L’objectif de l’article est de montrer que la distinction couramment établie, en philosophie des sciences sociales, entre une approche « externe », « objective » et une approche « compréhensive », réputée d’essence psychologique est fausse et altère, par ailleurs, la perception que nous pouvons avoir de la diférence entre ces sciences et les sciences de la nature. Le texte recense également les arguments en faveur d’une méthode individualiste et compositive et suggère que l’opposition rituelle entre individualisme et (...) holisme ne se situe peut-être pas sur le terrain où l’on a coutume de la situer. (shrink)

Taking the semantic values of predicates to be precise properties leaves no room for predicate vagueness. I suggest instead understanding talk of properties as used in semantics as idealized placeholders for the imprecise results of navigating the word/world interface. Basic predications result by applying imprecise informal rules of word use, and it is in the imprecision of these rules that vagueness arises. The idealized property-placeholders then function to separate the messy process of navigating the word/world interface from the exact rules (...) of semantic composition. This scheme applies a methodology of problem separation that is well known in the physical sciences. (shrink)

The measurement of short-term changes in maternal body composition during the post-partum period under field conditions poses many problems: body composition techniques depend on the constancy of the proportions of components or their physical properties and are less suitable for measuring changes; many of the techniques require expensive, technically sophisticated apparatus that is inappropriate to field conditions in many countries; changes in body composition affect some areas of the body more than others so regional as well as whole body approaches (...) are required. The measurements of body weight, triceps and subscapular skinfold thicknesses and upper arm circumference are essential measurements. These can be supplemented with further skinfold thicknesses and circumferences, and possibly body density and body water measurements. There is little to be gained by transforming anthropometric variables into whole body composition indices in these circumstances. (shrink)

This article builds upon existing scholarship concerning the relationship between improvisation and composition. Sections 1 to 3 comprise an exploration into and analysis of both the traditional understanding of improvisation and composition as opposing categories, as well as the more modern, nuanced view of their interpenetrating natures. I conclude that the former view should be replaced by the latter. Sections 4 and 5 present and subsequently negate two potential failings of my argument. First, I confront the problem posed by Goehr’s (...) work-concept, whose essence is opposed to the spirit of improvisation, but argue that recording allows for the solidification of these improvisations into works. Secondly, I undermine the view that composition is creation ex nihilo whilst improvisation is the mere reworking of old material. I uncover the originality of improvisation and formulae of composition to restore their compatibility and reinforce improvisation’s status as a method of broad- and narrow-sense composition. (shrink)

The ‘standard picture of meaning’ suggests that natural languages are composed of two different kinds of words: concrete words whose meaning rely on observable properties of external objects and abstract words which are essentially linguistic constructs. In this study, we challenge this picture and support a new view of the nature and composition of abstract concepts suggesting that they also rely to a greater or lesser degree on body-related information. Specifically, we support a version of this new view which we (...) call “x-ception theory” maintaining that abstract concepts are based on internal information of a proprioceptive, interoceptive and affective kind. Secondly, we address a methodological issue concerning the so-called concreteness and imageability measures, two tools that are widely used in (mainly psycholinguistic) empirical research to assess the degree of concreteness of specific words. On the basis of this analysis we argue that—even though the classical concreteness and imageability measures were developed in relation to the standard picture of meaning—they can also be used in the new framework of x-ception theory. In particular, we suggest that the discrepancy between these two measures provides a clue as to whether a word relies on internal information. By contrast, we argue that a new measure for concreteness recently proposed in order to address some problems with the old measure is completely inappropriate for this aim. (shrink)

Writing Politics is a methods book designed to instruct on politically focused literary inquiry. Exploring the political sensibilities that arise from the way literary fiction re-textualizes historical periods and events, the book features a series of violence-themed inquiries that emphasize forms of writing as the vehicles for politically attuned historiography. Each investigation treats the way the literary genre, within historiographic metafiction, enables political inquiry. It's a form of writing that inter-articulates history and fiction to rework a textual past and unsettle (...) dominant understandings of events and situations. Central to the diverse chapters are fictional treatments of authoritarian, fascist, or zealous mentalities. Featured, for example, are Radovan Karadzic, Reinhard Heydrich, and the Trotsky assassin Ramon Mercader. Michael J. Shapiro has produced another original and sophisticated bookshelf staple; the only contemporary investigation in Political Studies that instructs on method in this way. (shrink)

