Shape and slant judgments of rotated or frontoparallel ellipses were elicited from three groups of 10 subjects. A masking stimulus was introduced to control processing time. Backward masking trials were presented with interstimulus intervals of 0, 25, and 50 msec, Reduction of processing time altered shape judgments in the direction of projective shape and slant judgments in the direction of frontoparallelness. This finding is consistent with the shape-slant invariance hypothesis. In order to (...) study the effects of processing load, one group of subjects was given prior knowledge of the kind of judgment to be made on each trial, one group had no prior knowledge, and a third group made both judgments on each trial. The effects of the processing load manipulation were interpreted in terms of the role of attention in perceptual encoding. Consistent with previous findings, allocation of attention did not affect perceptual encoding. (shrink)

This paper develops an appearance view of perception (focusing on vision). When we see an object, we see it by having it appear some way to us. We see the object, not the appearance; but we see the object via the appearance. The appearance is subjectively conditioned: aspects of it depend on attributes of the subject. We mentally have the appearance and can reflect on it as an appearance. But in the primary instance, of veridical perception, it is the object (...) that we focus on and experience. I contrast this view with naive realism (sometimes called disjunctivism) (Brewer, Campbell, Noe) and with intentionalist or representationalist views, which I call the physical content view (Dretske, Tye, Crane, Hill, Burge). I agree with these views in rejecting sense-data intermediaries and in affirming direct perception, but I argue that direct perception occurs via appearances, making mine a critical direct realism. The other views attempt to explain the spatial content of perception (shape, size, distance) entirely through the physical properties of objects and their physical relation to the perceiver (viewing position). I argue instead that there are ineliminably subjective aspects of normal spatial perception, which are systematically manifested as a lack of full phenomenal constancy. This systematic underconstancy can’t be accounted for at all by a consistent naive realism; for the physical content view, it requires that most of our ordinary perception is classified as illusory, violating the spirit of that view. Accepting phenomenal underconstancy as pervasive, I suggest that our ability to perceive the mind-independent properties of objects depends on developed conceptual abilities. In the final section, I compare my appearance view with the adverbialism of Chisholm and the critical direct realism of Roy Wood Sellars. (shrink)

Twelve subjects provided shape and orientation judgments for a set of projectively equivalent, variously rotated rectangles under three viewing conditions—monoptic, dichoptic, and binocular—with and without the presence of a pattern mask. In the absence of the mask, partial constancy was exhibited under the first two conditions and near perfect constancy under the binocular condition. Orientation was discriminated. Presence of the mask produced projective shape matching and diminished orientation discrimination. It is argued that the site of masking was postchiasmal, (...) and the results are related to previous work with pattern masking of projectively equivalent ellipses. (shrink)

In a backward masking paradigm Epstein, Hatfield, and Muise (1977) found that presentation of a frontoparallel pattern mask caused the perceived shape of elliptical figures which were rotated in depth to conform to a projective shape function. The current study extended the masking function by examining the effect of a mask which was partially or wholly cotemporal with the target. The study also assessed the functional equivalence of the masking treatment and the conventional treatment for minimizing depth information. (...) Reports of perceived shape and perceived orientation were obtained under three conditions: binocular without mask, binocular with mask, monocular without mask. Under the first condition, perceived shape conformed to objective shape and perceived orientation was proportional to objective orientation. Under the latter two conditions, perceived shape was in very close agreement to projective shape and the two functions did not differ. Orientation was underestimated greatly under both conditions. We concluded that the effect of the mask on perceived shape is mediated by its effect on encoding of orientation information, although an additional effect on the subsequent stage of shape-slant integration cannot be excluded. (shrink)

Are shapes of objects intrinsic to them? The issue has been intensely debated. Special relativity (SR) adds a new dimension to it by relativizing three-dimensional (3D) shapes not just to times, but to times-in-frames. Arguably, however, such relativized spatial shapes are mere perspectival representations of an invariant, hence intrinsic, four-dimensional (4D) shape of an object in Minkowski spacetime. In a recent note, Matthew Davidson questions the intrinsicality of 4D shapes in SR. I show that his conclusion and the reasoning (...) behind it are in error. (shrink)

The notion of shape invariance in supersymmetric quantum mechanics is examined in relation with the generalized oscillator algebra. Shape invariance is reformulated as fermion-number independence of a parameter function and seen as a symmetry under a shape-related parameter transformation. It is also shown how shape invariance is implied in the dynamical group approach.

