The long-term success of organizations is mainly attributable to employees’ psychological health. Organizations focusing on promoting and managing the flow (an optimal experience and optimal functioning state) may enhance employees’ well-being and performance to an optimum level. Surprisingly, the literature representing the role of HRM practices for their effect on work-related flow (i.e., intrinsic motivation, absorption, and work enjoyment) is very sparse. Accordingly, by drawing primarily on the job demands-resources model and HRM specific attribution theory, (...) this paper develops a theoretical framework that unravels the effectiveness of specific organizational level High Involvement HRM (HIHRM) practices (i.e., recognition, empowerment, information sharing, fair rewards, and competence development) in activating the individual level work-related flow with beneficial effect and mediating role of affective commitment. In addition to highlighting the underlying mechanisms that may cause HIHRM practices to be regarded as resources and sometimes as demands, this paper especially proposes that these practices implemented with a focus to promote employee well-being are perceived as job resources and may positively influence affective commitment and flow, whereas these practices used as a demand to increase performance are perceived as job demands and may hinder affective commitment and flow. It is further significant to understand the possible moderating effects of emotional intelligence on the relationships among HIHRM practices, affective commitment, and flow. The paper augments the knowledge and understanding of the impact process of HIHRM practices, in particular how the HIHRM effect is sensed by the workers and thus, influences their succeeding job attitude and work experience. Finally, this work, as the first paper to link HIHRM practices with work-related flow, promotes the concept of positive psychology in the workplace. (shrink)

This paper follows the Salt-Wind and subterraneous freshwater flows in Hawaiian poet Brandy Nālani McDougall's collection of poetry The Salt-Wind/ka Makani Pa'akai. McDougall illustrates that in order to begin again in the aftermath of American imperialism and environmental destruction, one must return to the salt-water and sub-surface waterings, and the ancestral connections and voices therein who beckon her (and others) home. In this way, her work is situated within contemporary movements within the Pacific, presently coming together in deimperializing efforts (...) to restructure a future for the Pacific that is ‘beyond empires’ (Fujikane, 2012: 191). Selecting two poems in particular from McDougall's collection—'Hāloanaka’ and ‘On a Routing Slip from the U.S. Postal Service, Pukalani Branch'—I illustrate how they chart the ancestral, cosmological, and historical flows of kinship between Kānaka Maoli and their near and distant earthly and spiritual relations. In particular, the water that passes through the taro plant infuses all manner of kinship, economic, and social relations in Hawai'i, connecting Kānaka Maoli to their ancestor Hāloa, and to land, sea, and each other, as well as—through the formative oceanic movements of Moana Nui—to other Pacific islanders. A thirst for water—sacred, imaginative, mobile, past, present—underwritten by an assertion of Hawaiian sovereignty, language, and tradition flows just beneath the surface of McDougall's words. (shrink)

According to Dreyfus and Dreyfus, skilled coping in sport occurs when an athlete reaches an expert level and can execute a sport skill on ‘automatic-pilot’, in a state of ‘flow’. In this paper we reframe phenomenological accounts of sport that try to depict flow-states as part of an athlete’s competency framework. We do so from the point of view of post-structural and post-phenomenological scholars such as Jacques Derrida’s deconstructive work on sovereignty and Jean-Luc Nancy’s ontological vantage of (...) ‘being-with’. This lens pushes us to challenge phenomenological accounts of sport such as skilled coping and flow that, we argue, portray zombie-like performances as optimal. We suggest that such a phenomenological account of sport is not only impoverished as Breivik has argued, but also misses the very promising aspects of sport that can generate the possibility for creative and relational experiences. In making this claim we aim to reorient sport philosophy’s uptake of phenomenology towards a relat... (shrink)

While contemporary debates about agrarian transformations that include topics like the persistence of family farms, agrarian capital accumulation, and simple reproduction squeeze remain vibrant, discussions about the increasingly significant role of migrant wage labour, which further complicates these processes, remain limited. In this paper, we argue that the process of capitalist accumulation in some sections of the agrarian and food system sectors in southern China is able to proceed despite recurring pressures — especially labour shortages in the rural economy caused (...) by domestic rural–urban migration — because of the availability of migrant workers from neighbouring countries such as Myanmar. This development dynamic can be better understood through the lens of interrelated connections between land and labour and production and social reproduction across China and Myanmar. We highlighted the role of two land-related labour flows in the agrarian transformation in southern China–Myanmar regions. We argue that various social classes and groups across China and Myanmar are tied to land, wage work and capital accumulation and, in turn, their productive and social reproductive tasks are directly and indirectly linked to one another. If we are to understand agrarian transformation in settings like this, then methodologically, we will have to adopt an interconnected approach in order to bring the pieces of the puzzle together. (shrink)

The Song Empire (960–1279 CE) had a larger population, a higher agricultural output, a more efficient infrastructure, and a more extensive monetary system than any previous empire in Chinese history. As local jurisdictions during the eleventh century became entangled in empire-wide economic relations and trans-regional commercial litigation, imperial officials sought to reduce the bewildering movement of people, goods, and money to an immanent cosmic pattern. They reasoned that because money and commerce brought to imperial subjects the goods they required to (...) survive, money and commerce must be beneficent, and because they were beneficent, they must conform to the immanent pattern of the moral cosmos, as did everything else that was enduringly sustaining of life and wellbeing. And because money and commerce conformed to the moral cosmos, officials attempted to understand their workings by analogy with other phenomena that sustained human life, such as the flow of water and the circulation of vital essences through the human body. During the 1030s and 1040s, officials and scholars believed that knowledge of the cosmic pattern lay within their grasp, and that this knowledge would allow them to align culture with nature, and the present with hallowed antiquity. By the 1080s, however, this intellectual optimism had been defeated by irreconcilable disagreements about financial and economic policy. The failure of the attempt to understand finance by natural analogy draws attention to the underlying ideological insistence on moral learning as the basis for political power, and to the very limited range of economic discourse that has been preserved in eleventh-century texts. (shrink)

Recent work by Keyser in applied epistemology of experiment has focused on the iterative ‘production’ of knowledge: knowledge stabilizes within a given physical context and it is iteratively tested within that context to meet standards of reliability. This implies that in a given physical context (e.g., laboratory), the inferences, methods/techniques, and physical products form coherence relations with one another. We apply this epistemological stabilization account to the martial arts in order to argue that the context of stabilization dictates the (...) training methods, techniques, and even the philosophical concepts of a given martial arts system. We describe key elements of stabilization pertaining to rules, training methodology, warrior philosophy, and spectator/media tropes. The account of stabilization requires a case study that shows how a dynamic system is stabilized. We describe the stabilization of modern mixed martial arts by tracking it on a time scale, but also in different contexts (e.g., Pancrase, Pride, UFC). (shrink)

