In this paper I argue for the superiority of a critical realist understanding of interdisciplinarity over a mainstream understanding of it. I begin by exploring the reasons for the failure of mainstream researchers to achieve interdisciplinarity. My main argument is that mainstream interdisciplinary researchers tend to hypostatize facts, fetishize constant conjunctions of events and apply to open systems an epistemology designed for closed systems. I also explain how mainstream interdisciplinarity supports oppression and gross inequality. I argue that mainstream interdisciplinarity (...) is not true interdisciplinarity and refer to it accordingly as ‘condisciplinarity’. By way of example, I examine the condisciplinarity of the World Health Organization’s ecological model applied to the issue of men’s violence against women. Specifically, I argue that critical realist interdisciplinarity is preferable because it acknowledges inter alia the empirical, actual and real layers of reality, which allows it to develop depth-explanations of phenomena. In practice, this means that critical realist interdisciplinarity can potentially provide explanations that, compared to condisciplinarity, are broader (include more of the human and non-human context) and deeper (include for example individuals’ conscious and unconscious psychological motivations). In the World Health Organization’s example of the causes of men’s violence against women, condisciplinarity resulted in the absence of historical, global and unconscious aspects of the problem. It is also restricted the analysis to reductive, constant-conjunction based theories of the causes of the problem, specifically ‘risk factors’, thereby providing a relatively shallow explanation for the problem. (shrink)

This article argues that negative dialectics operates within a depth realist framework. Depth realism posits an independent, historically situated, emergent, structured, and differentiated world in which human beings are immersed and with which they interact to preserve or transform. This understanding of the world is explicitly theorized, not by Adorno, but by Roy Bhaskar's depth realism (critical realism). My intention is to firstly highlight the close similarities between Adornoian and Bhaskarian dialectics. Secondly, I (...) highlight some important divergences, especially the deficiencies in Adorno's theory of constellation that stem from his lack of realist theorization, specifically his reliance on concepts that cannot reach beyond a form of subjective idealism. Despite this criticism, I argue that if nonidentity concepts are grasped in the wider context of the basic anthropological materialism or “axial turn” that informs Adorno's thinking, and from which they derive, a case can be made in defense of Adornoian realism. The final two sections explore the implications a depth realist interpretation has for Adorno's understanding of the subject‐object mediation in his social theory, allowing us to move beyond Adorno's famous pessimistic views about the possibilities for political change. (shrink)

Indigenous critiques of postcolonialism are as diverse as First Nations or Original Peoples communities themselves. Yet, within that diversity, there is often claimed to be a set of core universal teachings. My article engages this field in a three-step process that begins with examining the incorporation of two Indigenous critiques into a Handbook of Qualitative Research edited by Norman Denzin and Yvonna Lincoln. Focusing on justice through their lens of an ethics and politics of interpretation, Denzin and Lincoln simultaneously reject (...) much of what they claim critical realism advocates. They then deny any significant emancipatory potential to critical realism. This article immanently critiques their denial. In doing so it argues a case, on the one hand, for the explanatory potential of dialectical critical realism and the philosophy of meta-Reality both generally and in the case of postcolonialism as decolonizing praxis. On the other hand, viewing Indigenous critiques within an interpretive paradigm risks ensnaring them within modernist dualist categories, postmodernist unconstrained deconstruction or poststructuralist formless flux. Such a reading thus restricts their capacity to contribute to depth-totalizing praxis. I introduce a critical realist reading of Indigenous critiques and conclude that the political programme of emancipation is strengthened through an interweaving of critical realism and Indigenous political philosophy. (shrink)

This paper presents the two opposing viewpoints for studying organizational culture and clarifies the lack they contain through understanding the philosophies encompassing them. We have verified that this discussion between the two perspectives is a discussion between positivists and interpretivists. We believe that critical realism philosophy provides a way out of the controversy by presenting its ontology that is characterized by structure, difference, and change and by standing against the reduction of ontology to, or its dissolution in, epistemology. (...) This ensures both an in-depth study of the organizational culture and the develop sound contributions to theoretical development without overselling the notion of generalizability. In doing so, this article outlines Schein’s three levels of analysis for studying organizational culture and framing it using critical realism philosophy. (shrink)