The paper has three parts. In the first part ExtOSR, an extended version of Ontic Structural Realism, will be introduced. ExtOSR considers structural properties as ontological primitives, where structural properties are understood as comprising both relational and structurally derived intrinsic properties or structure invariants. It is argued that ExtOSR is best suited to accommodate gauge symmetry invariants and zero value properties. In the second part, ExtOSR will be given a Humean shape by considering structures as categorical and global. It (...) will be laid out how such structures serve to reconstruct non-essential structural kinds and laws. In the third part Humean structural realism will be defended against the threat of quidditism. (shrink)

Barbour’s interpretation of Mach’s principle led him to postulate that gravity should be formulated as a dynamical theory of spatial conformal geometry, or in his terminology, “shapes.” Recently, it was shown that the dynamics of General Relativity can indeed be formulated as the dynamics of shapes. This new Shape Dynamics theory, unlike earlier proposals by Barbour and his collaborators, implements local spatial conformal invariance as a gauge symmetry that replaces refoliation invariance in General Relativity. It is the (...) purpose of this paper to answer frequent questions about (new) Shape Dynamics, such as its relation to Poincaré invariance, General Relativity, Constant Mean (extrinsic) Curvature gauge, earlier Shape Dynamics, and finally the conformal approach to the initial value problem of General Relativity. Some of these relations can be clarified by considering a simple model: free electrodynamics and its dual shift symmetric formulation. This model also serves as an example where symmetry trading is used for usual gauge theories. (shrink)

It is a familiar experience to perceive a material object as maintaining a stable shape even though it projects differently shaped images on our retina as we move with respect to it, or as maintaining a stable color throughout changes in the way the object is illuminated. We also perceive sounds as maintaining constant timbre and loudness when the context and the spatial relations between us and the sound source change over time. But where does this perceptual invariance (...) ‘come from’? What is it about our perceptual systems that makes them able to ‘transform’ incoming unstable and fluctuating sensory inputs into generally stable and coherent conscious experiences? And what exactly do we experience as invariant in cases like those described above? There are two main approaches to the Problem of Perceptual Invariance: the Local-Inferential approach and the Global-Structural approach. Although both approaches include an account of the sub-personal perceptual mechanisms ‘stabilizing’ variant and invariant components in incoming sensory stimulation and a proposal regarding the phenomenology of perceptual invariance, in this paper I argue that the latter provides a better solution to the problem overall. (shrink)

Different summarized shape indices, like mean shape index (MSI) and area weighted mean shape index (AWMSI) can change over multiple size scales. This variation is important to describe scale heterogeneity of landscapes, but the exact mathematical form of the dependence is rarely known. In this paper, the use of fractal geometry (by the perimeter and area Hausdorff dimensions) made us able to describe the scale dependence of these indices. Moreover, we showed how fractal dimensions can be deducted (...) from existing MSI and AWMSI data. In this way, the equality of a multiscale tabulated MSI and AWMSI dataset and two scale-invariant fractal dimensions has been demonstrated. (shrink)

How does the visual system recognize images of a novel object after a single observation despite possible variations in the viewpoint of that object relative to the observer? One possibility is comparing the image with a prototype for invariance over a relevant transformation set. However, invariance over rotations has proven difficult to analyze, because it applies to some objects but not others. We propose that the invariant transformations of an object are learned by incorporating prior expectations with real-world (...) evidence. We test this proposal by developing an ideal learner model for learning invariance that predicts better learning of orientation dependence when prior expectations about orientation are weak. This prediction was supported in two behavioral experiments, where participants learned the orientation dependence of novel images using feedback from solving arithmetic problems. (shrink)

How do we recognize identities between seen shapes and felt ones? Is this due to associative learning, or to intrinsic connections these sensory modalities? We can address this question by testing the capacities of newly sighted subjects to match seen and felt shapes, but only if it is shown that the subjects can see the objects well enough to form adequate visual representations of their shapes. In light of this, a recent study by R. Held and colleagues fails to demonstrate (...) that their newly sighted subjects’ inability to match seen and felt shape was due to a lack of intermodal connections rather than a purely visual deficit, as they may not have been able visually to represent 3D shape in the perspective-invariant way required for intermodal matching. However, the study could be modified in any of several ways to help avoid this problem. (shrink)

Language learning is not primarily driven by a motivation to describe invariant features of the world, but rather by a strong force to be a part of the social group, which by definition is not invariant. It is not sufficient for language to be fit for the speaker's perceptual motor system. It must also be fit for social interactions.

