Identity construction — the process of creating and building a new future self — is an integral part of a person’s professional career development. However, at present we have little understanding of the psychological mechanisms that underpin this process. Likewise, we have little understanding of the barriers that obstruct it, and which thus may contribute to inequality in career outcomes. Using a social identity lens, and particularly the Social Identity Model of Identity Change (SIMIC), we explore the process of academic (...) identity construction among doctoral students. Through thematic analysis of semi-structured interviews with 22 PhD candidates, we observe that the identity construction process relies on a person’s perception of a navigable pathway between their current self and their future self. Importantly, participants who were able to access multiple identity resources were more likely to perceive a navigable pathway to a future professional self (e.g., as an academic), unless they perceived these identities to be incompatible with those held by leading members of the profession (e.g., their supervisors). This research suggests that the identities that people are able to access as they progress in their careers may play an important role in their ongoing professional identity construction and career success. (shrink)

This article focuses, through a transdisciplinary perspective, on Peter Greenaway’s films, operas, installations and artworks, exploring the elements that characterize this oeuvre as encyclopaedic. In order to do so, it investigates possible concepts of encyclopaedia, the rhizomatic character of the contemporary encyclopaedic model and its consonance with the demands of plurality and heterogeneity of the globalized world. This article approaches, moreover, the critical-creative appropriation that the director makes of the scientific systems of classification, showing that the use of (...) taxonomies in his work aims at not only revealing the insufficiency and arbitrariness of such systems, but also subverting the ordering logic that defines them. The article also links Greenaway to some of his literary precursors like Jorge Luis Borges and Georges Perec, who also brought together in their encyclopaedic works the rules of classification and the parodic laws of fiction. (shrink)

_Peter Greenaway's Postmodern/Poststructuralist Cinema_ Edited by Paula Willoquet-Maricondi and Mary Alemany-Galway Lanham, MD: The Scarecrow Press, 2001 ISBN 0-8108-3892-3 xxviii + 360 pp.

This article deals with the representation of identical twins in the films Zed and Two Noughts by Peter Greenaway and Dead Ringers by David Cronenberg. It situates the films in a cultural and political context of the 20th-century controversies surrounding the issues of evolution, reproduction and cloning. The article claims that twinship represents the corporeal economy of the Same, whose ideological meanings have been shaped by the history of eugenics and social Darwinism. Identical twinship inscribes a utopia of (...) the perfect, unchanging and self-identical body, opposed to the unpredictability, confusion and contingency of sexual reproduction and evolutionary history. The films under discussion critique the utopian ideology of twinship and its imaginary cancellation of difference as narcissistic and deadly. (shrink)

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the (...) musical work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

In this article I consider instances in visual culture in which artists and filmmakers aestheticize women with damaged, missing or anomalous limbs. I focus upon Joel Peter Witkin’s photomontage Las Meninas (1987), Peter Greenaway’s film “A Zed and Two Noughts” (1985), Alison Lapper Pregnant a statue by Marc Quinn, Mathew Barney’s film “Cremaster” (2002), David Cronenberg’s “Crash” (1996), Luis Buñuel’s “Tristana” (1970) and David Lynch’s short film “The Amputee” (1973). I argue that although the artists and filmmakers (...) reveal, rather than disguise the damaged, anomalous or missing limb(s) of the women, thus valorising their particular embodiment, these women are paradoxically still portrayed as deviant and monstrous. (shrink)

The form of Western mainstream film is the crux of its ideological efficiency: by using established formal techniques, films ensure audiences un- derstand that aesthetic decisions support and clarify the narrative to ensure maximum spectatorial satisfaction. However, some films exploit their formal aesthetics in order to prevent clarification, thwarting satisfaction in favour of viewing practices that can be considered perverse in that they withhold, suspend or obstruct immediate pleasure. Contemporary Western filmmaking in the mid-1990s witnessed the emergence of a distinct (...) group of filmmakers and films that, in the popular discourse of cinematic criticism, were together coded as “difficult” or “perverse.” These films were, as a result of the characteristics we identify below, situated obliquely in relation to the larger economic and artistic struc- tures of a commercially oriented “mainstream” cinema. Included in this new form of cinematic production were films from directors such as Tim Burton: Edward Scissorhands ; David Cronenberg: eXistenZ ; David Fincher: Se7en ; Peter Greenaway: The Baby of Maçon ; David Lynch: Lost Highway ; Quentin Tarantino: Pulp Fiction and Lars von Trier: Breaking the Waves . Whilst Western cinema as a whole has a long history of exploring “difficult” or “perverse” material within the overt or covert content of narrative, plot and story, such films demonstrate a particular relationship between the content being explored and the specific formal characteristics utilised in the delivery of that content. Thus where previous examples would utilise standardised formal techniques as a way of both delivering and containing the difficult or objectionable material, the films instead offer instances where the material of the narrative content seems to bleed backwards, affecting the form and rendering the very materiality of the film itself suspect and problematic. (shrink)