Coastlines play an important role in human activity and economic development. Reasonably allocating shoreline resources and addressing contradictions between ecological protection and development are critical issues. In this study, positive and negative factors affecting the natural, environmental, and socioeconomic status of the coastal zone while considering land and sea effects were comprehensively analyzed using ecological theories and methods, and an improved restrictive composite index model was constructed. We quantitatively analyzed the comprehensive utilization pattern of the Bohai Rim coastline, China, in (...) terms of the coastline utilization type and spatial agglomeration characteristics. The comprehensive utilization pattern of the Bohai Rim coastline is as follows: ecological areas are present in the north and south, and industrial areas are present in the east and west. Industrial production areas along the coastline are mainly distributed in the East Liaodong and Bohai bays, and ecological protection areas are located in the estuaries of the Liaohe and Yellow River. The improved restricted comprehensive index method model weakens the interaction among variables and makes the calculation results closer to the real situation. The results of the comprehensive utilization pattern of Bohai Rim coastline obtained by quantitative evaluation are of great significance for the coordinated development of coastline ecological protection and development and utilization. (shrink)

This paper offers a composite portrait of the concept of magnanimity in nineteenth-century America, focusing on Ralph Waldo Emerson, Margaret Fuller, and Henry David Thoreau. A composite portrait, as a method in the history of philosophy, is designed to bring out characteristic features of a group's philosophizing in order to illuminate characteristic features that may still resonate in today's philosophy. Compared to more standard methods in the historiography of philosophy, the construction of a composite portrait de-privileges the views of individual (...) authors. These philosophers saw the virtue of magnanimity as a remedy for a number of modern ills. American philosophers suggest that the best sort of magnanimity is acquired by adopting the correct relation to the natural world, including new forms of inquiry, or by adopting a life of voluntary poverty. Magnanimous individuals are critics of capitalism and offer themselves as exemplars of a better, experimental life. (shrink)

Frequently quoted in the context of contemporary philosophical reflections on ‘artistic creativity’, Edward Young’s Conjectures on Original Composition are generally read as articulating an anti‐traditionalist account of genius. Against this reading, I argue that Young does not reject the value of traditional models and conventions, but rather means to insist on the artist’s capacity to determine such values through her natural capacity for autonomous critical thinking. I support this claim by showing how he draws from Neo‐Platonism and the experimental philosophy (...) of Francis Bacon in order to develop what has all the appearances of a method of original composition. In the last lines of the paper, I suggest that this method may have heuristic value for the understanding of artworks as ‘artistic creations’ in the context of contemporary institutional theories of art. (shrink)

This paper aims to critically review the existing literature on the relationship between corporate governance, in particular board diversity, and both corporate social responsibility and corporate social responsibility reporting and to suggest some important avenues for future research in this field. Assuming that both CSR and CSRR are outcomes of boards’ decisions, this paper proposes that examining boards’ decision making processes with regard to CSR would provide more insight into the link between board diversity and CSR. Particularly, the paper stresses (...) the importance of studies linking gender diversity and CSR decision making processes, which is quite rare in the existing literature. It also highlights the importance of more qualitative methods and longitudinal studies for the development of understanding of the diversity–CSR relationship. (shrink)

Vector-based models of word meaning have become increasingly popular in cognitive science. The appeal of these models lies in their ability to represent meaning simply by using distributional information under the assumption that words occurring within similar contexts are semantically similar. Despite their widespread use, vector-based models are typically directed at representing words in isolation, and methods for constructing representations for phrases or sentences have received little attention in the literature. This is in marked contrast to experimental evidence (e.g., in (...) sentential priming) suggesting that semantic similarity is more complex than simply a relation between isolated words. This article proposes a framework for representing the meaning of word combinations in vector space. Central to our approach is vector composition, which we operationalize in terms of additive and multiplicative functions. Under this framework, we introduce a wide range of composition models that we evaluate empirically on a phrase similarity task. (shrink)