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and (...) experimental aesthetics, and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

2. Invariant Sensorimotor Features ("Affordances"). To say this is not to declare oneself a Gibsonian, whatever that means. It is merely to point out that what a sensorimotor system can do is determined by what can be extracted from its motor interactions with its sensory input. If you lack sonar sensors, then your sensorimotor system cannot do what a bat's can do, at least not without the help of instruments. Light stimulation affords color vision for those of us with the (...) right sensory apparatus, but not for those of us who are color-blind. The geometric fact that, when we move, the "shadows" cast on our retina by nearby objects move faster than the shadows of further objects means that, for those of us with normal vision, our visual input affords depth perception. From more complicated facts of projective and solid geometry it follows that a 3-dimensional shape, such as, say, a boomerang, can be recognized as being the same shape Ð and the same size Ð even though the size and shape of its shadow on our retinas changes as we move in relation to it or it moves in relation to us. Its shape is said to be invariant under these sensorimotor transformations, and our visual systems can detect and extract that invariance, and translate it into a visual constancy. So we keep seeing a boomerang of the same shape and size even though the shape and size of its retinal shadows keep changing. (shrink)

§1. Introduction. A linear ordering embedsinto another linear ordering if it is isomorphic to a subset of it. Two linear orderings are said to beequimorphicif they can be embedded in each other. This is an equivalence relation, and we call the equivalence classesequimorphism types. We analyze the structure of equimorphism types of linear orderings, which is partially ordered by the embeddability relation. Our analysis is mainly fromthe viewpoints of Computability Theory and Reverse Mathematics. But we also obtain results, as the (...) definition of equimorphism invariants for linear orderings, which provide a better understanding of the shape of this structure in general.This study of linear orderings started by analyzing the proof-theoretic strength of a theorem due to Jullien [Jul69]. As is often the case in Reverse Mathematics, to solve this problem it was necessary to develop a deeper understanding of the objects involved. This led to a variety of results on the structure of linear orderings and the embeddability relation on them. These results can be divided into three groups. (shrink)

We propose a solution to the problem of time for systems with a single global Hamiltonian constraint. Our solution stems from the observation that, for these theories, conventional gauge theory methods fail to capture the full classical dynamics of the system and must therefore be deemed inappropriate. We propose a new strategy for consistently quantizing systems with a relational notion of time that does capture the full classical dynamics of the system and allows for evolution parametrized by an equitable internal (...) clock. This proposal contains the minimal temporal structure necessary to retain the ordering of events required to describe classical evolution. In the context of shape dynamics (an equivalent formulation of general relativity that is locally scale invariant and free of the local problem of time) our proposal can be shown to constitute a natural methodology for describing dynamical evolution in quantum gravity and to lead to a quantum theory analogous to the Dirac quantization of unimodular gravity. (shrink)

The world shows some degree of invariance, and we perceive this invariance despite a lot of variation generated locally by our movements, changes in illumination, and the way in which our sense organs react to stimulation. Generally, philosophy and psychology each explain our perception of invariance through the notion of ‘perceptual constancy’. According to the traditional definition, perceptual constancies are capacities to perceive the objective (i.e., perceiver- and context-independent) local properties of external objects despite variation in the (...) stimulation of sensory organs. In this paper, we argue that the traditional understanding of perceptual constancy should be expanded to include a broader range of phenomena connected to the perception of invariance. Our argument starts from an odd activity: pole balancing. Balancing a pole-shaped object (e.g., a broomstick) on the palm of your hand in order to maintain it in an upright position requires (multimodal) perception and continuous tracking (within a certain range) of a particular kind of global invariant feature in the world. By examining this activity and its connection to the notion of perceptual constancy as it is traditionally understood, we propose an alternative account with the goal of clarifying the relationship between the alleged mechanisms underlying constancy and the philosophical implications of the phenomenon. (shrink)

This paper aims to investigate certain aspects of Weyl’s account of implicit definitions. The paper takes under consideration Weyl’s approach to a certain kind of implicit definitions i.e. abstraction principles introduced by Frege.ion principles are bi-conditionals that transform certain equivalence relations into identity statements, defining thereby mathematical terms in an implicit way. The paper compares the analytic reading of implicit definitions offered by the Neo-Fregean program with Weyl’s account which has phenomenological leanings. The paper suggests that Weyl’s account should be (...) construed as putting emphasis on intentionality of human mind towards certain invariant features of the elements of initial domains of discourse that are involved in equivalence relations. Definition of terms like direction, shape, number etc. is achieved by a kind of transformation of those invariants into ideal objects that is involved in intuition. Then the paper argues that at the period of 1926 Weyl’s writings on implicit definitions, he is inclined to endorse symbolic construction as a way to explicate the objectivity of certain processes as those that are carried out in case of implicit definitions. (shrink)

A feminist study of language and its rules argues that men have shaped it in order to instill their own prejudices and viewpoints on society, and shows how male-slanted language affects all women's lives.