Taking the animal and the machine as two ontological others of the human, this paper looks into how they “are added to” and “replace” the humanist others based on race, gender, class, etc. in contemporary cinema. This “supplement” urges us to reframe identity politics and cultural studies in a larger “polis” emerging between and encompassing both the human world, which becomes ever more globally homogenized, and its radical environment, natural or technological. The topic is a global cinematic phenomenon that even (...) local films directly embody. The animal is captured on the boundaries between “the symbolic” and “the real,” between “the actual” and “the virtual” in the artistic works of Werner Herzog, Apichatpong Weerasethakul, and Peter Greenaway. The machine convolutes the issues of informatics, embodiment, and cyborgism, often through SF fantasy that pervades Hollywood blockbusters and Japanimation. The rare amalgam of animal–machine receives further attention in David Cronenberg's films, and becoming-animal/-machine in Avatar empowers the human in the posthuman sense of biopower that transforms the body and registers it on a larger network. From this perspective, discourses on the animal (zooesis) and technology (technesis) work together to bring a new political potential. Animality and technology no longer form a naïve dichotomy of nature vs. civilization but combine in ways of making more visible the new condition of life. It unfolds in a cinematic “zone,” an ephemeral “clearing” for “bare life” within the globalized world. This zone exists in the exceptional state of temporary potential to de-/repoliticize any humanistic politics. (shrink)

Die im Reader versammelten Beiträge verstehen sich als Versuche zu einer Soziologie des Visuellen. Sie untersuchen am Beispiel des Mediums Stadtfilm, welche Rolle die dorterzeugten Bilder großer Städte bei der Produktion urbanistischer Repräsentanten spielen. Aus diesem Grund werden insbesondere Übergänge analysiert, die Spielfilme einerseits und urbanistische Diskurse andererseits miteinander verknüpfen. Gemeinsamer Ausgangspunkt ist die These, daß es vor allem Bilder sind, die solche Verknüpfungen gewährleisten. Es wird unterstellt, daß es das Medium Film erlaubt, gerade über den Einsatz von Bildern "näher" (...) an soziale Wirklichkeiten heranzukommen, als dies textzentrierter Praxis empirischer Sozialforschung möglich ist. Stadtfilme erzeugen wirkmächtige Bilder, auf die dann unter bestimmten Bedingungen in urbanistischen Kontexten zurückgegriffen wird. Die Autoren präsentieren konzeptionelle Überlegungen und Filminterpretationen zu Moebius (1991, Regie: Matti Geschonneck), Der Himmel über Berlin (1987, Regie: Wim Wenders), In weiter Ferne, so nah! (1993, Regie: Wim Wenders), Der Bauch des Architekten (1987, Regie: Peter Greenaway) und Hass (1995, Regie: Mathieu Kassovitz). Sie bedienen sich dabei sehr unterschiedlicher Verfahren. Gemeinsam sind ihnen allerdings die Anliegen, die größere Nähe der Filme zu sozialen Welten hervorzuheben und die Übergänge zwischen Stadtfilmen und Urbanistik herauszuarbeiten. -/- City and Film. Attempts at a 'Visual Sociology' Summary The contributions collected in this reader present attempts at a Visual sociology'. Based on a study on the medium 'city film' the author s determine which role the images of big cities evoked in such films can play for urbanistic representations. Therefore the analysis is, in particular, focussed on points of transition marking a connection of movies, on the one hand, and urbanistic discourse, on the othe r. The common point of departure is the hypothesis that images, more than anything else, do guarantee such connections. The authors assume that the medium film may lead 'closer' to social realities than the text- centered practices of empirical social research. City films produce powerful images which, under certain cond itions, can be utilized in urbanistic contexts. The authors present conceptual considerations and interpretations of the following films: Moebius (1991, director: Matti Geschonneck); Der Himmel über Berlin (1987, director: Wim Wenders); In weiter Ferne, so nah! (1993, director: Wim Wenders); The Belly of the Architect (1987, director: Peter Greenaway); and quite different methods they aim at the same goals: emphasizing the greater closeness of films to social worlds and bringing out the points of transition between city films and urbanistics. (shrink)