In this bold new study, Andrew J. Mason seeks both to shed light on the key issue of flux in Plato s work, and to show that there is also in Plato a notion of "flow" that needs to be distinguished from flux. Mason brings out the importance of this hitherto neglected distinction, and proposes on its basis a new way of understanding the development of Plato s thought. The opposition between the being of Forms and the becoming (...) or flux of sensibles has been fundamental to the understanding of Plato from Aristotle to the present day. One key concern of this volume is to clarify which kinds or levels of flux Plato accepts in sensibles. In addition, Mason argues that this traditional approach is unsatisfactory, as it leaves out the important notion of flow. Unlike flux, flow is a kind of motion that does not entail intrinsic change. It is also not restricted to the sensible, but covers motions of soul as well, including the circular motion of "nous" that is crucial in Plato s later thought, particularly his cosmology. In short, flow is not incompatible with being, and in this study Plato s development is presented, largely, as his arrival at this view, in correction of his earlier conflation of flux and flow in establishing the dichotomy between being and becoming. Mason s study offers fresh insights into many dialogues and difficult passages in Plato s oeuvre, and situates Plato s conception and usage of flow and flux in relation to earlier usage in the Greek poetic tradition and the Presocratic thinkers, particularly Heraclitus. The first study of its kind, "Flow and Flux" uncovers dimensions of Plato s thinking that may reshape the way his philosophy is understood.". (shrink)

In this essay, the author maintains that Gadamer’s affirmation of the relation among art, truth, and beauty is less a sign of conservatism or nostalgia than it is a key to his innovative and insightful examination of our experience of art. Gadamer’s approach to both the truth claim and the beauty of art flows from his association of the being of art with enactment (Vollzug). Yet, increasingly over the course of his writings, Gadamer appears to relinquishes talk of art in (...) this sense as a ,work‘ in favor of an emphasis on the kinship between art and the phenomenon of play. In light of this shift, it is argued that Gadamer’s conception of the truth claim and beauty of art may best be understood not as properties of a product or artifact, of something already enacted and thus complete in itself, but, instead, as nothing other than the very enacting of that freedom which he finds at the heart of human play. (shrink)

The 3D Prandtl fluid flow through a bidirectional extending surface is analytically investigated. Cattaneo–Christov fluid model is employed to govern the heat and mass flux during fluid motion. The Prandtl fluid motion is mathematically modeled using the law of conservations of mass, momentum, and energy. The set of coupled nonlinear PDEs is converted to ODEs by employing appropriate similarity relations. The system of coupled ODEs is analytically solved using the well-established mathematical technique of HAM. The impacts of various physical (...) parameters over the fluid state variables are investigated by displaying their corresponding plots. The augmenting Prandtl parameter enhances the fluid velocity and reduces the temperature and concentration of the fluid. The momentum boundary layer boosts while the thermal boundary layer mitigates with the rising elastic parameter strength. Furthermore, the enhancing thermal relaxation parameter ) reduces the temperature distribution, whereas the augmenting concentration parameter drops the strength of the concentration profile. The increasing Prandtl parameter declines the fluid temperature while the augmenting Schmidt number drops the fluid concentration. The comparison of the HAM technique with the numerical solution shows an excellent agreement and hence ascertains the accuracy of the applied analytical technique. This work finds applications in numerous fields involving the flow of non-Newtonian fluids. (shrink)

These works concern fundamental philosophical problems of time and spacetime, such as the implications of the absolute and relations concepts of motion for the disputes about the character of spacetime, the role of relativity, quantum mechanics, quantum gravity and noncommutative geometry with respect to the controversy concerning the objectivity of the flow of time, the existence of the future, the concept of branching spacetime. One paper presents the views on time of an outstanding representative of phenomenology, Roman Ingarden, thus (...) enriching the book with some questions of philosophical anthropology and ethics. The collection is mainly addressed to research workers and graduate students. (shrink)

Recent theoretical and empirical work in cognitive science and neuroscience is brought into contact with the concept of the flow experience. After a brief exposition of brain function, the explicit–implicit distinction is applied to the effortless information processing that is so characteristic of the flow state. The explicit system is associated with the higher cognitive functions of the frontal lobe and medial temporal lobe structures and has evolved to increase cognitive flexibility. In contrast, the implicit system is (...) associated with the skill-based knowledge supported primarily by the basal ganglia and has the advantage of being more efficient. From the analysis of this flexibility/efficiency trade-off emerges a thesis that identifies the flow state as a period during which a highly practiced skill that is represented in the implicit system’s knowledge base is implemented without interference from the explicit system. It is proposed that a necessary prerequisite to the experience of flow is a state of transient hypofrontality that enables the temporary suppression of the analytical and meta-conscious capacities of the explicit system. Examining sensory-motor integration skills that seem to typify flow such as athletic performance, writing, and free-jazz improvisation, the new framework clarifies how this concept relates to creativity and opens new avenues of research. (shrink)

This article combines in-depth interviews and Karen Barad's work on materiality to think about the ways in which the materiality of blood might be understood in relation to sociality and blood-borne virus prevention among BDSM (bondage and domination, dominance and submission and sadomasochism) body modification practitioners in Sydney, Australia. In doing so, it confronts questions of how the materiality of blood can be theorized in ways that neither presume a fixed, a priori ontological status or essence, nor exclude it (...) from an active role in the production of realities. In taking account of both its co-constitutive role in practice, and its figurative power (as flow) in understanding the mind/body, discourse/materiality conjunctions at work in BDSM body modification practice, we aim to illuminate further the imbrication of materiality and meaning, and generate a more complex and fruitful account of blood for the purposes of blood-borne virus prevention and education. (shrink)

All matters related to ethnography flow from a decision that originates at the very beginning of the research process—the selection of the basic object of analysis—and yet fieldworkers pay scant attention to this crucial task. As a result, most take as their starting point bounded entities delimited by location or social classification and in so doing restrict the kinds of arguments available to them. This article presents the alternative of relational ethnography. Relational ethnography involves studying fields rather than (...) places, boundaries rather than bounded groups, processes rather than processed people, and cultural conflict rather than group culture. While this approach comes with its own set of challenges, it offers an ethnographic method that works with the relational and processual nature of social reality. (shrink)