The universality, invariance, and elegance of principles governing the universe may be reflected in principles of the minds that have evolved in that universe – provided that the mental principles are formulated with respect to the abstract spaces appropriate for the representation of biologically significant objects and their properties. (1) Positions and motions of objects conserve their shapes in the geometrically fullest and simplest way when represented as points and connecting geodesic paths in the six-dimensional manifold jointly determined by (...) the Euclidean group of three-dimensional space and the symmetry group of each object. (2) Colors of objects attain constancy when represented as points in a three-dimensional vector space in which each variation in natural illumination is canceled by application of its inverse from the three-dimensional linear group of terrestrial transformations of the invariant solar source. (3) Kinds of objects support optimal generalization and categorization when represented, in an evolutionarily-shaped space of possible objects, as connected regions with associated weights determined by Bayesian revision of maximum-entropy priors. Key Words: apparent motion; Bayesian inference; cognition; color constancy; generalization; mental rotation; perception; psychological laws; psychological space; universal laws. (shrink)

Long tradition in philosophy and in empirical psychology has it that the perceptual recovery of enduring objective size and shape proceeds through initial spatial appearance experiences—like the sensed changing visual field size of a receding car, or the shifting shape appearance of a coin as it rotates in depth. The present paper carefully frames and then critically examines such proposals. It turns out that these are contingent, empirical matters, requiring close examination of relevant research in perception science in (...) order to decide. The paper concludes with extended discussions of the empirical study of the perception of slant, size, and shape. (shrink)

Perception involves the processing of content or information about the world. In what form is this content represented? I argue that perception is widely compositional. The perceptual system represents many stimulus features (including shape, orientation, and motion) in terms of combinations of other features (such as shape parts, slant and tilt, common and residual motion vectors). But compositionality can take a variety of forms. The ways in which perceptual representations compose are markedly different from the ways in (...) which sentences or thoughts are thought to be composed. I suggest that the thesis that perception is compositional is not itself a concrete hypothesis with specific predictions; rather it affords a productive framework for developing and evaluating specific empirical hypotheses about the form and content of perceptual representations. The question is not just whether perception is compositional, but how. Answering this latter question can provide fundamental insights into perception. (shrink)

The introduction of computer simulation to paleobiology ushered in a new, experimental style of reasoning. Rather than starting with observed fossil patterns and hypothesizing causal processes that may have produced them, it became possible to start with a process model, and from it to simulate a range of possible patterns. ;The MBL Model is a stochastic model of phylogenetic evolution . Computer simulations conducted with the MBL Model served as thought experiments in stochastic evolution. In the MBL work, similarities between (...) empirical and stochastically simulated clades mounted a visual argument that stochastic processes potentially explained large fluctuations in diversity. Stanley and others countered that the similarities were an artifact of scaling. The scaling problem may have been obscured by visual bias: measures of clade shape are scale-invariant, but diversification itself is highly scale-dependent. ;Null and neutral models are frequently conflated. Null models generate hypothetical data distributions under conditions that exclude some process of interest to test whether patterns in an actual data distribution provide statistical evidence for that process. A neutral model assumes selective equivalence among all units at a specified hierarchical level in the evolving system. Neutral models are often inappropriate as null models. Pattern recognition presupposes a null model, but tacit null models are subject to persistent cognitive biases, necessitating explicit formulation of null models. Nonetheless, failure to reject the null model should not preclude further investigation of a pattern. ;Often, models are not candidates for falsification, but serve to simulate data for testing concepts or methods. Sepkoski and Kendrick , and Robeck, Maley, and Donoghue used the MBL Model to test whether mass extinction periodicity is an artifact of paraphyly in taxonomic data. Such numerical experiments, which make all assumptions explicit, can serve as templates for localizing points of disagreement. Models may fall into lineages, each generation providing lessons for the next, but often sharing operational assumptions. Artifacts of shared operational assumptions are often a threat to the validity of inferences. Results holding across models should not be accepted unless they withstand rigorous robustness analysis. (shrink)

There has been much discussion recently about the scope and limits of purely symbolic models of the mind and about the proper role of connectionism in cognitive modeling. This paper describes the symbol grounding problem : How can the semantic interpretation of a formal symbol system be made intrinsic to the system, rather than just parasitic on the meanings in our heads? How can the meanings of the meaningless symbol tokens, manipulated solely on the basis of their shapes, be grounded (...) in anything but other meaningless symbols? The problem is analogous to trying to learn Chinese from a Chinese/Chinese dictionary alone. A candidate solution is sketched: Symbolic representations must be grounded bottom-up in nonsymbolic representations of two kinds: iconic representations, which are analogs of the proximal sensory projections of distal objects and events, and categorical representations, which are learned and innate feature-detectors that pick out the invariant features of object and event categories from their sensory projections. Elementary symbols are the names of these object and event categories, assigned on the basis of their categorical representations. Higher-order symbolic representations, grounded in these elementary symbols, consist of symbol strings describing category membership relations. Connectionism is one natural candidate for the mechanism that learns the invariant features underlying categorical representations, thereby connecting names to the proximal projections of the distal objects they stand for. In this way connectionism can be seen as a complementary component in a hybrid nonsymbolic/symbolic model of the mind, rather than a rival to purely symbolic modeling. Such a hybrid model would not have an autonomous symbolic module, however; the symbolic functions would emerge as an intrinsically dedicated symbol system as a consequence of the bottom-up grounding of categories ' names in their sensory representations. Symbol manipulation would be governed not just by the arbitrary shapes of the symbol tokens, but by the nonarbitrary shapes of the icons and category invariants in which they are grounded. (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)