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

BackgroundPeople with upper extremity amputations report receiving insufficient information about treatment options. Furthermore, patients commonly report not knowing what questions to ask providers. A question prompt sheet, or list of questions, can support patient-centered care by empowering patients to ask questions important to them, promoting patient-provider communication, and increasing patient knowledge. This study assessed information needs among people with UE amputations about UE vascularized composite allotransplantation and developed a UE VCA-QPS.MethodsThis multi-site, cross-sectional, mixed-methods study involved in-depth and semi-structured interviews with (...) people with UE amputations to assess information needs and develop a UE VCA-QPS. Qualitative data were analyzed by thematic analysis; quantitative data were analyzed by descriptive statistics. The initial UE VCA-QPS included 130 items across 18 topics.ResultsEighty-nine people with UE amputations participated. Most were male, had a mean age of 46 years, and had a unilateral and below-elbow amputation. Participants desired information about UE VCA eligibility, evaluation process, surgery, risks, rehabilitation, and functional outcomes. After refinement, the final UE VCA-QPS included 35 items, across 9 topics. All items were written at a ≤ 6th grade reading level. Most semi-structured interview participants reported being ‘completely’ or ‘very’ likely to use a UE VCA-QPS.ConclusionPeople with UE amputations have extensive information needs about UE VCA. The UE VCA-QPS aims to address patients’ information needs and foster patient-centered care. Future research should assess whether the UE VCA-QPS facilitates patient-provider discussion and informed decision-making for UE VCA. (shrink)

Time has multiple aspects and is difficult to define as one unique entity, which therefore led to multiple interpretations in physics and philosophy. However, if the perception of time is considered as a composite time concept, it can be decomposed into basic invariable components for the perception of progressive and support-fixed time and into secondary components with possible association to unit-defined time or tense. Progressive time corresponds to Bergson’s definition of duration without boundaries, which cannot be divided for measurements. Time (...) periods are already lying in the past and fixed on different kinds of support. The human memory is the first automatic support, but any other support suitable for time registration can also be considered. The true reproduction of original time from any support requires conditions identical to the initial conditions, if not time reproduction becomes artificially modified as can be seen with a film. Time reproduction can be artificially accelerated, slowed down, extended or diminished, and also inverted from the present to the past, which only depends on the manipulation of the support, to which time is firmly linked. Tense associated to progressive and support fixed time is a psychological property directly dependent on an observer, who judges his present as immediate, his past as finished and his future as uncertain. Events can be secondarily associated to the tenses of an observer. Unit-defined time is essential for physics and normal live and is obtained by comparison of support-fixed time to systems with regular motions, like clocks. The association of time perception to time units can also be broken. Einstein’s time units became relative, in quantum mechanics, some physicist eliminated time units, others maintained them. Nevertheless, even the complete elimination of time units is not identical to timelessness, since the psychological perception of progressive and support-fixed time still remains and cannot be ignored. It is not seizable by physical methods, but experienced by everybody in everyday life. Contemporary physics can only abandon the association of time units or tenses to the basic components in perceived time. (shrink)

The fragmentary state of Cicero’s De Republica makes it difficult to see how it is a unified work. In this article, I argue that Cicero uses ring composition to unify the dialogue as a polemic against the Epicurean prohibition on political involvement. Cicero is following Plato in his use of ring composition, and just as Plato uses ring composition in the Republic to express his views about philosophical method, so does Cicero. Ring composition turns out to be central to a (...) plausible skeptical reading of the De Republica, in which Cicero both tries to induce suspension of belief in the Epicurean prohibition on political involvement, as well as prevent the reader from unreflectively adopting his own provisionally held views, both consistent with his commitment to the pedagogical aims of Academic skeptical philosophy. (shrink)

This paper investigates a composite learning prescribed performance control scheme for uncertain strict-feedback system. Firstly, a prescribed performance boundary condition is developed for the tracking error, and the original system is transformed into an equivalent one by using a transformation function. In order to ensure that the tracking error satisfies the PPB, a sufficient condition is given. Then, a control scheme of PPC combined with neural network and backstepping technique is proposed. However, the unknown functions cannot be guaranteed to estimate (...) accurately by this method. To solve this problem, predictive errors are defined by applying online recorded date and instantaneous date. Furthermore, novel composite learning laws are proposed to update NN weights based on a partial persistent excitation condition. Subsequently, the stability of the closed-loop system is guaranteed and all signals are kept bounded by using composite learning PPC method. Finally, simulation results verify the effectiveness of the proposed methods. (shrink)

In considering the question as to the order of composition of different portions of Aristotle's works it is necessary to start with some idea as to his method of composition. On looking at the surviving works one sees at a glance that at some date and by some hand they have been carefully arranged as a continuous series. Internal references forward and backward are frequent. The author refrains as carefully as Euclid does from anticipating ‘earlier’ discussion the answer to a (...) question which will arise ‘later.’ The forward references are merely promises that a question will be discussed. These multitudinous cross-references are so interwoven with the thought and the argument that there is little doubt that in the main they are due to Aristotle himself. On the other hand, the short transitional statements with which the ‘books’ as we have them close must always be accepted with some reservations. The book is a device of the ancient bookseller, not the unit of composition. Of course, where they could, the editors have made the ends of books correspond with important breaks in the argument; but wholly artificial book-endings do occur. There is, e.g., the end of N.E. θ, which corresponds to no important stage in the thought; and here the editor or bookseller has merely emphasized the artificiality of the division by inserting the wholly inappropriate clause, περ μν ον τοτων π τοσοῨτον ερσθω. (shrink)