The article extends the critique of structuration theory from a critical realist perspective, in particular by demonstrating how its theoretical shortcomings are manifest in management accounting research. Examining of one of the most cited structuration-based accounting studies and other more recent structuration-based accounting studies, the article highlights what accounting researchers who have embraced a structuration lens may have ignored. It also demonstrates why accounting researchers could not get a better theoretical purchase out of structuration. We find that a (...) class='Hi'>critical realist account provides a far more in-depth account of budgeting changes and is likely to avoid the problems encountered in using a structuration theoretical lens. The article has important implications for accounting researchers as it demonstrates that analytical dualism instead of duality has much better potential to offer deeper understanding of accounting changes. (shrink)

This article explores how Axel Honneth's critical theory, when adapted to a materialist depth realism, can be utilised as a critique of Fredrick Hayek's ‘neoliberalism’, an antipolitics influenced by Karl Popper's neo‐positivism. In response to the neoliberal challenge, it is proposed that Axel Honneth's theories of recognition, when grounded in anthropological (‘critical’) materialism, provides a robust defence of an irreducible social agency. When interpreted through this lens, recognition is one aspect of the system of human needs (...) based on subject–subject interactions, the other being a subject–object interaction of humans with non‐human objects. By contrast, Honneth's more recent theory of social freedom relies on a Hegelian process of historical reconstruction and so remains vulnerable to the same epistemic errors that inform neoliberal attempts to universalise homo economicus, that is, of reducing reality to various ways in which it is conceptualised. In this regard, anthropological materialism must presuppose depth realism. The importance of this can be seen when the implications for Honneth's move towards a more orthodox Hegelianism in his more recent works are considered. (shrink)

Although the issue of innovation is widely recognized in many scientific disciplines, innovators themselves have received scant attention in research literature. The aim of this study is to explore the experience of innovators from the perspective of the social agency paradigm developed by Margaret Archer, which suggests that structural and cultural properties affect individual reflexivity through the accessibility of resources and the beliefs that agents endorse. Data was collected through individual in-depth interviews with Polish innovators, revealing that they function (...) in an entrepreneurial culture with ease in establishing networking relations. However, institutions in the national innovation system continue to reflect post-Soviet hierarchies, creating a division between those who have access to resources and those who do not. The study supports the hypothesis that post-Soviet culture is a factor in determining the low innovation level in Poland. (shrink)

This paper addresses concerns that critical realism is a philosophy in search of a method, and that little guidance exists for the application of the philosophy to social research. It advances the idea that the absence of a philosophically embedded method gives critical realists the freedom to choose methods best suited to answering research questions under investigation. The paper utilizes a study into business advisor knowledge transmission, explicating how a sequential world views approach can be used to (...) progressively expand knowledge about the topic. In this context, the research design further illustrates the symbiotic relationship of two different research methods: in-depth interviews & focus groups. The paper does not imply that any method is better than any other, rather adopts the position that methods must always suit the research aim and provide the best approach for answering the research question. (shrink)

Critical realist thought has theorised convincingly that epistemic relativism is constellationally embedded in ontological realism which in turn necessitates judgemental rationality. In social scie...

This article explores how Axel Honneth's critical theory, when adapted to a materialist depth realism, can be utilised as a critique of Fredrick Hayek's ‘neoliberalism’, an antipolitics influenced by Karl Popper's neo-positivism. In response to the neoliberal challenge, it is proposed that Axel Honneth's theories of recognition, when grounded in anthropological (‘critical’) materialism, provides a robust defence of an irreducible social agency. When interpreted through this lens, recognition is one aspect of the system of human needs (...) based on subject–subject interactions, the other being a subject–object interaction of humans with non-human objects. By contrast, Honneth's more recent theory of social freedom relies on a Hegelian process of historical reconstruction and so remains vulnerable to the same epistemic errors that inform neoliberal attempts to universalise homo economicus, that is, of reducing reality to various ways in which it is conceptualised. In this regard, anthropological materialism must presuppose depth realism. The importance of this can be seen when the implications for Honneth's move towards a more orthodox Hegelianism in his more recent works are considered. (shrink)