Striving to boldly redirect the philosophy of science, this book by renowned philosopher Philip Kitcher examines the heated debate surrounding the role of science in shaping our lives. Kitcher explores the sharp divide between those who believe that the pursuit of scientific knowledge is always valuable and necessary--the purists--and those who believe that it invariably serves the interests of people in positions of power. In a daring turn, he rejects both perspectives, working out a more realistic image of the sciences--one (...) that allows for the possibility of scientific truth, but nonetheless permits social consensus to determine which avenues to investigate. He then proposes a democratic and deliberative framework for responsible scientists to follow. Controversial, powerful, yet engaging, this volume will appeal to a wide range of readers. Kitcher's nuanced analysis and authorititative conclusion will interest countless scientists as well as all readers of science--scholars and laypersons alike. (shrink)

Visual objects can be represented by their similarities to a small number of reference shapes or prototypes. This method yields low-dimensional (and therefore computationally tractable) representations, which support both the recognition of familiar shapes and the categorization of novel ones. In this note, we show how such representations can be used in a variety of tasks involving novel objects: viewpoint-invariant recognition, recovery of a canonical view, estimation of pose, and prediction of an arbitrary view. The unifying principle in all these (...) cases is the representation of the view space of the novel object as an interpolation of the view spaces of the reference shapes. (shrink)

If all the fundamental constants x of physics were expressed in one set of units (e.g., mks) and then used as pure numbers in one overall histogram, what shape would that histogram have? Based on some invariances that the law should reasonably obey, we show that it should have either an x−1 or an x−2 dependence. Empirical evidence consisting of the presently known constants is consistent with an x−1 law. This is independent of the system of units chosen for (...) the constants. The existence of the law suggests that the fundamental constants may have been independently and randomly chosen, at creation, from it, and hence that at the next “big bang” randomly a different set will be produced. Also, because of the law, the number 1.0 has an interesting cosmological property: it is the theoretical median of all the fundamental constants. Finally, as a practical matter, the law predicts that current methods of evaluating the fundamental constants are biased toward overly large numbers. A correction term is given for each of three kinds of noise. (shrink)

Any kind of knowledge, cognition, perception, and action is necessarily shaped by activation of "schemata". Any interpretation is schema activation. Schemata are epistemologically speaking "structural" activation patterns which are psychologically and neurologically speaking accommodated, adapted, "learned" by activating neuronal assemblies. Six levels of interpretative schema activations are outlined from invariable primary "interpretations" through conventional, classificatory and justificatory as well as meta-interpretations. Constitutive schema interpretations are unavoidable. Many philosophical problems will have to be reformulated or reinterpreted along these lines.