Was Isocrates influenced by Thudydides? Wilamowitz at first suspended judgement and later decided he was not, but he did not go into the question. Attempts have since been made to prove close and direct influence. The question assumes greater interest and importance because of the immense influence of rhetoric on the writing of history in the fourth century and of the generally accepted tradition that Isocrates’ pupils included well-known historians like Ephorus, Theopompus, and the ‘Atthis’ writer Androtion.

Background: The high disease burden of Africa, the emergence of new diseases and efforts to address the 10/90 gap have led to an unprecedented increase in health research activities in Africa. Consequently, there is an increase in the volume and complexity of protocols that ethics review committees in Africa have to review. Methods: With a grant from the Bill and Melinda Gates Foundation, the African Malaria Network Trust (AMANET) undertook a survey of 31 ethics review committees (ERCs) across sub-Saharan Africa (...) as an initial step to a comprehensive capacity-strengthening programme. The number of members per committee ranged from 3 to 21, with an average of 11. Members of 10 institutional committees were all from the institution where the committees were based, raising prima facie questions as to whether independence and objectivity could be guaranteed in the review work of such committees. Results: The majority of the committees (92%) cited scientific design of clinical trials as the area needing the most attention in terms of training, followed by determination of risks and benefits and monitoring of research. The survey showed that 38% of the ERC members did not receive any form of training. In the light of the increasing complexity and numbers of health research studies being conducted in Africa, this deficit requires immediate attention. Outcome: The survey identified areas of weakness in the operations of ERCs in Africa. Consequently, AMANET is addressing the identified needs and weaknesses through a 4-year capacity-building project. (shrink)

This essay extends the recent trend toward greater emphasis on writing-related pedagogical practices in introductory philosophy courses to upper-division courses, providing a holistic model for course design that centers on certain techniques and practices that have been developed in the context of the new wave of multidisciplinary writing programs in the United States. I argue that instructors can more effectively teach philosophy and encourage philosophical thinking by incorporating the methods of writing instruction into their courses in systematic ways and offer (...) practical guidance on how to do so. (shrink)

Contextuality is a particular quantum phenomenon that has no analogue in classical probability theory. Given two independent systems, a natural question is how to represent such a situation as a single test space. In other words, how separate contextuality scenarios combine into a joint scenario. Under the premise that the the allowed probabilistic models satisfy the No Signalling principle, Foulis and Randall defined the unique possible way to compose two contextuality scenarios. When composing strictly-more than two test spaces, however, a (...) variety of possible composition methods have been conceived. Nevertheless, all these formally-distinct composition methods appear to give rise to observationally equivalent scenarios, in the sense that the different compositions all allow precisely the same sets of classical and quantum probabilistic models. This raises the question of whether this property of invariance-under-composition-method is special to classical and quantum probabilistic models, or if it generalizes to other probabilistic models as well, our particular focus being \ models. \ models are physically important since, when applied to scenarios constructed by a particular composition rule, coincide with the well-defined “Almost Quantum Correlations”. In this work we see that some composition rules, however, give rise to scenarios with inequivalent allowed sets of \ models. We find that the non-trivial dependence of \ models on the choice of composition method is apparently an artifact of failure of those composition rules to capture the orthogonality relations given by the Local Orthogonality principle. We prove that \ models satisfy invariance-under-composition-method for all the constructive compositions protocols which do capture this notion of Local Orthogonality. (shrink)

There are two fundamentally distinct kinds of biological theorizing. "Formal biology" focuses on the relations, captured in formal laws, among mathematically abstracted properties of abstract objects. Population genetics and theoretical mathematical ecology, which are cases of formal biology, thus share methods and goals with theoretical physics. "Compositional biology," on the other hand, is concerned with articulating the concrete structure, mechanisms, and function, through developmental and evolutionary time, of material parts and wholes. Molecular genetics, biochemistry, developmental biology, and physiology, which are (...) examples of compositional biology, are in serious need of philosophical attention. For example, the very concept of a "part" is understudied in both philosophy of biology and philosophy of science. ;My dissertation is an attempt to clarify the distinction between formal biology and compositional biology and, in so doing, provide a clear philosophical analysis, with case studies, of compositional biology. Given the social, economic, and medical importance of compositional biology, understanding it is urgent. For my investigation, I draw on the philosophical fields of metaphysics and epistemology, as well as philosophy of biology and philosophy of science. I suggest new ways of thinking about some classic philosophy of science issues, such as modeling, laws of nature, abstraction, explanation, and confirmation. I hint at the relevance of my study of two kinds of biological theorizing to debates concerning the disunity of science. (shrink)