A recent analysis of the genomes of Darwin's finches revealed extensive interspecies allele sharing throughout the history of the radiation and identified a key locus responsible for morphological evolution in this group. The radiation of Darwin's finches on the Galápagos archipelago has long been regarded as an iconic study system for field ecology and evolutionary biology. Coupled with an extensive history of field work, these latest findings affirm the increasing acceptance of introgressive hybridization, or gene flow between species, (...) as a significant contributor to adaptive evolution. Here, we review and discuss these findings in relation to both classical work on Darwin's finches and contemporary work showing similar evolutionary signatures in other biological systems. The continued unification of genomic data with field biology promises to further elucidate the molecular basis of adaptation in Darwin's finches and well beyond. (shrink)

The leading art theorist takes on art in the age of the Internet In the early twentieth century, art and its institutions came under critique from a new democratic and egalitarian spirit. The notion of works of art as sacred objects was decried and subsequently they would be understood merely as things. This meant an attack on realism, as well as on the traditional preservative mission of the museum. Acclaimed art theorist Boris Groys argues this led to the development of (...) “direct realism”: an art that would not produce objects, but practices (from performance art to relational aesthetics) that would not survive. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art’s distinction. In this major new work, Groys charts the paradoxes produced by this tension, and explores art in the age of the thingless medium, the Internet. Groys claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present. (shrink)

The aim of the article is to present a new Polish tool for measuring the flow experience in professional tasks - a FLOW-W Questionnaire. The questionnaire was inspired by Csikszentmihalyi’s flow theory and flow in Bakker’s work. On its basis a set of positions was established, on which subsequently an exploratory and confirmatory factor analysis was conducted. The analysis showed the possibility of a uni- or bifactorial solution. After checking the theoretical and empirical validity of (...) both solutions, the unifactorial solution was adopted. The validity of the questionnaire was examined, i.a. by correlations with theoretically related variables: work engagement with the UWES questionnaire and affect at work. The studies showed a significant positive correlation between flow at work and work engagement and between flow and positive affect. The reliability of the questionnaire is very high; α = 0.96. The tool has very good psychometric properties. (shrink)

The work ethic has been deeply challenged by two trends – the division of labor and the destruction of continuity in employment. Here a narrative model is proposed for reconstructing the work ethic. Narratives embody assumptions about the flow of time, and work becomes charged with meaning when "contractual time" is interrupted, when new functions are invented to cope with obstacles having to do human character and action. Content for this abstract model is provided by four (...) historical movements in the U.S. having to do with the reorganization of work or work relations: scientific management, the human-relations movement, the human-potential movement, and early management thought. (shrink)

The objective of the present study is to examine the ethical grounding and process-relational nature of meaningful work through the relationship of dignity and meaningfulness. Adopting a practice lens, we show how a shift from methodological individualism to a process-relational worldview allows meaningful work to be understood through organizational activities rather than individual characteristics. Building on practice-based theorization, we present a process-relational model of meaningful work that 1) examines meaningfulness as a flow of experience in the (...) stream of work activity events; 2) highlights how experiencing meaningfulness is embedded in social practices, distinguishing it as a social phenomenon that is defined by this embeddedness; 3) delineates situationality, historicity, and contextuality of meaningfulness; and 4) shows how meaningful work is grounded in the prioritization of dignity in the logic of practice. Accordingly, our model enables a more holistic understanding of how dignity functions as the ethical basis for the experience of meaningfulness in the context of work and organization. (shrink)

Today’s bodies are akin to ‘walking sensor platforms’. Bodies either host, or are the subjects of, an array of sensing devices that act to convert bodily movements, actions and dynamics into circulative data. This article proposes the notions of ‘disembodied exhaust’ and ‘embodied exhaustion’ to conceptualise processes of bodily sensorisation and datafication. As the material body interfaces with networked sensor technologies and sensing infrastructures, it emits disembodied exhaust: gaseous flows of personal information that establish a representational data-proxy. It is this (...) networked actant that progressively structures how embodied subjects experience their daily lives. The significance of this symbiont medium in determining the outcome of interplays between networked individuals and audiences necessitates that it is carefully contrived. The article explores the nature and function of the data-proxy, and its impact on social relations. Drawing on examples that depict individuals engaging with their data-proxies, the article suggests that managing a virtual presence is analogous to a work relation, demanding diligence and investment. But it also shows how the data-proxy operates as a mode of affect that challenges conventional distinctions made between organic and inorganic bodies, agency and actancy, mortality and immortality, presence and absence. (shrink)

Exploring long-term educational change, we investigate our re/construction of research methodology as we moved from a positivist framework to working with ideas drawn from Deleuze and Guattari. We reveal our becoming rhizomatic in data analysis in the metamodelling of the richness flowing horizontally through our practices. We tell of our struggles to escape hierarchical thinking and relations researching between the smooth and striated. A space of interactions, conversations and writings created relations between polyphonic voices, leading us to an emergent methodology. (...) Our struggle against hierarchies in data analysis yielded rich educational possibilities for becoming that Deleuzo-Guattarian thinking offers us. (shrink)

We propose Rhythmic Relating for autism: a system of supports for friends, therapists, parents, and educators; a system which aims to augment bidirectional communication and complement existing therapeutic approaches. We begin by summarizing the developmental significance of social timing and the social-motor-synchrony challenges observed in early autism. Meta-analyses conclude the early primacy of such challenges, yet cite the lack of focused therapies. We identify core relational parameters in support of social-motor-synchrony and systematize these using the communicative musicality constructs: pulse; quality; (...) and narrative. Rhythmic Relating aims to augment the clarity, contiguity, and pulse-beat of spontaneous behavior by recruiting rhythmic supports and relatable vitality; facilitating the predictive flow and just-ahead-in-time planning needed for good-enough social timing. From here, we describe possibilities for playful therapeutic interaction, small-step co-regulation, and layered sensorimotor integration. Lastly, we include several clinical case examples demonstrating the use of Rhythmic Relating within four different therapeutic approaches. These clinical case examples are introduced here and several more are included in the Supplementary Material. A suite of pilot intervention studies is proposed to assess the efficacy of combining Rhythmic Relating with different therapeutic approaches in playful work with individuals with autism. Further experimental hypotheses are outlined, designed to clarify the significance of certain key features of the Rhythmic Relating approach. (shrink)