Starting from a generalized Hamilton-Jacobi formalism, we develop a new framework for constructing observables and their evolution in theories invariant under global time reparametrizations. Our proposal relaxes the usual Dirac prescription for the observables of a totally constrained system and allows one to recover the influential partial and complete observables approach in a particular limit. Difficulties such as the non-unitary evolution of the complete observables in terms of certain partial observables are explained as a breakdown of this limit. Identification of (...) our observables relies upon a physical distinction between gauge symmetries that exist at the level of histories and states, and those that exist at the level of histories and not states. This distinction resolves a tension in the literature concerning the physical interpretation of the partial observables and allows for a richer class of observables in the quantum theory. There is the potential for the application of our proposal to the quantization of gravity when understood in terms of the Shape Dynamics formalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:700 BOOK REVIEWS certain violations of justice can be appreciated without " any back· ground of social conventions" (p. 95). The cases he cites-racial and gender bias and the failure to return kindness-may he unproblematic for us, hut is this not because we have been tutored by the institutions of modern liberalism? A strong case can be made, moreover, that our general agreement vanishes when it comes to particular (...) cases. This raises a larger question: can character ethics-with its repudiation of impersonal decision procedures-provide a basis for even limited universalism? A less impersonal route would be that of Thomistic natural law, but Kupperman's meager attention to personhood and his emphasis upon the self as a " metaphysical term of art" makes this an unlikely route. Kupperman seems intent on securing limited universalism as a nee· essary framework for pluralism; the view is central to his thesis that moral education cannot substitute values clarification for absolutism, at least not in its initial stage (pp. 174-78). It is not clear, however, that the primacy of the language of " values " is compatible with an emphasis on strength of character. Kupperman concedes that an "antiphony of values " may make the achievement of strong character more difficult. He fails, however, to entertain seriously the possibility that the pluralism of post-modern liberalism might well generate a society of Nietzsche's last men, with no more than a " qualified loyalty to anything " (p. 137). While the argument of Character may not he fully persuasive, it nonetheless marks an important contribution to recent Hterature attempting to show that liberalism need not be indifferent to questions of the good and of human excellence. THOMAS s. HIBBS Boston College Chestnut Hill, Massachusetts The Magic of Ritual: Our Need for Liberating Rites that Transform Our Lives and Our Communities. By TOM F. DRIVER. San Francisco : Harper, 1991. Pp. 270. $19.95. Tom Driver, former theater critic and author of hooks about theater and religion, is Paul Tillich Professor of Theology and Culture at Union Theological Seminary, New York. He is also an active leader in the Ritual Studies section of the American Academy of Religion. This engagingly written book reflects all of these vocations and interests. When he writes compellingly that we suffer from a void of ritual that could give shape and meaning to human life he critiques the view that BOOK REVIEWS 701 Christianity is primarily about theology and doctrine as well as the shape and content of the liturgy as presently celebrated in many Christian churches. On the one hand, this book is an apologia for the role of ritual in Christian life; on the other, it is a trenchant critique of what and how liturgical churches ritualize their faith. In the Introduction he states that by design this work is about the " deep human longing for ritual; to interpret it in the light of our physical, social, polemical, sexual, moral, aesthetic, and religious existence; and to urge a reform of our ritual life, especially in religion, so that our longing for ritual and our longing for freedom may come together " (4). He poignantly observes that the book is a response to "ritual boredom" (7) and that much Christian liturgical practice " has become moribund " (ll). The book's fairly evenly distributed three parts concern "ritual pathways," a cursory survey of animal, human and church ritual behavior (chapters l to 3), " modalities of performance," relating ritual to theater and reflecting on ritual's relationship to confession and ethics (chapters 5 and 6), and" ritual's social gifts," reflecting on the results of ritual: order, community and transformation of participants (chapters 7 to 9). In many ways the book's Conclusion and two Appendices betray Driver's slant on the state of contemporary Christian liturgy and ritual studies by offering critiques of the celebration of some Christian liturgies (Conclusion and Appendix A) and of the work of the ritual theorist Victor Turner (Appendix B). While there is nothing really new in this last part of the book, these sections offer a particularly clear view of where Driver stands, what his prejudices are, and how current his scholarship really is. Reading these last sections first would... (shrink)

This paper explores the significant – albeit little-known – impact that physicist Albert Einstein's theory of relativity had on the development of the science of linguistics. Both Max Talmey, a physician who played a key role in the development of early twentieth-century constructed-language movements, and Benjamin Lee Whorf, who is closely associated with the notion of ‘linguistic relativity’, drew on their understanding of relativity to develop their ideas (and, in Talmey's case, also on his personal relationship with Einstein). Linguistic relativity, (...) which posits that humans’ linguistic categories shape their perceptions of nature, has often been tied to ‘relativism’ in the social sciences and humanities. In contrast, Talmey's commitment to reformulating the language of Einsteinian relativity – especially through a constructed language he built in the 1920s and 1930s – emphasized the significance of ‘invariance’ simultaneously in the scientific doctrine and in the language in which it was discussed. The semiotic flexibility of Einstein's ‘relativity theory’ as it was widely (and wildly) appropriated outside the small community of theoretical physicists enabled the two opposing moves, while obscuring the historical linkage between physics and linguistics for both. (shrink)