Les spécialistes de l’archéologie des médias défendent une conception non-linéaire de l’histoire du cinéma, en analysant la façon dont les avancées technologiques et les dispositifs concrets contribuent activement à modifier nos modes de perception. Meurtre dans un jardin anglais de Peter Greenaway constitue un exemple remarquable de « métacinéma » mettant en pratique l’archéologie des médias dans le corps même du film, par le biais de citations visuelles renvoyant à d’autres médias ou d’autres pratiques artistiques, comme la peinture (...) de la Renaissance italienne ou la peinture hollandaise. Le présent essai offre donc une analyse détaillée de Meurtre dans un jardin anglais comme archéologie du cadre cinématique. Le cadre est pour Derrida « la structure décisive de l’enjeu » en ce qu’il renvoie au parergon, marquant ainsi les limites de l’œuvre d’art. Nous nous attacherons donc à décrire les différents types de cadrages appliqués aux nombreux médias présents ou « cités » dans le film : pellicules cinématographiques, écrans, dessins de paysages, miroirs plats ou convexes, tableaux, etc. Ces différents « cadrages » nous fourniront autant de clés de lecture pour comprendre les transformations que subit un médium artistique donné quand il est « re-présenté » par un autre. (shrink)

If culture is defined as variation acquired and maintained by social learning, then culture is common in nature. However, cumulative cultural evolution resulting in behaviors that no individual could invent on their own is limited to humans, song birds, and perhaps chimpanzees. Circumstantial evidence suggests that cumulative cultural evolution requires the capacity for observational learning. Here, we analyze two models the evolution of psychological capacities that allow cumulative cultural evolution. Both models suggest that the conditions which allow the evolution of (...) such capacities when rare are much more stringent than the conditions which allow the maintenance of the capacities when common. This result follows from the fact that the assumed benefit of the capacities, cumulative cultural adaptation, cannot occur when the capacities are rare. These results suggest why such capacities may be rare in nature. (shrink)

Collective deliberation is fuelled by disagreements and its epistemic value depends, inter alia, on how the participants respond to each other in disagreements. I use this accountability thesis to argue that deliberation may be valued not just instrumentally but also for its procedural features. The instrumental epistemic value of deliberation depends on whether it leads to more or less accurate beliefs among the participants. The procedural epistemic value of deliberation hinges on the relationships of mutual accountability that characterize appropriately conducted (...) deliberation. I will argue that it only comes into view from the second-person standpoint. I shall explain what the second-person standpoint in the epistemic context entails and how it compares to Stephen Darwall’s interpretation of the second-person standpoint in ethics. (shrink)

Human social life is uniquely complex and diverse. Much of that complexity consists of culturally transmitted ideas and skills that underpin the operation of institutions that structure our social life. Considerable theoretical and empirical work has been devoted to the role of cultural evolutionary processes in the evolution of institutions. The most persistent controversy has been over the role of cultural group selection and gene-culture coevolution in early human populations the Pleistocene. We argue that cultural group selection and related cultural (...) evolutionary processes had an important role in shaping the innate components of our social psychology. By the Upper Paleolithic humans seem to have lived in societies structured by institutions, as do modern populations living in simple societies. The most ambitious attempts to test these ideas have been the use of experimental games in field settings to document human similarities and differences on theoretically interesting dimensions. These studies have documented a huge range of behavior cross-culturally, although no societies so far examined follow the expectations of selfish rationality. These data are at least consistent with operation of cultural group selection and gene-culture coevolution operating in the deep tribal past and with the contemporary importance of cultural evolution in the evolution of institutions and institutional diversity. (shrink)