Complex Systems Biology approaches are here considered from the viewpoint of Robert Rosen’s (M,R)-systems, Relational Biology and Quantum theory, as well as from the standpoint of computer modeling. Realizability and Entailment of (M,R)-systems are two key aspects that relate the abstract, mathematical world of organizational structure introduced by Rosen to the various physicochemical structures of complex biological systems. Their importance for understanding biological function and life itself, as well as for designing new strategies for treating diseases such as cancers, is (...) pointed out. The roles played by multiple metastable states in the “continuous uphill flow of Life” supported through internal bioenergetic processes that are coupled to essential inflows are also discussed in relation to dynamic realizations of (M,R)-systems. Furthermore, the roles played by the underlying, many-valued, quantum logics and symbolic computations for ultra-complex biological systems are also briefly discussed. (shrink)

Visual phenomenology is highly elusive. One attempt to operationalize or to measure it is to use ‘cognitive accessibility’ to track its degrees. However, if Ned Block is right about the overflow phenomenon, then this way of operationalizing visual phenomenology is bound to fail. This thesis does not directly challenge Block’s view; rather it motivates a notion of cognitive accessibility different from Block’s one, and argues that given this notion, degrees of visual phenomenology can be tracked by degrees of cognitive accessibility. (...) Block points out that in the psychology literature, ‘cognitive accessibility’ is often regarded as either all or nothing. However, the notion motivated in the thesis captures the important fact that accessibility comes in degrees (consider the visual field from fovea the periphery). Different legitimate notions of accessibility might be adopted for different purposes. The notion of accessibility motivated here is weaker than Block’s ‘identification’ (2007) but is stronger than Tye’s ‘demonstration’ (2007). The moral drawn from the discussion of Block can be applied to the debate between Dretske and Tye on the speckled-hen style examples. Dretske’s view is even stronger than Block’s, but his arguments from various figures he provides do not support his conclusion since he does not have right ideas about fixation and attention. Tye’s picture is more plausible but his notion of accessibility is so weak that he reaches the excessive conclusion that accessibility overflows phenomenology. Three ramifications might be considered in the final part of the thesis. The first is the relation between this debate and the one concerning higher-order/same-order theories of consciousness. The second is about John McDowell’s early proposal about demonstrative concepts in visual experiences. The third is the relation between the interpretation of the Sperling case proposed here and McDowell new view of experiential contents, i.e., his story about how we carve out conceptual contents out of intuitional contents without falling pray to the Myth of the Given. (shrink)

There is a traditional view concerning the relation between mind and matter, knower and known. It posits a bifurcation between the two, maintaining, as Ryle puts it, that mind and matter are two distinct orders of existence. This traditional view comes, in large part, from Descartes. James rejects the traditional view, arguing instead for a close relationship between thought and object. His argument contains two components. The first stresses the close functional relationship between thought and object in our everyday experience. (...) James argues here that true thoughts do or can lead us to their objects, culminating in prosperous interaction with them. The second part of James's argument holds that in pure experience--the original flow of data within which all distinctions are to be made--there is no distinction yet made between mind and matter, knower and known. These distinctions arise only later as conceptual tools for bringing organization to the original presentations. Any given element of pure experience is categorized twice, once as an element of the physical world, and a second time as an element of the perceiver's own mental history. The conclusion, then, is that James: shows that thought and object work together in a close functional relationship in ordinary experience; and argues that they arise from one homogeneous pure experience. ;A number of criticisms were directed against James's view, including: Lovejoy's, arguing that the incompatibilities of thought and object preclude the possibility of their arising from one homogeneous source; Russell's and Perry's, arguing that James's theory is unable to extricate itself from idealism; Miller's and Bode's, arguing that James's view contradicts one of his own important tenets in The Principles of Psychology; and an argument that James is unable to account for the agency by means of which pure experience gets organized. ;James can reply plausibly to all of these criticisms including the difficult issue of the self. On this question a consistent understanding of James's basic assumptions is required. ;Finally, James's viewpoint offers an interesting critical perspective on certain contemporary theories of mind-brain identity. (shrink)

The Uddevalla Volvo plant represents a different paradigm for automotive assembly. In parallel-flow work, self-managed work groups assemble entire automobiles with comparable productivity as conventional series-flow assembly lines. From the perspective of the demand-control model, operators at the Uddevalla plant have low physical and timing demands, high psychological demands because of increased duties and high-decision latitude due to varied and complex skills utilized, the two latter characterizing active work. Operators at standard assembly lines have higher (...) levels of physical and timing demands, lower levels of psychological demand, and lower control, characterizing high-strain work. Active work is related to lower incidence of heart disease than high-strain work. (shrink)

This article introduces practical and theoretical investigations in fields of art and technology related to biotelematics, hybridization and transcultural experimentation based on research carried out over the last four years at the Nucleus of Art and New Organisms (NANO). We will approach this subject by considering three main points of view: field theory (Ascott 1980; Nóbrega 2009); the concept of coherence (Ho 1993; Ho & Popp 1989; Simondon 1980); and the state of connectedness (Ascott 2006). These will act as (...) integrative models for the understanding of an emerging hybrid organic structure presented as an aesthetic organism (Nóbrega 2009). The concept of field theory is applied as a working model for the systemic role of information within the immaterial, invisible, dynamical flow that intercommunicates natural (i.e. humans and other living systems) and artificial (i.e. machine) organisms in the process of invention, as well as in the fruition of artwork. In terms of the concept of coherence, we propose the idea of artworks as transducers of energy; more specifically, as resonators of coherent fields that interconnect the artist and audience in an integrated, dynamical whole. Furthermore, we approach the state of connectedness as a fundamental notion for the dynamics involved in the invention, exhibition and absorption of contemporary artworks. NANO Lab’s involvement with artistic research is not only understood as a physical space for experimentation, but also as an environment in which our practice reflects concepts applied in artistic work. In this sense, we can highlight two theoretical references (other than Roy Ascott’s work) which guide this methodology: Humberto Maturana (2001; Varela & Maturana 1992) and the idea of a conserved ‘autopoiesis’, a systematic medium (space) in which all recursive dynamics of reciprocal interactions occur to sustain the survival of life, processes and systems, and where technology can be conceived as a powerful instrument/medium to expand our knowledge about structural and sensitive coherences within living and non-living systems; and, Jorge de Albuquerque Vieira’s (2006; 2009) approach to art as a type of knowledge related to any process that guarantees the permanence or survival of a system based on three major characteristics for the survival of an open system – sensitivity (to operate information flows), memory (to transfer and retain information), and capability (to elaborate or prepare information according to its needs). (shrink)