In general, our concepts take shape by way of contrast. Geoffrey Lloyd commented almost 60 years ago on “the remarkable prevalence of theories based on opposition in so many societies at different stages of technological development,” and he illustrated in detail the tendency of the ancient Greeks to think in binary pairs. One fundamental distinction, found in a wide variety of cultures, is that between human beings and other animals, or, more simply, between humans and animals, which serves to (...) identify, define, and privilege our own nature as a species. Classical Greek classifications do not invariably take the form of simple polarities, to be sure; thus, one might locate humanity within the ternary taxonomy of plants, animals, and human beings, or in the alternative triad of animals, human beings, and gods, where humanity occupies the middle tier. But whatever the larger paradigm, the essential differential between human beings and other animals was the presence or absence of reason. Plants, in Aristotle’s schema, possess a vegetative soul, which is to say, the capacity to grow and develop; animals have, in addition, the faculty of perception; but human beings are unique in possessing, in addition to these two parts of the psyche, reason or, in Greek, logos, a trait that we share with the gods (they differ from us in being immortal). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Modern Biblical Criticism as a Tool of Statecraft (1700–1900) by Scott W. Hahn and Jeffrey L. MorrowSteven C. SmithModern Biblical Criticism as a Tool of Statecraft (1700–1900) by Scott W. Hahn and Jeffrey L. Morrow (Steubenville, OH: Emmaus Academic, 2020), 312 pp.Almost anyone who has suffered through a course in biblical studies at a secular (or, increasingly so, Christian) university, read a book, or heard a lecture from (...) one of its scholarly progenies is acquainted with the litany of hermeneutical absolutes. Among the factum historicum are the following certainties: the Enlightenment rescued the Bible from the Dark Ages; the Old Testament was shaped out of the mythical clay of Hellenism; Israel's priesthood was a lamentable development that hijacked an earlier, socially oriented love-of-neighbor religion, replacing it with its bloodthirsty, sacrificial cult; the Documentary Hypothesis is not merely a theory, but the scientific truth of how the Pentateuch emerged; one must separate the Jesus of history from the Christ of faith; Peter and Paul clashed over their dueling Christianities; and above all, historical criticism is the only reliable lens by which the Bible is to be studied.In Modern Biblical Criticism as a Tool of Statecraft (1700–1900), Hahn and Morrow expose such positivisms as the outflow of Europe's secularized universities over these centuries. Not only did politically motivated institutions seek to diminish the theological truths of Scripture (and sadly, were often successful at it), but they eventually repurposed the Bible as "a work of historical fiction," such that the Sacred Page was "to be studied like other ancient myths and fairy tales; it is one fairy tale among many" (24). The authors present a thoroughly researched and meticulously detailed study of the period, and throughout the book amply demonstrate that the aforementioned tropes (and numerous others), no matter how often or how confidently recited, are merely one slant on "the story of biblical criticism" in the modern age.Taking their lead from the lead of Pope Benedict XVI, Hahn and Morrow provide a much-needed critique of historical biblical exegesis and its "appearance of quasi-scientific certainty."1 These salient words of the biblical-theologian Pope, articulated in a variety of contexts (e.g., Verbum Domini), provide the jumping-off point for this robust three-hundred-page voyage. And it is a journey through a divided and secularized Europe, with notable stops in England, France, and above all, Germany. This "divided" Europe, the authors explain, was not a result of the Protestant [End Page 985] Reformation, nor of the so-called "war of religions" that sprang from it—no. The divisions run much deeper still. Drawing upon Andrew Jones's important Before Church and State, Hahn and Morrow rightly lament the societal competition that developed within late medieval Christendom between church and state.2Building upon Jones's work, the authors rightly stress that there indeed existed "a unified medieval worldview wherein what we might think of as temporal authorities and spiritual authorities were united in a single purpose—the extension of the kingdom of God—and this was the background that unified Christendom" (3). As Jones point out, this earlier period of European history "was a world not of the religious and the secular, but of the New Testament and the Old, of virtue and vice, grace and law.... It was an integral vision which included all of societal reality."3 Sadly, the reality of "sacramental kingdoms," in which there lived a reciprocal respect and vision of unity between throne and alter, was torn asunder long before the 1700s, the time at which the present volume commences. Over time, this formerly unified European world gave way to the very complicated, deeply skeptical, and highly politicized world of nation-states. And biblical criticism (along with many other worthy and creative endeavors), became deeply mired in "statecraft."Here, it is worth mentioning that the book should be approached as the rightful heir to an earlier volume (which involved one of its authors, Hahn), Politicizing the Bible.4 While Modern Biblical Criticism may be intelligently read upon its own merits, the reader would do well to pick up the earlier... (shrink)

In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance with those objects (...) and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