Discusses the composition of economic causes. Applications of John Stuart Mill’s inductive method to economics; Problems with the deductive method; Effect of multiple causal factors in economics; Derivation of economic laws; Mill’s arguments for deductive economics.

The problem of the composition of Thucydides' History, first raised by Ullrich in 1846, has evoked a mass of controversial literature. In this article I shall confine myself to the main arguments and conclusions. Thucydides' history is unfinished, not only because it breaks off at 411 b.c., but also because the style is uneven. The history of the Archidamian War to 424 b.c. and of the Sicilian War is fully polished and complete; the remainder is lacking in stylistic finish and (...) particularly in the set speeches which characterize the completed books. This unevenness can be explained by the circumstances of Thucydides' life. For the period 431–424 b.c. he could obtain full information at Athens and, after his exile in 424 b.c., at Sparta and elsewhere; for the Sicilian War he could obtain full information in Sicily from the Siceliotes and from the Athenian prisoners. He was thus in a position to complete his history for these two periods. During his exile from 424 b.c. to 404 or 403 b.c. he lacked the information from the Athenian side, which was necessary for the completion of the remainder of his work. Further light is shed on the unevenness of finish by Thucydides' method of composition. He informs us that he began his work at the beginning of the war, and that he was watching and applying his judgement throughout the Twenty-seven Years War; and the statement that he wrote the history down to the capture of the Peiraeus implies his collection of material down to 404 b.c. The working up of this material must have been conditioned partly by the circumstances of the war; in particular, the conception of the Twenty-seven Years War cannot have been formed until after 415 or 412 b.c. (shrink)

In this paper I discuss some metaphysical consequences of an unorthodox approach to the problem of the identity and individuality of “indistinguishable” quantum particles. This approach is based on the assumption that the only admissible way of individuating separate components of a given system is with the help of the permutation-invariant qualitative properties of the total system. Such a method of individuation, when applied to fermionic compositions occupying so-called GMW-nonentangled states, yields highly implausible consequences regarding the number of distinct components (...) of a given composite system. I specify the problem in detail, and I consider several strategies of solving it. The preferred solution of the problem is based on the premise that spatial location should play a privileged role in identifying and making reference to quantum-mechanical systems. (shrink)

“The forms of thought are first set out and stored in human language,” we read in the preface to the second edition of Hegel’s Science of Logic. Man thinks through language, and everything he “transforms into language and expresses in it contains a category, whether concealed, mixed, or well defined”. Language, then, harbors thought categories. There is a philosophy of language, but there is also a philosophy implied in language. How is this supposed to work? More specifically, how is this (...) supposed to work in Hegel’s own use of language?This paper is an attempt to give a simple answer to this question. There have been scholarly attempts to tie Hegel’s philosophy to his use of language.1 This paper... (shrink)

This is a discussion of how Socratic method can work in a college or high school composition class. Contents: Defining Socratic Method; Development of Socratic Methods; Socratic Method and Objective Rhetorics; Socratic Method and Objective Rhetorics; Socratic Method and Subjective Rhetorics; Socratic Method and Transactional Rhetorics; Works Cited; Index.