The Wiener index WI is one of the connectivity parameters used to know the biochemical and physicochemical properties of compounds depending upon their molecular structures. Intuitionistic fuzzy graphs IFG s are a convenient tool to represent the objects and relations between them with two types of information using truth membership degree and falsity membership degree. This research work presents the concept of WI under the structure IFG s, I F trees, and I F cycles. Some bounds on WI are (...) investigated. The relationship between WI and connectivity index CI is also studied. In the end of this study, an application of the WI in transport network flow is proposed. (shrink)

The primary purpose of the current research was to examine the psychometric properties of the Time Flow Mindfulness Questionnaire, a new self-report scale designed to measure cognitive, emotional, bodily, context-related, and action-related distracting inputs experienced by the mind during three different time windows of mindfulness practice. The 42-item scale assesses the following second-order and first-order factors: Practice, Benefits and Benefits at work. Three studies were conducted. The first study assessed the factor structure and internal consistency on (...) a sample of 141 mindfulness practitioners. Using a two-wave lagged design on a different sample of 46 trainees attending mindfulness based stress reduction courses, the second study examined concurrent validity by performing correlations between the TFMQ and Five Facets Mindfulness Questionnaire. The third study examined criterion validity by testing a structural equation model wherein mindfulness practice predicts job burnout, both directly and indirectly through mindfulness benefits at work. All studies relied on anonymous surveys. Our findings suggest that the TFMQ: has a factor structure consistent with the hypothesized conceptual dimensions; has good concurrent validity as demonstrated by significant correlations with the FFMQ dimensions; and consists of mindfulness dimensions that predict job burnout in organizations. The TFMQ is a valid and reliable mindfulness measure that may help practitioners gain awareness of different types of inputs that potentially distract the mind and mindfulness beneficial consequences, and organizations implement mindfulness in work-settings. (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)

Invisible work is neither defined nor recognized as labor and is not compensated as such. Studies show that manifestations of invisible work at home flow into the marketplace. What is lacking is systematic conceptualization and measurement of invisible work in the labor market built upon women’s and men’s knowledge and experiences. In this study, I address this lacuna using mixed-method sequential analysis. Twelve group interviews of employed women and men of varied socioeconomic locations in Israel yielded (...) diverse expressions of invisible practices in the workplace and their gendered meanings. Based on that knowledge, a typology of invisible work types was deduced, and an instrument was developed and distributed through a survey to a representative sample of the Israeli labor force. Regression analyses revealed that women and other disadvantaged groups do more invisible work at work than men and more advantaged groups do, regardless of occupation and managerial position. Beyond that, there are varied relations between labor market position and performing invisible work, across different types of practices. The study develops a typology of invisible work as a heuristic device contributing to office housework theory. I argue that invisible work should be conceived as an integral part of the labor market that needs to be considered when studying gender inequality. (shrink)

While there had still been an increasing flow of foreign direct investment (FDI) into China during the 2002 downturn in FDI globally, such investments have historically been only sporadically successful. Much writing has detailed and discussed problems associated with China FDI but several costs remain dangerously overlooked. One such cost is that of micro-monitoring plants for work conditions and employee treatment in violation of local Chinese laws and possible home country ethics. Further, a more personal cost is presented (...) – the personal cost associated with maintaining an investment in a facility that violates standards of ethical employee treatment. Background information related to these issues is presented, along with a general overview of FDI in China. (shrink)

The target article by Bernard Baars presents a quick way of grasping the gist of his book In the Theater of Consciousness: The Workspace of the Mind, published recently . The metaphor of consciousness as a theatre has a long history. A prototype of the theatre model may be traced back to Plato's Allegory of the Cave, in which we are like prisoners living in a cave just observing the shadows of reality. The modern theatre model insists on consciousness being (...) under the control of attention by introducing a searchlight metaphor . The target article explores some evidence from the viewpoint of Global Workspace theory by using a method of ‘contrastive analysis’. According to this theory, GW works as the publicity organ of the brain and has a facility for accessing, disseminating, and exchanging information, and for exercizing global coordination and control . Baars describes his GW as a theatre. ‘As the house lights begin to dim and the audience falls silent, a single spotlight pierces the descending darkness, until only one bright spot, shining on stage, remains visible. You know that the audience, actors, stagehands, and spotlight operators are there, working together under invisible direction and guided by an unknown script, to present the flow of visible events on stage. As the house lights dim, only the focal contents of consciousness remain. Everything else is in darkness’ . According to GW theory, a theatre stage with a bright spot is just a working memory. So I would like to comment on some general characteristics of the working memory and related spotlight problem. (shrink)

ExcerptAdorno's afterlife has been a curious one. His ghost glides through some of the most evocative work across disparate critical theoretical traditions, but often without clear course. It seems not unreasonable to speculate that these uncertain inheritances flow from the general opacity of his works, not least of them Negative Dialectics.1 It is in this late, and arguably his most abstruse, work that he sets out to channel and refigure Hegel—abstruse in his own right, no doubt—as the (...) single most important object of his theoretical adoration and rebellion. It is not correct to say, as many of his latter-day interpreters…. (shrink)

This article focuses on the micro-level phenomena related to emergent ways of organizing. It explores how new ways of organizing might be enabled or inhibited through the networking activities and knowledge flows that organizational members engage in within a multinational business organization after the set-up of an innovative Internet business unit. The article considers innovation and networking as social practices mediated in this particular case study through knowledge-sharing activities. This perspective on innovation, networking, and knowledge leads to a conceptualization (...) of organizations that stresses their inherent complexity and their interactive and co-evolving nature with their environments. (shrink)