The thesis offers a theoretical account of how and why, in contemporary western societies characterized by formal-legal equality and women’s relative economic independence, women continue to be subordinated to men through sexuality and love. By means of an innovative application of Roy Bhaskar’s critical realism, dialectical critical realism and philosophy of metaReality, it investigates and elaborates Anna G. Jónasdóttir’s claim that men tend to exploit women of their ‘love power’. Also, the thesis advances a critique of (...) the state of affairs of contemporary feminist theory, demonstrating that the meta-theoretical framework of critical realism offers tools that can counter the poststructuralist hegemony in feminist theory. Part I engages in a comprehensive evaluation of Catharine MacKinnon’s, Judith Butler’s and Jónasdóttir’s theorizations of sexuality and gendered power. Insofar as the works of these theorists represent different philosophical paradigms, this critique opens up a discussion of more general meta-theoretical issues, which are elaborated in Part II, where poststructuralist feminist positions are challenged. Following Jónasdóttir’s broadening of the concept of sexuality so as to essentially include practices of love, in Part III the focus of the thesis is shifted from sexuality to love. Here a dialectical deepening and partial recasting of Jónasdóttir’s work is offered, by means of an application of dialectical critical realism and the philosophy of metaReality. The thesis outlines a feminist dialectical-realist depth ontology of love, sexuality and power, which constitutes an alternative to dominant discursive approaches to sexuality and attributes to love its proper place in our existence as sexual human creatures. Although the thesis makes a case for the tenacity of female subordination in and through sexuality and love, it ends on a more optimistic note, by offering a model of how women can break the shackles of love. (shrink)

Bhaskar has outlined the process of a depth-investigation and claims it is a transcendentally necessary condition for the realisation of the critical naturalist emancipatory project in the human sciences. However, little or no research has been identified as empirically fulfilling the criteria of a depth-investigation, making this claim difficult to evaluate. Given this empirical vacuum, criticisms of, and doubts about, the emancipatory potential of critical naturalism have arisen. In this paper I claim that the ‘theory of (...) action’ is a theory and practice that is consonant with the process and aspirations of a critical naturalist depth-investigation, and offer cameos of my empirical work with a manager of a multidisciplinary team in community health care in support of this. The theory of action both allows for conditional predictions in the social world, which can be used to discriminate between competing interpretations, and underwrites a discourse ethics that is consistent with critical realist assumptions. These features in combination serve to rebut the arguments that doubt or criticise the critical naturalist emancipatory project. (shrink)

According to moral realists, ethics concerns matters of fact. According to naturalist moral realists, moral facts just are natural facts. In this book, I provide an in-depth analysis of moral naturalism's ontological, epistemological, semantic and psychological foundations.

In this article I look at CR (critical realism)1 as chiefly exhibited in the seminal theory of Ron Bhaskar – in particular, his early theory of transcendental realism. I examine its mechanisms of thought and pick out some difficulties with the theorisation relative to its deployment by OS theorists and relative to recent attempts to deploy CR as a theory which can bridge the fork in the constructivist and realist areas known as a form of ‘divide’ in (...) the discipline (fault line). I also try and attempt a more in-depth philosophical analysis of the ideas of CR to gain an insight into its nature and what it can offer both as an apodictic system of philosophical insights with aspects of a belief system – but also relative to its realist-related claims towards veridical knowledge of kinds. I make comparisons with other theorists and philosophers including Kant, Derrida, Hume and Aristotle. I close with insights into how a closer scrutiny of CR thought as it is entering OS is necessary to understand the evolving nature of the inter-relationship of ontology and the ontic, in relation to the fault line described. (shrink)

Autism and Asperger syndrome are psychiatric conditions diagnosed primarily on the basis of deficits and problems in social behaviour; interaction and communication. At present the explanation of these behavioural features is dominated by three cognitive models. However, it is a characteristic of each of these models that they only explain a sub-set of the overall features.The aim of this paper is to suggest an alternative conceptual theory of autism and Asperger syndrome that unites the current three models. Thus, the aim (...) is to situate the existing models as special cases of the one being proposed here. This alternative conceptualisation draws heavily on distinctions and ideas present in the philosophy of science, most especially in the area of critical realism. Central to the theory is the idea that the core “problem” in autism and Asperger syndrome concerns ontological depth. More specifically, that people with these conditions find it difficult to cope with phenomena characterised by depth , open systems and high internal relationality. (shrink)