Für viele stellt das Instrumentalisierungsverbot, wonach man andere Menschen nie blo als Mittel behandeln darf, eine fundamentale moralische Wahrheit dar. Dieses Buch ist der Versuch, diese Ansicht näher zu fassen und zu begründen. Das Instrumentalisierungsverbot spielt nicht nur in unserer Alltagsmoral, sondern auch in moraltheoretischen Diskussionen eine wichtige Rolle. Verschiedenste Praktiken werden mit der Begründung als unzulässig kritisiert, dass mit ihnen Menschen instrumentalisiert würden. Doch was heit es, die anderen blo als Mittel zu behandeln? Es besteht, so wird in diesem (...) Buch argumentiert, ein Zusammenhang zwischen unzulässiger Instrumentalisierung und Verletzung der Würde von Personen. In der Explikation des Würdebegriffs wird dieser Zusammenhang entfaltet. Die unzulässige Instrumentalisierung von Personen verletzt in bestimmten Fällen deren Würde, in anderen Fällen Ansprüche, die in der Würde von Personen begründet sind. Die Würde von Personen wird dabei als Anspruch auf Selbstachtung gefasst. Selbstachtung wird nicht im Sinne der Selbstwertschätzung verstanden. Im Blick steht vielmehr ein normatives Verständnis von Selbstachtung, wonach Personen ein Leben in Selbstachtung führen, sofern ihr Selbstverfügungsrecht von anderen und ihnen selbst geachtet wird. Der Anspruch auf Selbstachtung wird als Anspruch darauf begriffen, über wesentliche Bereiche des eigenen Lebens verfügen zu können. Diese Überlegungen zu Würde und Selbstachtung werden moraltheoretisch eingeordnet und abschlieend auf paradigmatische Fälle der praktischen Ethik angewendet, bei denen es um die Instrumentalisierung von Menschen geht. (shrink)

In his article In Between Us, Yoni van den Eede expands existing theories of mediation into the realm of the social and the political, focusing on the notions of opacity and transparency. His approach is rich and promising, but two pitfalls should be avoided. First, his concept of ‘in-between’ runs the risk to conceptualize mediation as a process ‘between’ pre-given entities. On the basis of current work in postphenomenology and actor-network theory, though, mediation should rather be seen as the origin (...) of entities, not as an intermediary between them. Second, Van den Eede’s separate discussion of transparency and opacity in ‘use’ and in ‘context’ runs the risk to make invisible the complementarity of the two dimensions. While transparency of use embodies an experiential form of the distinction between transparency and opacity, transparency of context embodies a more cognitive dimension of the distinction. Only by linking the two it becomes possible to take responsibility for the impact that technological mediations can have. Users and designers need a ‘double vision’ to simultaneously see the transparency of both use and context. (shrink)

Introduction Max Horkheimer was born on February in Stuttgart. By the time he died, on 7 July in Nuremberg, he had played a decisive role in launching and ...

Progress Unchained reinterprets the history of the idea of progress using parallels between evolutionary biology and changing views of human history. Early concepts of progress in both areas saw it as the ascent of a linear scale of development toward a final goal. The 'chain of being' defined a hierarchy of living things with humans at the head, while social thinkers interpreted history as a development toward a final paradise or utopia. Darwinism reconfigured biological progress as a 'tree of life' (...) with multiple lines of advance not necessarily leading to humans, each driven by the rare innovations that generate entirely new functions. Popular writers such as H. G. Wells used a similar model to depict human progress, with competing technological innovations producing ever-more rapid changes in society. Bowler shows that as the idea of progress has become open-ended and unpredictable, a variety of alternative futures have been imagined. (shrink)

Everyone allows that human and animal minds are distinctively (indeed, massively) different in their manifest effects. Humans have been able to colonize nearly every corner of the planet, from the artic, to deserts, to rainforests (and they did so in the absence of modern technological aids); they live together in large cooperative groups of unrelated individuals; they communicate with one another using the open-ended expressive resources of natural language; they are capable of cultural learning that accumulates over generations to result (...) in science, art, and agriculture; and they are remarkably thoughtful and inventive. There is much less agreement about how these manifest differences should be explained, however. (shrink)