Purpose This paper aims to explore the technologization of peace work through “remote support monitors” that use social and digital media technologies like social media to alert local violence prevention actors to potentially violent situations during demonstrations. Design/methodology/approach Using a distributed cognition lens, the authors explore the information processing of monitors within peace organizations. The authors adopt a qualitative thematic analysis methodology composed of interviews with monitors and documents from their shared communication and discussion channels. The authors’ analysis seeks (...) to highlight how information is transformed between social and technical actors through the process of monitoring. Findings The authors’ analysis identifies that the technologization of monitoring for violence prevention to assist nonviolent activists produces two principal and related forms of transformation: appropriation and hidden attributes. Monitors “appropriate” information from sources to fit new ends and modes of representation throughout the process of detection, verification and dissemination. The verification and dissemination processes likewise render latent supporting informational elements, hiding the aggregative nature of information flow in monitoring. The authors connect the ideas of appropriation and hidden attributes to broader discourses in surveillance and trust that challenge monitoring and its place in peace work going forward. Originality/value To the best of the authors’ knowledge, this study is the first to focus on the communicative and information processes of remote support monitors. The authors demonstrate that adoption of social and digital media information of incipient violence and response processes for its mitigation suggests both a social and technical precarity for the role of monitoring. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Attitudes of Play by Gabor CsepregiPaul GaffneyCSEPREGI, Gabor. Attitudes of Play. Montreal: McGill-Queen’s University Press, 2022. 182 pp. Cloth, $120.00; paper, $32.95This delightful and illuminating book presents a thorough account of playfulness, its various manifestations and associations, and its indispensable role in the good life. Reading through the well-documented chapters, one recognizes how many thoughtful people have commented on the meaning of play, and yet, at the same (...) time, one recognizes the necessity for a full-scale, integrated discussion. The inspiration for the study is partly practical, as stated in the prologue: “I noticed that people who approach their daily tasks or [End Page 713] recreational pursuits with an attitude of play seem to lead a happier and fuller life.” But play as attitude also deserves theoretical study because it integrates, enhances, and to some extent opposes the instrumental character of human endeavor and thus reveals something fundamental about the human condition.A moral context is established early. We are told in chapter 1, “The Concept of Attitude,” that, unlike feelings and ideas, we are responsible for the attitudes that we adopt and, therefore, for the actions and emotions that they characteristically structure. An attitude is an authentic, embodied, and concrete engagement with the world, subject to “continual modifications” and so, presumably, not entirely under our control, but still largely a determination of human agency. In chapter 2, “Play as Attitude,” the author makes an important distinction between play as activity and play as attitude, the latter of which has been comparatively neglected. Play as attitude (playfulness) represents a mode of noninstrumentality— a “momentary holiday from work-related occupations”—that can transform almost any experience, at least temporarily. Playfulness thus represents an immediate engagement, a childlike attentiveness, which is precisely what provides its special value. Chapter 3, “Pathic Attitude,” develops this theme. Playfulness is reciprocal; in fact, we might say it is doubly playful: “In all play there is something with which we play and, in turn, plays with us.” An openness to the world, and a delight in its responsiveness, grounds the playful attitude. The experience is discoverable by young children and some animals as well.The following chapters elaborate on this basic outline. Chapter 4, “Ease,” explains how advanced players often lose themselves and “sink into a role,” a peak experience that is typically the product of training and habit. This enviable state would seem to be somewhat elusive, particularly for performers, which suggests that it is something of a moral achievement. The experience recalls what has been called in the philosophy of sport literature “flow performance,” which is, paradoxically, both more intense and yet effortless. Chapter 5, “Risk,” explores the adventurous nature of play, which inevitably involves uncertainty, luck, and risk. An attitude of play embraces, or at least accepts, the vagaries of good and bad luck; it comes with the risk of failure, embarrassment, and even physical injury. This chapter presents an important discussion about the tension between the spirit of playfulness and the ethos of modern sport, which tends increasingly to emphasize proficiency, rationalization, and commercialization. The modern obsession with preparation, perfection, and control leaves little room for a genuinely playful spirit, which ideally should animate sport. Indeed, the occasional experience of feeling lost, which the author, following Caillois, describes as “vertigo,” is an essential component of a full life. In chapter 6, “Humor,” we are told that although some playful activities are serious and demand concentration, they are often accompanied by a good-natured, lighthearted attitude. Humor seems to be inherently playful, a liberal and often irreverent exercise of the [End Page 714] imagination, which allows it to provide solace, inspiration, and transcendence: “Humor, then, is the capacity to see and apprehend things in their complexity, ambivalence, and paradoxical nature.” Chapter 7, “Gratuité,” underscores a major theme of the book—the importance of the useless or gratuitous in a fully meaningful life (gratuité and utilité are French for “useless” and “useful”). The author insightfully suggests that such moments might present themselves in seemingly disparate activities, such as play and liturgy: “Measured by the strict sense of the word, they are purposeless but still full... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DIKTAT OR DIALOGUE? ON GADAMER'S CONCEPT OF THE ART WORK'S CLAIM by John Pizer How do we experience a work of art? Put another way, how does die work of art engage and address us? Hans-Georg Gadamer devoted much of his magnum opus, Truth and Method, to answering these questions, and he takes up the task again in a brief essay entided "Aesthetics and Hermeneutics" (1964). (...) Earlier positions on the nature of hermeneutical reflection, the historical context of aesthetic interpretation and the linguistic character underlying the apprehension of all modes of art are reformulated here. At first glance, the essay appears to be more the summary of a previous epistemology than a venture into new terrain. There is, in fact, almost nothing in this work which seems to contradict Gadamer's previous view. Nevertheless, the closing lines of the essay give his concept of art a dimension not directly perceptible in Truth and Method. This is the notion that the work of art challenges us, on a personal level, to change the course of our existence: "The intimacy with which the work of art touches us is at the same time, in enigmatic fashion, a shattering and a demolition of the familiar. It is not only the 'This art thou!' disclosed in ajoyous and frightening shock; it also says to us: 'Thou must alter thy life'!" {PH, p. 104).1 Whereas Truth and Method focuses on the heightened reflexivity gained in a dialogue with an aesthetic object, Gadamer's citation of Rilke's admonition would appear to turn the dialogue into a command, or at least an unmediated personal challenge, issued by the work of art. 272 John Pizer273 This is not to say that Truth andMethod is free ofpowerful, even violent language in its description of aesthetic experience. In discussing the concept of "Erlebnis" as it came to be the dominant term in phenomenological investigations ofconsciousness, Gadamer represents aesthetic experience as paradigmatic of all experience. Like the hermeneutic circle, consciousness is grounded in the interplay of discrete, individual experience and the experience oflife as a whole. Life as a whole consists of unique, episodic experiences, and yet these experiences only acquire meaning in the context of life in its totality. As Joel Weinsheimer puts it: "An experience is something the meaning ofwhich accompanies one through life, determining that life and being determined by it."2 An exceptional experience is an adventure, which gives a disruptivejolt to the even flow of life. But it allows one to experience life in its richness, fullness, and totality even as it tears one from life's quotidian context. In this, the aesthetic experience has the character ofan adventure: "The work of art seems destined to become an aesthetic experience. This means the person experiencing it is wrenched at one blow from the context of his life while at the same time he is related back to the whole of his existence" {WM, p. 66).3 But while Gadamer's terminology here in describing the experience of art is as violent as that of "Aesthetics and Hermeneutics," he does not suggest in Truth and Method that the work of art issues a command or injunction. Rather, by reflecting on the essence of experience as the dialectic of "exile and reunion," 4 our dialogue with the art work enriches our ability to understand and find truth in life as a whole. Of course, even in Truth and Method Gadamer distinguishes clearly between the silent dialogue between art work and spectator, particularly between reader and text, and the colloquy of individuals engaged in conversation. Nevertheless, he makes it clear that in both cases an openended dialectic ofquestion and answer motivates the engagement. Does the notion that a work of art "shatters" the familiar and admonishes us to change our lives contradict the earlier, seemingly more democratic parameters established by Gadamer as defining the search for ontological truth, and, more narrowly, the attempt at legitimate interpretation? The purpose of this paper will be to demonstrate that it does not. First ofall, we must note Gadamer's concept ofexperience {Erfahrung) in relationship to the text implies an openness to it rather than a detached, objective... (shrink)