Following on from Roy Bhaskarâe(tm)s first two books, A Realist Theory of Science and The Possibility of Naturalism, Scientific Realism and Human Emancipation, establishes the conception of social science as explanatoryâe"and thence emancipatoryâe"critique. Scientific Realism and Human Emancipation starts from an assessment of the impasse of contemporary accounts of science as stemming from an incomplete critique of positivism. It then proceeds to a systematic exposition of scientific realism in the form of transcendental realism, highlighting a conception (...) of science as explanatory of a structured, differentiated and changing world. Turning to the social domain, the book argues for a view of the social order as conditioned by, and emergent from, nature. Advocating a critical naturalism, the author shows how the transformational model of social activity together with the conception of social science as explanatory critique which it entails, resolves the divisions and dualisms besetting orthodox social and normative theory: between society and the individual, structure and agency, meaning and behavior, mind and body, reason and cause, fact and value, and theory and practice. The book then goes on to discuss the emancipatory implications of social science and sketches the nature of the depth investigation characteristically entailed. In the highly innovative third part of the book Roy Bhaskar completes his critique of positivism by developing a theory of philosophical discourse and ideology, on the basis of the transcendental realism and critical naturalism already developed, showing how positivism functions as a restrictive ideology of and for science and other social practices. (shrink)

This article is the first in a series of four articles that engage critically with the arguments of two recent and significant additions to the literature on critical realism, namely Bhaskar’s ‘Enlightened Common Sense: The Philosophy of Critical Realism’, and Bhaskar et al.’s ‘Interdisciplinarity and Wellbeing: A Critical Realist General Theory of Interdisciplinarity’. Using the method of immanent critique and focusing mainly, but not exclusively, on the arguments of Enlightened Common Sense, I identify, and propose (...) solutions to, a range of problems pertaining to the concepts of depth, emergence and transfactuality. In identifying and resolving these problems, my aim is to clarify and develop the categories of original critical realism and thereby ensure that critical realism as a whole is as effective an underlabourer for science as it can be. (shrink)

ABSTRACTCritical realism's insight into depth ontology creates the possibility for re-imagining sociology as a science of the social world. However, critical realism has yet to gain a strong foothold in sociological analysis. Challenging the available criticism of critical realism, I argue that its main flaw is its inability to draw an appropriate epistemological strategy from its insights into depth ontology. I propose that this limitation can be overcome when we anchor the depth (...) ontology of critical realism to the two-step epistemological strategies of Bourdieu's field theory: first, objectifying common sense to develop a scientific model of social structure; and second, objectifying the scientific point of view to re-introduce common sense in the scientific model of social structure. I argue that by anchoring the ontological insights of critical realism to the epistemological strategies of field theory, we can create the long-sought core around which sociology can progress as a science of the social world. (shrink)

Nursing has evolved, yet media representation has arguably failed to keep up. This work explores why representation has been slow in accurately depicting nurses' responsibilities, impacts on public perceptions and professional identity. A critical realist review was employed as this method enables in-depth exploration into why something exists. A multidisciplinary approach was adopted, drawing from feminist, psychological and sociological theories to provide insightful understanding and recommendations. One main feminist lens has been implemented, using Laura Mulvey’s ‘Male-Gaze’ framework for (...) content analysis of three nurse-related advertisements to explore how the profession's female status influences representation, public perception and how this might impact nursing. Nurse representation has important real-world consequences. It is essential to improve unnecessary negative portrayals and contest ingrained stereotypes as there are costs to public opinion and nursing's self-identity. Nursing's female status has an impact within a male-dominated media industry, with a leisurely approach adopted toward changing representation. Media images become societally ingrained, this reiterates the significance of accurate/positive depictions. Social media is an instant method of communication with the public to combat stereotypes and maintain engagement to provide better understanding of what nurses do. (shrink)

This book exhibits deep philosophical quandaries and intricacies of the historical development of science lying behind a simple and fundamental item of common sense in modern science, namely the composition of water as H2O. Three main phases of development are critically re-examined, covering the historical period from the 1760s to the 1860s: the Chemical Revolution, early electrochemistry, and early atomic chemistry. In each case, the author concludes that the empirical evidence available at the time was not decisive in settling the (...) central debates and therefore the consensus that was reached was unjustified or at least premature. This leads to a significant re-examination of the realism question in the philosophy of science and a unique new advocacy for pluralism in science. Each chapter contains three layers, allowing readers to follow various parts of the book at their chosen level of depth and detail. The second major study in "complementary science", this book offers a rare combination of philosophy, history and science in a bid to improve scientific knowledge through history and philosophy of science. (shrink)

