi „filozofia wspólnoty” niż „filozofia tekstu”, by sięgnąć do dwóch skrajności w ramach długiego continuum? Czym jest owa nadwyżka? Uczuciem spełnienia, świadomością realizacji marzeń, wcielenia w życie filozoficznych ideałów? Przejściem do świata rzeczywistego - a może wreszcie „pracą”, w mocnym sensie tego terminu? Jednak im filozofia była bliżej świata, tym większe rodziła napięcia. Tym większe miała wyrzuty sumienia. Kluczowy problem analizowanych tu propozycji filozoficznych można by podsumować tak: czy szukać przejść — a jeśli tak, to jakie powinny one przyjmować formy - między uniwersum. zagadnień filozoficznych a światem rzeczywistym? Jaka relacja wiąże filozofa ze światem realnym: z historią, postępem, zmianą? Kim jest filozof zanurzony w historii, kim jest filozof „robiący historię”? W jakiej mierze filozofia jest niezbędnym fundamentem społecznych transformacji i społecznych rewolucji? Jak związać filozofię z czynem i z działaniem? Jak związać spekulację i kontemplację z aktywizmem? Jaki stosunek wobec gwałtownych i radykalnych zmian w świecie społecznym ma zajmować filozof - i w jakim charakterze? Filozofa? Obywatela? Obywatela-filozofa? Czy umieszczać filozofię w głównym nurcie zmian społecznych - w ramach toczących się rewolucji — czy przyjmować w niej postawę wyczekującą, obserwującą, niezaangażowaną, która pozwala spoglądać na akcydentalne zawirowania świata rzeczywistego z perspektywy jego istoty? Czy filozofia ma brać na siebie odpowiedzialność za zmienianie świata? Czy ma się do niego dostosowywać, czy może wręcz je ugruntowywać, znajdując dla niego szeroki, metafizyczny kontekst? Spis treści Wprowadzenie. „TYRANIA HEGLA” I MYŚLENIE PONOWOCZESNE W KONTEKŚCIE PYTAŃ 0 AUTO WIZERUNEK FILOZOFA (9) „Uwolnić się od Hegla”? (10) Panorama (15) „Przyszłość świata” a „interpretacja pism Hegla” (24) Podsumowanie: filozof czynu, filozofia działania (27) Rozdział 1. Przykład wspólnotowy: Alexandre’a KOJEVE’A filozof zmieniający świat (FRANCUSKI HEGEL) (37) Antropologia, panowanie, niewola (41) Kojeve-Strauss: debata stulecia? (44) Filozof wedle Straussa (47) Filozof wedle Kojeve’a (50) Historia, filozofia, przemoc. „Humanizm” i „terror” (57) Rządzenie: zdolności i powinności (61) Kres historii (63) Podsumowanie (68) Rozdział 2. PRZYKŁAD TEKSTUALNY: DELEUZE’A 1 KLOSSOWSKIEGO FILOZOF TWORZĄCY TEKST (francuski Nietzsche) (70) „Jakiegoż to adwersarza, jakiegoś wroga należy pokonać?” (73) „Między Heglem a Nietzschem nie może być kompromisu” 77 Nietzsche, Freud, Marks 90 Historia i genealogia 96 Kwestia stylu 99 Rozdział 3. PRZYPADEK GEORGESA BATAILLE’A: MIĘDZY HEGLEM A NlETZSCHEM? 106 „Człowiek integralny” a działanie 110 Rewolucja, ekstaza, krew 115 W towarzystwie Nietzschego 124 Ekonomia nadmiaru 128 Rozdział 4. WOKÓŁ ZAANGAŻOWANIA. OD WSPÓLNOTY DO TEKSTU I DALEJ: SARTRE, BARTHES, BLANCHOT, FOUCAULT 133 „Umiłowanie mądrości” a polityka 133 Filozofia, polityka - tekst, wspólnota 136 Pisarze i piszący 138 „Co to znaczy pisać?”142 Pisanie - czysta bierność na marginesie historii? 151 Poza opozycję esteta/pisarz zaangażowany 157 Intelektualiści - władza 161 Książki-doświadczenia i książki-prawdy 166 „Tyrania prawdy”168 Rozdział 5. FILOZOF A CZASY PRZEŁOMU. FRANCUSKIE BURZE WOKÓŁ MARTINA HEIDEGGERA W PERSPEKTYWIE SPORU O MIEJSCE FILOZOFII W SFERZE OBYWATELSKOŚCI. 172 Początki 172 Heidegger - francuski „mistrz myślenia”180 „Czy można jeszcze wierzyć filozofom?” 184 Heideggera sen o przywództwie 188 Dyskusje, dyskusje 205 Specyficzna aura filozofa? 210 „Przyjdźcie do nas, a będziecie mogli przekuć waszą myśl w czyn” 230 Rozdział 6. WOKÓŁ PAULA DE MANA - EUROPEJSKIE PYTANIA O SŁOWA JAKO CZYNY 233 Kontekst europejski - rewolucja intelektualna 238 Nowy porządek, nowy początek 248 „Konstruktywne” podejście do rewolucji a „humanizm” 255 Europejski cień człowieka czynu 257 Ideologia estetyczna 262 Rozdział 7. W STRONĘ ESTETYKI EGZYSTENCJI: MICHEL FOUCAULT 266 „Dać żyjącym exempla...” 271 Kanta i Nietzschego „troska o siebie” 272 Etyka jako estetyka 283 Foucault, Kant i „ontologia teraźniejszości” 291 „Troska o siebie” jako praktyka wolności 302 Myślenie - niebezpiecznym aktem? 310 Bibliografia 313 SUMMARY 331 CONTENTS. (shrink)