What things make a state “nuclear,” what makes things “nuclear,” and how do we know? The degree to which—and purpose for which—a nation, a program, a technology, or a material counts as “nuclear” is not always a matter of consensus. Nuclearity depends on history and geography, science and technology, bodies and politics, radiation and race, states and capitalism. It is not so much an essential property of things, as it is distributed in things. Settlements about degrees of nuclearity structure global (...) control over the flow of radioactive materials; they constitute the conceptual bedrock of antinuclear movements and nuclear power industries; they affect regulatory frameworks for occupational health and compensation for work‐related illnesses. This essay explores these themes by contemplating the Nuclear Non‐Proliferation Treaty, the implementation of safeguards, and a few other nuclear things. (shrink)

This work is aimed to identify the cultural changes that have occurred as a result of informatization. The article investigates the strategies of contemporary screen culture aimed to satisfy human needs in information. The analysis of technical improvement of information possibilities of screen media is based on J. D. Bolter's and R. Grusin's theory of remediation. The article identifies informational potentials of visual novel, which is the result of remediation of TV, movie and literary novel. In addition, the article (...) investigates the process of informatization by means of screen space formation or, in other words, by screen aesthetics. The article identifies and analyzes the hybridization strategy and the strategy of visual eclecticism. Hybridization strategy is a method to combine information of different nature, whereupon more truthful visual stories are created. It is mainly used in movies and video games. The strategy of visual eclecticism that allows viewers to perceive multiple information flows, mainly related to the screen space of modern television. The article, basing on G. Deleuze's concept of cinematic images, analyzes the informational characteristics of medium shot and the reasons of its frequent usage in modern movies. The comparison of essential characteristics of close-up shot and medium shot is made. It is determined that the change of emphasis on medium shot and full shot in contemporary cinema is related to the change of priorities in aesthetic human needs, because today the sense of presence of information becomes more important than emotions. The article notes the important problem of attitude changing towards information - the loss of its essential content characteristic. Screen aesthetics that now is served under the guise of information gradually replaces the value of the latter. The transition of information to the field of aesthetics says that its main essence is lost, because quantitative characteristics and the fact of presence are becoming more important than its quality. (shrink)

This work points out problems that would arise from applying the “Global Harm Principle” (GHP), a non-ideal theory regarding global migrations. The Global Harm Principle derives from the “Harm Principle”, articulated by John Stuart Mill during the 19th century, expanded to include geopolitical relations and migratory flows. The article aims to refute GHP. Several objections are listed to demonstrate the unfeasibility of its implementation, through historical and socio-political reasoning, as well as thought experiments. We conclude by speculating that the (...) deficiencies in GHP are due to its formulator, Shelley Wilcox, inadvertently falling into a fallacy of composition when expanding Mill’s reasoning to cover geopolitics and, afterwards, committing a fallacy of division when addressing harm compensation. (shrink)

Background: Nurse managers are responsible for solving work-related ethical problems to promote a positive ethical culture in healthcare organizations. Objectives: The aim of this study was to describe the activities that nurse managers use to solve work-related ethical problems. The ultimate aim was to enhance the ethical awareness of all nurse managers. Research Design: The data for this descriptive cross-sectional survey were analyzed through inductive content analysis and quantification. Participants and research context: The data were collected (...) in 2011 using a questionnaire that included an open-ended question and background factors. Participants were nurse managers working in Finnish healthcare organizations (n = 122). Ethical considerations: Permission for the study was given by the Finnish Association of Academic Managers and Experts of Health Sciences. Findings: Nurse managers identified a variety of activities they use to solve work-related ethical problems: discussion (30%), cooperation (25%), work organization (17%), intervention (10%), personal values (9%), operational models (4%), statistics and feedback (4%), and personal examples (1%). However, these activities did not follow any common or systematic model. Discussion and conclusion: In the future, nurse managers need a more systematic approach to solve ethical problems. It is important to establish new kinds of ethics structures in organizations, such as a common, systematic ethical decision-making model and an ethics club for nurse manager problems, to support nurse managers in solving work-related ethical problems. (shrink)

Work-related satisfaction has critical benefits. To predict work-related satisfaction, we investigated how a counterpart’s expressions of emotional complexity (both positive and negative emotions), positive emotions, and negative emotions influenced a perceiver’s work-related satisfaction during discussions over different work-relevant ideas. We conducted a three-wave coworker survey (N = 529) and an experiment with a confederate as a task partner (N = 378). The results consistently showed significant positive impacts of a counterpart’s emotional complexity and (...) positive emotion expressions on a perceiver’s work-related satisfaction by enhancing the perceiver’s positive emotions and evaluation of the counterpart’s openness. Conversely, a counterpart’s negative emotion expression significantly decreased a perceiver’s work-related satisfaction by reducing perceived counterpart openness. We also did not find a perceiver’s negative emotion as a significant mediator of the associations between the three emotional expressions and work-related satisfaction. Therefore, our investigation highlights similar positive effects of emotional complexity and positive emotion expressions and suggests that an expression of both positive and negative emotions promotes satisfaction by enhancing positive emotions and openness perception. (shrink)

Work‐related stress is too often neglected by employers and rarely seen as an ethical issue by them. Its moral implications are explored here by the Senior Corporate Policy Manager at City and Inner London North Training and Enterprise Council, 80 Great Eastern Street, London EC2A 3DP. Sue Bryan, M.A., A.M.I.P.D., is also completing an Executive MBA degree at London Business School.