John Stuart Mill étend le procédé déductif aux sciences sociales qui admettent le principe de la composition des causes. Mais il inverse la procédure lorsqu’il aborde la dynamique sociale. L’histoire ne se déduit pas directement des lois psychologiques et éthologiques mais les utilise dans une démarche de vérification. Cette méthode rassemble les garanties qui font de l’histoire une science nomologique et, comme on essaie ici de le montrer, elle permet à Mill d’échapper par anticipation aux principales objections de Karl (...) Popper concernant les sciences à scénario. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Some recent exchanges (Gebharter 2017a,2017b; Baumgartner and Cassini, 2023) concern whether composition can have conditional independence properties analogous to causal relations. If so, composition might sometimes be detectable by the application of causal search algorithms. The discussion has focused on a particular algorithm, PC (Spirtes and Glymour, 1991). PC is but one, and in many circumstances not the best, of a host of causal search algorithms that are candidates for methods of discovering composition provided appropriate statistical relations obtain. The discussion (...) raises two issues: 1. Does the structure of the composition relation entail probability relations such that PC and like algorithms cannot discover composition from frequency data about kinds; and 2. what can be discovered—and how—about the composition of systems by PC or related causal search algorithms that exploit conditional independence relations. Baumgartner and Cassini answer the first question positively: constitution entails probability relations incompatible with discovery by PC. They do not engage the second question, but we will. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Method and Mathematics:Peter Ramus's Histories of the SciencesRobert GouldingPeter Ramus (1515–72) was, at first sight, the least likely person to write an influential history of mathematics. For one thing, he was clearly no great mathematician himself. His sympathetic biographer Nicholas Nancel related that Ramus would spend the mornings being coached in mathematics by a team of experts he had assembled, and in the afternoon would lecture on the very (...) same subjects.1 But there can be no doubt that Ramus held mathematics in particular esteem and even played a crucial role in linking philosophical discourse to mathematics and in promoting the use of quadrivial reasoning in the study of the natural world.2The origins for his enthusiasm for mathematics are to be found in his account of the nature of the arts and critique of the curriculum of the universities. From his earliest career, Ramus was a logician and remained one in all his works, whether writing on mathematics or Virgil, and he conceived [End Page 63] of all the arts, especially mathematics, as unchanging structures of necessarily true propositions—not prima facie a position which lends itself to notions of historical change and development.3 His career as a historian of mathematics, I will argue, was directed by problems that arose in his theoretical understanding of mathematics as he began to immerse himself in the sciences of the ancient world.Ramus and the Reform of DialecticRamus set out his fundamental logical positions in his very first printed work, the Dialecticae institutiones (Education in Dialectic) of 1543, a contribution to the ongoing humanist attack on scholastic logic, in which Ramus rehearsed many of the commonplace criticisms of the university dialectic. Humanists complained that logic no longer concerned itself with real human reasoning; instead, it had become a discipline studied for its own sake, using its own incomprehensible jargon, and was of no practical interest. The new humanist dialectics of Lorenzo Valla and Rudolph Agricola attempted to teach the kind of practical reasoning useful for composing a speech or letter, and they borrowed extensively from rhetorical works of Cicero and Quintilian to develop a highly rhetoricized logic. Questions about the formal validity of arguments were of little interest; what mattered was whether the arguments were persuasive.4In his Dialecticae institutiones, Ramus took this humanist reformulation of dialectic a step further. Dialectic—or, in fact, any art or science—consisted of nature, doctrine, and exercise. The natural workings of the mind formed the most significant element. Doctrine was nothing more than a record of natural reasoning; in importance it paled next to nature and practice.5 The logic of the universities bore no resemblance to the true, natural dialectic, as he argued at length in the companion volume to the Institutiones, the innocuously titled but exuberantly offensive Aristotelicae animadversiones [End Page 64] (Observations on Aristotle).6 The question, then, remained: how can we gain access to this "natural reasoning"?Ramus's answer was surprising. He asks us to find a group of men—not scholars, but completely uneducated vineyard workers. Question them about the coming year: the fertility of the soil, the quality and quantity of the crop. "And then," he writes "from their minds as from a mirror an image of nature will be reflected."7 In the reasoned replies of these uneducated men, says Ramus, we discover every part of logic needed for any purpose, whether everyday discourse or composition of poetry: the invention of arguments, the assessment of their truth and their proper and orderly presentation. Other humanists had praised man's natural logical faculties, elevating them over artificial technique, but Ramus was the first to look beyond the walls of the university and the writings of the ancients to find natural dialectic at work.If even the uneducated have some possession of the arts, then the arts taught at the university should do no more than clear away the misleading junk in the mind, and allow its natural clarity to shine through.8 Logic should be easy to learn—not because this is a pedagogic ideal, but from the very nature of the art. And if logic as it is... (shrink)