To have an ontology is to interpret a world. In this paper we argue that the brain, viewed as a representational system aimed at interpreting our world, possesses an ontology too. It creates primitives and makes existence assumptions. It decomposes target space in a way that exhibits a certain invariance, which in turn is functionally significant. We will investigate which are the functional regularities guiding this decomposition process, by answering to the following questions: What are the explicit and implicit (...) assumptions about the structure of reality, which at the same time shape the causal profile of the brain's motor output and its representational deep structure, in particular of the conscious mind arising from it (its ''phenomenal output'')? How do they constrain high-level phenomena like conscious experience, the emergence of a first-person perspective, or social cognition? By reviewing a series of neuroscientific results and integrating them with a wider philosophical perspective, we will emphasize the contribution the motor system makes to this process. As it will be shown, the motor system constructs goals, actions, and intending selves as basic constituents of the world it interprets. It does so by assigning a single, unified causal role to them. Empirical evidence demonstrates that the brain models movements and action goals in terms of multimodal representations of organism-object-relations. Under a representationalist analysis, this process can be conceived of as an internal, dynamic representation of the intentionality-relation itself. We will show how such a complex form of representational content, once it is in place, can later function as a functional building block for social cognition and for a more complex, consciously experienced representation of the first-person perspective as well. (shrink)

A great deal of recent academic writing claims—but, more often, assumes—that the American news media have a predominantly conservative bias, slanting and shaping their coverage in ways that favor right‐wing foreign, economic, cultural, and social policies. Two major books pioneered this position and have gone largely uncriticized, despite their immense influence. A detailed examination of Herbert Gans's Deciding What's News and Ben Bagdikian's The Media Monopoly shows, however, that they fall far short of proving their claims about media bias. The (...) logic of many of their arguments is highly problematic, but especially glaring is the almost complete lack of solid evidence in either book as to the purportedly conservative nature of media content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hope for Common Ground: Mediating the Personal and the Political in a Divided Church by Julie Hanlon RubioBrian StiltnerHope for Common Ground: Mediating the Personal and the Political in a Divided Church Julie Hanlon Rubio washington, dc: georgetown university press, 2016. 264 pp. $89.95 / $29.95Julie Hanlon Rubio wrote Hope for Common Ground to address divisions over ethical and political issues within the Catholic Church. Rubio writes in (...) a spirit of hope, affirming that it is possible for Catholics to find common ground by drawing on resources within their tradition and within themselves. She proposes that "the potential for seeing and developing common ground is particularly strong if we focus on what can be done in the 'local' sphere—that is, in the space between" the personal and the political (xvii). Localized focus is recommended by the Catholic principle of subsidiarity, which means working on social problems from the bottom up through the small- and medium-sized [End Page 195] groups that matter greatly for people's well-being, such as families, churches, and neighborhoods.Rubio's project is vital because civic spaces have become so fraught. Although this book was published early in 2016, these words are even more apt in 2017: "In both popular and academic Catholic circles, politics has become a very uncomfortable space. … Catholics are more divided than at any point in their history, and in this they mirror society rather than providing an alternative to it" (xiv–xv). If Catholic Christians, claiming a common life and common Lord, are as divided as society itself, they testify poorly to their values. By contrast, if they redirect some of their energies from the personal and the political to the local, then "instead of fighting each other, Catholics can participate more, agree on more, and, consequently, build up more" (229).Part 1 of the book draws on Church tradition and ethics texts to articulate a vision of what it means to be a faithful citizen. Divisions within the Catholic community are shaped in part by interpretations of Church teaching that discourage Catholics from thinking they should cooperate with others who think differently. In recent years, the American bishops have pushed Catholic citizens to consider some political issues, such as abortion and gay marriage, as more important than others. Rubio aims to right such imbalances by showing that Catholic teaching supports pluralism, appreciates the pragmatic side of politics, and holds a nuanced account of how people can act conscientiously in an imperfect world. She offers "a social ethic for ordinary Christians" (58), equally focused on faithfulness and effectiveness.The payoff in part 2 of the book is excellent. Rubio enters the culture-war debates over the family, poverty, abortion, and end-of-life care; elsewhere she briefly but insightfully examines white privilege, sweatshop clothing, and police violence. In each of these cases, Rubio describes the current divide, provides background analysis that cuts through misconceptions and slanted data, and suggests ways that Catholics can find common ground and build up the common good in church and society. Here is one small example of the kind of applications she makes: "A Catholic Charities center in my city included a conversation on advance directives in the agenda for a weekly meeting of mothers in a poor neighborhood. Though the instruction was quite simple, it gave the women a chance to talk about their faith, experiences, fears, and hopes in relation to death and dying. … These women are now better equipped than many for the tough conversations that are surely ahead" (218).Rubio practices what she preaches, exhibiting a conversational tone and capacious vision throughout. While focused on Catholic sources and issues, Hope for Common Ground is by no means narrow. Not only other Christians but also all [End Page 196] people have to face the social issues discussed here, and it matters to all citizens how religious communities are addressing them. Therefore, this book is a great launching point for honest conversations in college courses, while scholars in the field will do well to engage with Rubio's theory of local action. The book deserves a wide readership within and outside Catholic circles.Brian StiltnerSacred... (shrink)