We review the psychological literature on the organization of valence, discussing theoretical perspectives that favor a single dimension of valence, multiple valence dimensions, and positivity and negativity as dynamic and flexible properties of mental experience that are contingent upon context. Turning to the neuroscience literature that spans three levels of analysis, we discuss how positivity and negativity can be represented in the brain. We show that the evidence points toward both separable and overlapping brain systems that support affective processes depending (...) on the level of resolution studied. We move from large-scale brain networks that underlie generalized processing, to functionally specific subcircuits, finally to intraregional neuronal distributions, where the organization and interaction across levels allow for multiple types of valence and mixed evaluations. (shrink)

This book explores Pierre Bourdieu's philosophy and sociology of science, which, though central to his thought, have been largely neglected in critical examinations of his work. Addressing the resultant confusion that surrounds Bourdieu's sociologized philosophy of science, it expounds his epistemology and sociology of science, situating it within the context of Anglo-American post positivist philosophy of science and shedding light on the critique of relativist sociology of science that emerges from his field theory. From a detailed critique of Bourdieu's reflexive (...) sociology and his attempt to enhance the uneasy epistemic status of the social sciences, the author draws on the thought of Jürgen Habermas to suggest critical ethnography as a way of going beyond Bourdieu's critical theory. As such, Bourdieu's Philosophy and Sociology of Science will appeal to sociologists, philosophers and scholars across the social sciences with interests in the work of Bourdieu and the sociology and philosophy of science. (shrink)

These range from merely good reads to really outstanding books. A raw ranking of them would be of little use to others, unless I explained why I gave them the ranks I did, and anyway I'd probably give different rankings by the time your read this. (When I know of an on-line review about a book which I agree with --- e.g., because I wrote it --- I've included a link; also some exceedingly short remarks about interesting cases.).

Max Weber's fragmentary writings on social status suggest that differentiation on this basis should disappear as capitalism develops. However, many of Weber's examples of status refer to the United States, which Weber held to be the epitome of capitalist development. Weber hints at a second form of status, one generated by capitalism, which might reconcile this contradiction, and later theorists emphasize the continuing importance of status hierarchies. This article argues that such theories have missed one of the most important forms (...) of contemporary status: celebrity. Celebrity is an omnipresent feature of contemporary society, blazing lasting impressions in the memories of all who cross its path. In keeping with Weber's conception of status, celebrity has come to dominate status “honor,” generate enormous economic benefits, and lay claim to certain legal privileges. Compared with other types of status, however, celebrity is status on speed. It confers honor in days, not generations; it decays over time, rather than accumulating; and it demands a constant supply of new recruits, rather than erecting barriers to entry. (shrink)

Članek nudi kratek opis zanimive zgodovine slikarstva in slikarskih teorij v hitro razvijajočem se Hong Kongu od l. 1940 do l. 1980, tako da poudari delo in estetiko večih reprezentativnih lokalnih kitajskih slikarjev in umetniških smeri. Ta oris zgodovine prikazuje iskanje kulturne identitete in različne drže med kitajskimi slikarji, ki so bíli boj med moderniziranimi in zahodnimi vplivi v umetnosti ter svojim kitajskim izročilom. Avtorica primerja to slikarstvo z držami mlajše generacije osemdesetih let, ki odseva kapitalistične vplive pri iskanju umetniške (...) identitete. Zaključni del vsebuje kritično primerjavo umetnosti in teorij kulture v sodobnem postkolonialnem diskurzu glede na njihovo aplikacijo na razmere v Hong Kongu. (shrink)

Resumo: A filosofia é um sistema que analisa as crenças, os conceitos mais básicos e a calma de temperamento e julgamento próprios de um filósofo. Os filmes de animação chineses fizeram grandes incursões nos mercados mundiais, nos últimos anos, apesar do fato de o setor de animação da China ser apenas um adolescente em comparação com o seu homólogo de décadas, na filosofia japonesa. Embora alguns estúdios de animação criem conteúdos especificamente para o público internacional, a indústria de animação chinesa (...) está principalmente preocupada com o mercado interno, porque acredita que a animação chinesa de alta qualidade tem potencial para se expandir. Artistas, filósofos e aqueles que trabalham nas indústrias criativas diretamente ligadas a isto têm um incentivo e um desafio para descobrir as histórias que podem ter sucesso nos mercados chinês e internacional. Neste artigo, analisam-se e se contrastam as características das filosofias de animação cinematográfica chinesas. Examinam-se tanto o contexto social quanto o cultural, o desenvolvimento econômico do mercado e o avanço tecnológico que moldaram o design filosófico da animação chinesa. As abordagens filosóficas avaliadas neste estudo são Donghua e Manhua, além da filosofia taoísta, exemplificada em Zhuangzi. (shrink)