Based on sensory integration theory, six fabric samples containing tactile and visual stimuli were selected using the sensory perceptions of designers and combined with balls. Experiments involving these toys were implemented with 15 families with preschool-aged high-functioning autistic children. The results showed that loose sequin , which possessed equal tactile and visual intensities, was strongly correlated with frequent smiling/laughing and high enjoyment levels. The fabric provided a loose tactile sensation regarding surface interweave uniformity and a bright visual sensation regarding visually (...) perceived luster; suede exhibited a greater tactile intensity than visual intensity and was correlated with eye contact and activity response. This fabric possessed a smooth visual sensation regarding visually perceived smoothness; and loose sequin , which possessed equal tactile and visual intensities, was highly correlated with finger pointing and initiation. This fabric offered a thin tactile sensation regarding surface interweave thickness and a bright visual sensation regarding visually perceived luster. We suggest applying fabrics to composite toys. Specifically, loose sequin can be used initially to encourage autistic children to interact; subsequently, suede can enable sustained parent-child interaction. The experimental results provide a reference for establishing an innovative toy-design method for autistic children. Keywords: autism; sensory integration theory; parent-child interaction; toys. (shrink)

This paper studies the problems of tip position regulation and vibration suppression of flexible manipulators without using the model. Because of the two-timescale characteristics of flexible manipulators, applying the existing model-free control methods may lead to ill-conditioned numerical problems. In this paper, the dynamics of a flexible manipulator is decomposed into two subsystems which are linear and controllable at different timescales by singular perturbation theory and a model-free composite controller is designed to alleviate the ill-conditioned numerical problems. To do this, (...) a model-free composite control strategy is constructed which facilitates in designing the controller in slow and fast timescales. In the slow timescale, the slow subsystem controller is designed by adaptive dynamic programming based on the measurements of the slow inputs and the position, while the vibration in the slow timescale is estimated by the least square method. In the fast timescale, the vibration is reconstructed based on the measurements of vibration and its estimate in the slow timescale, by which the fast controller is designed using ADP. Stability of the closed-loop system is proved by SP theory. Finally, simulations are given to show the feasibility and effectiveness of the proposed methods. (shrink)

Background Informed consent is one of the key principles of conducting research involving humans. When research participants give consent, they perform an act in which they utter, write or otherwise provide an authorisation to somebody to do something. This paper proposes a new understanding of the informed consent as a compositional act. This conceptualisation departs from a modular conceptualisation of informed consent procedures. Methods This paper is a conceptual analysis that explores what consent is and what it does or does (...) not do. It presents a framework that explores the basic elements of consent and breaks it down into its component parts. It analyses the consent act by first identifying its basic elements, namely: a) data subjects or legal representative that provides the authorisation of consent; b) a specific thing that is being consented to; and c) specific agent(s) to whom the consent is given. Results This paper presents a framework that explores the basic elements of consent and breaks it down into its component parts. It goes beyond only providing choices to potential research participants; it explains the rationale of those choices or consenting acts that are taking place when speaking or writing an authorisation to do something to somebody. Conclusions We argue that by clearly differentiating the goals, the procedures of implementation, and what is being done or undone when one consent, one can better face the challenges of contemporary data-intensive biomedical research, particularly regarding the retention and use of data. Conceptualising consent as a compositional act enhances more efficient communication and accountability and, therefore, could enable more trustworthy acts of consent in biomedical science. (shrink)

E. Barker twice wrote essays entitled ‘The composition and structure of Aristotle’s Politics’, first as a journal article in 1931, and later in 1946 as part of the introduction to his translation of the Politics. In these two essays, he came to exactly the opposite conclusions. In the first paper, he distinguished three periods in Aristotle’s life and assigned to each of them three ‘blocks’ in the Politics, based on the criterion of how closely these blocks were related to, or (...) are removed from, Plato’s political theory. In doing so, he not only followed W. Jaeger’s genetic approach, but also went beyond it by assuming that there were three different strata of Aristotle’s political philosophy. In 1946, however, Barker rejected not only Jaeger’s approach, but his own method of reading Aristotle’s Politics. This paper evaluates the merit of Barker’s arguments and comes to the conclusion not only that Barker’s essay from 1946 ignored the intellectual context of the Politics, but also that his view of the Politics as unitary in composition and structure overlooks many problems this work poses. (shrink)

This article explores the main aspects of Aristotle’s scientific method in Meteorology IV. Dispositional properties such as solidifiability or combustibility play a dominant role in Meteor. IV (a) in virtue of their central place in the generic division of homoeomers, based on successive differentiation and multiple differentiae, and (b) in virtue of their role in revealing otherwise undetectable characteristics of uniform materials (composition and physical structure). While Aristotle often starts with accounts of ingredients and their ratio (e.g., solids that contain (...) a significant amount of water are liquefiable), the natural direction of his investigation is from observations regarding dispositional properties and their manifestation to accounts of composition and microstructure. Such passages tend to be easily syllogizable, a feature that—along with the criteria that shape his method of division—argues, I believe, for the compatibility of Meteor. IV with Aristotle’s theory of scientific inquiry. The concluding sections of my article deal more succinctly with reputable opinions and final causation in Meteor. IV.1–11 and with the relation between this treatise and Aristotle’s biological corpus. (shrink)

Recognition of the essentially oral character of Marcan composition brings with it the need to reexamine such elements of the Gospel as the role of the disciples and the significance of the open-ended way the narrative concludes.