Truthmaker theorists hold that propositions about higher-level entities (e.g. the proposition that there is a heap of sand) are often made true by lower-level entities (e.g. by facts about the configuration of fundamental particles). This generates a problem: what should we say about these higher-level entities? On the one hand, they must exist (since there are true propositions about them), on the other hand, it seems that they are completely superfluous and should be banished for reasons of ontological parsimony. Some (...) truthmaker theorists—most prominently David Armstrong—have tried to solve this puzzle by arguing that these entities are ‘an ontological free lunch’, i.e. real existents that are still ‘no addition of being’. This answer is prima facie attractive, but I argue in this paper that the standard approaches to truthmaking—modal theories and grounding theories—are unable to vindicate the doctrine of the ontological free lunch, and thus fail to solve the problem of higher-level entities. Fortunately, there is a non-standard account of truthmaking available, the reductive explanation account, which succeeds where the standard approaches fail. (shrink)

I reply to commentaries by Justin Bruner, Robert Sugden and Gerald Gaus. My response to Bruner focuses on conventions of bargaining problems and arguments for characterizing the just conventions of these problems as monotone path solutions. My response to Sugden focuses on how the laws of humanity present in Hume’s discussion of vulnerable individuals might be incorporated into my own proposed account of justice as mutual advantage. My response to Gaus focuses on whether or not my account of justice as (...) mutual advantage can incorporate deep differences in values across subgroups of a larger society. (shrink)

In this compelling and timely treatise, cultural theorist and educator Peter Trifonas puts forth the first book-length study of Jacques Derrida's 'educational texts:' that is, those writings most explicitly concerned with the ethics and politics of the historico-philosophical structures constituting the scene of teaching. The text examines how deconstruction allows us to re-think the socio-historical and ethico-philosophical aspects of pedagogical practices and policies, including pedagogical theories that have had direct bearing on the ethical and cultural ideals forming the reason (...) of Western educational systems and the exclusion of its 'Others.'. (shrink)

I argue that common nouns should be analyzed as variables, rather than as predicates which take variables as arguments. This necessitates several unusual features to the analysis, such as allowing variables to be modally non-rigid, and assigning their values compositionally. However, treating common nouns as variables offers a variety of theoretical and empirical advantages over a more traditional analysis: It predicts the conservativity of nominal quantification, simplifies the analysis of articleless languages, derives the weak reading of sentences with donkey anaphora, (...) solves the proportion problem presented by quantifiers like ‘most’, improves the analysis of the temperature paradox, allows a more unified analysis of bare plurals, and regularizes the correspondence between syntactic categories and semantic types. (shrink)

Al-Kindi was the first philosopher of the Islamic world. He lived in Iraq and studied in Baghdad, where he became attached to the caliphal court. In due course he would become an important figure at court: a tutor to the caliph's son, and a central figure in the translation movement of the ninth century, which rendered much of Greek philosophy, science, and medicine into Arabic. Al-Kindi's wide-ranging intellectual interests included not only philosophy but also music, astronomy, mathematics, and medicine. Through (...) deep engagement with Greek tradition al-Kindi developed original theories on key issues in the philosophy of religion, metaphysics, physical science, and ethics. He is especially known for his arguments against the world's eternity, and his innovative use of Greek ideas to explore the idea of God's unity and transcendence. Despite al-Kindi's historical and philosophical importance no book has presented a complete, in-depth look at his thought until now. In this accessible introduction to al-Kindi's works, Peter Adamson surveys what is known of his life and examines his method and his attitude towards the Greek tradition, as well as his subtle relationship with the Muslim intellectual culture of his day. Above all the book focuses on explaining and evaluating the ideas found in al-Kindi's wide-ranging philosophical corpus, including works devoted to science and mathematics. Throughout, Adamson writes in language that is both serious and engaging, academic and approachable. This book will be of interest to experts in the field, but it requires no knowledge of Greek or Arabic, and is also aimed at non-experts who are simply interested in one of the greatest of Islamic philosophers. (shrink)

Among biological kinds, the most important are species. But species, however defined, have vague boundaries, both synchronically owing to hybridization and ongoing speciation, and diachronically owing to genetic drift and genealogical continuity despite speciation. It is argued that the solution to the problems of species and their vague boundaries is to adopt a thoroughgoing nominalism in regard to all biological taxa, from species to domains. The base entities are individual organisms: populations of these compose species and higher taxa. This accommodates (...) all the important biological facts while avoiding the legacy problems of pre-evolutionary typological taxonomy, which saw species and other taxa as prior to their members. Species are however not individuals: they are spatiotemporally bounded collections, which are plural particulars. (shrink)