The study draws attention to the transfer of management theories and practices from traditional capitalist countries such as the USA and UK to post-socialist countries that are currently experiencing radical change as they seek to introduce market reforms. It is highlighted that the efficacy of this transfer of management theories and practices is, in part, dependent upon the extent to which work-related attitudes and values vary between traditional capitalist and former socialist contexts. We highlight that practices such as (...) Human Resource Management (HRM) and Organization Development (OD) are inextricably associated with conceptions surrounding culture and society, as well as to variables such as job satisfaction and organisational commitment. The main aim of this study is to compare various attitudes and values of employees in traditional capitalist countries and post-socialist countries. On the basis of the findings of an attitudinal survey of (N = 5914) workers in 15 countries we conclude that certain aspects of the attitudes and values of workers in post-socialist countries and traditional capitalist countries differ significantly. Specifically, these differences were found in respect of context-related and job-related attitudes, and also in relation to the importance that the respondents attached to the subject of ethics more generally. The implications of the study are discussed particularly in relation to the transfer of management theory and practices between traditional capitalist and post-socialist contexts. (shrink)

Recent societal changes, including a global pandemic, have exacerbated experiences of and attention to burnout related to work and parenting. In the present study, we investigated how several social forces can act as demands and resources to impact work-related and parental burnout. We tested two primary hypotheses in a sample of women who responded to an online survey. We found that social comparisons, social media use, negative emotions when comparing oneself to others on social media, and (...) a high do it all discrepancy were correlated with higher reports of work-related and parental burnout. Alternatively, positive emotions when comparing oneself to others and social support were related to lower reports of work-related and parental burnout. The influence of social media use on burnout was mediated by the emotions experienced when comparing oneself to others on social media. Tests of moderation indicated that social comparisons had stronger relationships with burnout for those with higher expectations that they should be able to do it all verses can do it all. Tests of social support as a moderator of the relationships between social demands and burnout were largely non-significant. Based on these findings, we make practical suggestions for interventions to increase positive emotions experienced from social media use, and to mediate the do it all discrepancy by redefining expectations around “doing it all.”. (shrink)

The paper analyses the problem of workload quotas for district court judges in relation to the standard statutory work time duration. The problem is set against the general tendency of increase in the number of cases brought before courts each year. District courts as the courts of first instance are faced with an ever growing flow of cases. With regard to civil cases, the numbers are increasing especially in the field of the law of obligations (disputes in relation (...) to sale, loan, credit, consumer credit, lease contracts, as well as contracts for the provision of services, etc.). As far as criminal cases are concerned, the numbers are increasing especially in the fields of robbery, theft, in particular car theft, disturbance of public order and other crimes. In these circumstances, it is extremely important to conduct the analysis of the activity of courts in order to obtain a picture of the current situation with regard to the workload of courts and judges. District courts deserve special attention. Uneven distribution of workload among courts and judges is often the reason for the increase of the number of cases where a final decision (judgement) is reached later than 6 months after the start of proceedings. This was pointed out in the Overview of Activities of the Lithuanian Courts and their Self-Governance Institutions (2009–2010), as well as in the report of the National Courts Administration (2010). Those documents underline the importance to analyse the workload of district court judges for the purposes of optimising work organisation, setting the number of judges, distribution of resources, evaluation of judges’ activity, etc. The said analysis is crucial in order to avoid exceeding working time quotas and excessive workload of judges. At present, the workload of district court judges is calculated in accordance with the regulation adopted by the Courts Council in 2004 (as amended in 2005) and it reflects the number of standard cases (civil, criminal cases and cases of administrative offences) as well as other types of procedural documents dealt with by a judge within a period of one month. However, there are no quotas set for judge’s workload with regard to the duration of the statutory work time. The quotas for separate procedural stages (preparation for hearings, hearings, adoption of decision (judgement), other procedural actions that a judge performs while administering justice) are inexistent. The calculation does not take into account whether those standard cases are heard by a single judge or by a panel of judges, the complexity of a particular case is neither reflected. Establishing quotas for district court judges and other court clerks (judge assistants, secretaries, etc.) should consist of legal, organisational-procedural and technical-economical activity. The Ministry of Justice of the Republic of Lithuania, the National Courts Administration, the Courts Council as well as chairmen and experienced judges of district courts should play an active part in the process of establishing quotas. A special role should be assumed by the General Assembly of Judges. (shrink)

Phenomenology's relation to sensation has many facets. Sensation arises in different contexts in Edmund Husserl's work, and receives several reformulations. This causes us to inquire how the sensations that are unified within the temporal flow by time constituting consciousness, in On the Phenomenology of the Consciousness of Internal Time, and that continue to exercise an affective pull even after having passed away, in Analyses Concerning Passive Synthesis, can be related to the bodily sensations which constitute the lived (...) body in Ideas II. What is revealed in a critical study of these texts is the unthematized role that sensation plays in Husserl's writings. Yet sensation is not for that reason less significant, nor could his phenomenological descriptions of experience convincingly forgo this concept. ;What is the concept of sensation which can subtend these different formulations and provide a connecting thread within Husserl's phenomenology? My dissertation is a reply to this question. I argue that the sketches of sensation found in Husserl's works can provide the grounds for a rhythmic and dynamic theory of the lived body---a theory which not only inserts the body into the temporal flow of lived experience, and defines its spatiality as fluid, malleable and affectively charged, but which also opens the body to an intersubjective dimension. In this way, sensation becomes a differentiated and heterogeneous reality. Sensation has the structure of an evolution, the continuity of a rhythm, so that the body that is constituted of sensings secretes time at its joints. This theory frees sensation from Husserl's early hylomorphic schema in Ideas I, and reconnects it to the flow of life, and to bodily experiences of world and others. In the process I also examine alternative views which deal with the role of sensation in the contexts of the body, temporality and otherness. The works of M. Merleau-Ponty, but also of E. Levinas, L. Irigaray, H. Bergson and G. Deleuze are important in this regard. Reading these thinkers in connection to Husserl sheds an unexpected light on their philosophies, while allowing us to challenge Husserl and to propel phenomenology in new directions. (shrink)