Tinca Prunea-Bretonnet | : Cet article se propose d’analyser les courants et les doctrines méthodologiques représentés à l’Académie de Berlin entre 1746 et 1761 en prenant en compte les deux orientations principales qui s’y affrontent : d’une part, le wolffianisme soutenu en premier lieu par Formey, qui argumente l’emploi d’une méthode d’inspiration mathématique en philosophie, et, de l’autre, le camp newtonien et anti-wolffien, représenté notamment Maupertuis et Béguelin, qui affirme l’hétérogénéité de la mathématique et de la philosophie et la (...) nécessité d’en tenir compte sur le plan méthodologique. Ce débat est intimement dépendant des prises de position de Crusius et de Wolff et leur analyse s’avère indispensable. Il formule également le cadre conceptuel de la Preisaufgabe pour l’année 1763, jouant un rôle déterminant dans l’élaboration des réponses, ainsi qu’en témoignent les mémoires de Mendelssohn et de Kant, discutés dans la dernière partie du texte. L’Académie de Berlin apparaît ainsi comme un acteur décisif dans les controverses philosophiques de l’époque et dans la redéfinition méthodologique amorcée. | : This paper aims to analyze the methodological doctrines articulated and promoted at the Berlin Academy between 1746 and 1761 by taking into account the two major opposing positions : on the one hand, Wolffianism, endorsed by Formey who argues in favor of the use of a mathematics-inspired method in philosophy, and, on the other hand, the Newtonian and anti-Wolffian faction, represented principally by Maupertuis and Béguelin, which asserts the heterogeneity of mathematics and philosophy and the necessity to mirror this heterogeneity on the methodological level. This debate is closely related to Wolff’s and Crusius’ conceptions and their analysis hence appears as crucial. It also offers the conceptual frame of the Preisaufgabe for 1763 and plays an essential role in the composition of the answers, as shown in Mendelssohn’s and Kant’s essays discussed in the last part of the article. The Berlin Academy thus emerges as a decisive actor in the philosophical controversies and the meditations on methodology of the time. (shrink)

A recent study has argued from theological and classicizing parallels that the first, anti-pagan book of Augustine’s De consensu euangelistarum belongs between 406 and 412 CE. This article defends the traditional dating ca. 400–405 CE, implied by Retractationes. Uncertainty over the dating of parallels in De trinitate 1–4 cautions against reliance on theological peculiarities (a variant of John 5:19 and the phrase unitas personae, both otherwise paralleled in the 410s CE or later), while a close review of the patterns of (...) classical citation proves resemblance to De ciuitate dei to be superficial. Not only does Augustine demonstrably cite the same classical texts on widely separated occasions, De consensu euangelistarum 1 evinces little of Augustine’s later knowledge of Porphyry and Varro. The crowning proof comes, however, in a brief rebuttal to pagan complaints over contemporary misfortunes. Although he focuses on Rome’s religious history, Augustine omits any hint of Alaric’s sack (410 CE), the religious-political instability of 408–409 CE, or Radagaisus’ invasion of Italy (405–406 CE), all of key importance for later works. The book’s method, scope, and tenor place it neatly within the span 400–405 CE, as our first testimony to the interreligious milieu for which De ciuitate dei would later be aimed. (shrink)

The blogosphere’s heterogeneity has significantly increased in recent years. Thus, the blog-as-diary approach has shown its limitations. Viewing blogs as a genre is also misleading, as it confuses medium and genre. Considering that the studies of blog genres still need further theoretical and empirical investigations, we propose a method to assess blog posts, understood as utterances, the minimal unit of a blog. We then conduct an analysis of two large datasets from 100 Brazilian blogs. Three reviewers read and judged 5218 (...) posts from 50 A-list blogs and 1527 posts from 50 non-A-list blogs, captured in a 30-day period. Posts’ compositional form, theme and style were cross-analyzed in and between datasets. Our findings lead to the conclusion that blogs in the A-list group tend to post more and stick to themes that attract audiences. Non-A-list blogs post less and focus on themes of interest to bloggers themselves, not necessarily hype topics. (shrink)