I argue that in realism the identity of things, increasingly independent from typological paradigms, becomes series-dependent; that is, it becomes a form emergent from a series of instances rather than a form intelligible through one instance alone. Realistic identity, in other words, becomes abstract, removed from direct apprehension to a hidden dimension of depth. In speaking of realistic identity, I use the term "identity" to mean the oneness or the invariant structure by which we recognize a thing, by (...) which we judge it under varying conditions to be the same. This conception of identity and all it implies about the regularity of nature and about the possibilities of knowledge belongs to an empirical epistemology which, though foreign to the Middle Ages and radically modifies today, was current throughout the otherwise diverse period from the Renaissance through the nineteenth century. It is a conception of identity so obvious to us that we have ceased to see it as the convention it is, but it was not obvious in the Renaissance, and it took a long time to become common sense. Elizabeth Ermarth teaches English at the University of Maryland, Baltimore County, and is the author of several articles on George Eliot. (shrink)

This book contains eight essays, of which six were previously published: "Statement," "Systematic Realism," "Philosophy and Meta-Philosophy of Science: Empiricism, Popperianism and Realism," "On Global Theories," "Methodology and Systematic Philosophy," "Surface Dazzle, Ghostly Depths: An Exposition and Critical Evaluation of van Fraassen's Vindication of Empiricism Against Realism," "Understanding and Control: An Essay on the Structural Dynamics of Human Cognition," "Evolutionary Naturalist Realism: Circa 1985." The first and eighth essays are new; the second, third, fourth, and (...) fifth were written in 1974-1975, while the first, sixth, seventh, and eighth were written from 1980 to 1985. In all, they represent the development of Hooker's views on the philosophy of science to the present on a much broader range of topics than the title suggests, although each occurs within the framework of an exposition and defense of a realistic theory of science. Since the essays contain promissory notes for further research on numerous topics, this is not intended as a final statement of his views but as a present culmination. (shrink)

This paper argues that in the search for explanatory power, critical realist research has neglected, trivialized, or dismissed prescriptive power, the capacity for an explanation to offer insights for informing practical ameliorative action. In addition to explanatory power and multitheoretic-linguality, the effective exercise of judgmental rationality also requires a consideration of prescriptive power, else it fails to realize its emancipatory commitment. Building on previous discussions of the criteria for judgmental rationality, the paper considers a prescriptive fallacy in critical (...) realist research that conflates explanatory and prescriptive power, and that instead researchers have a prescriptive commitment which can be realized in part through reflective questioning. The paper hopes to stimulate reflection and debate on the role of prescriptive power throughout the research process, and thereby support increased impact in research. (shrink)

This paper examines the points of connection and divergence between critical realism/metaRealism and integral theory, suggesting ways in which they might interact and mutually enrich each other. It highlights the common ground that both metatheories share and also identifies the particular strengths and shortcomings of both, arguing that they stem, in part, from their different emphases: integral theory on individual emancipation and critical realism on social emancipation. It suggests that this different focus has led to different (...) strengths in each that often coincide with an area that needs developing in the other, providing a promising potential for mutual enrichment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments RAILING AGAINST REALISM: PHILOSOPHY AND TO THE LIGHTHOUSE by S. P. ROSENBAUM The argument of Graheim Parkes's "Imagining Reality in To the Lighthouse" is described by its author as "a railing against the realist position" (p. 35) as he understands it primarily in my article "The Philosophical Reedism ofVirginia Woolf." ' Apart from the question of whemer railing is a useful way of conducting an (...) inquiry into literature and philosophy, Parkes's discussion raises several important issues about these connections. The way diey are raised, however, involves various mistedces and muddles that make a brief reply to his eurticle difficult. To begin with a small reveeding example, Parkes asserts that I miss the irony in Virginia Woolfs use of die letters P, Q, and R to describe Mr. Ramsay's problems of diought (p. 41). Here is what I wrote: "By representing Mr. Ramsay 's thinking as proceeding in die very genered form of conventional logical symbols, Virginia Woolf is wittily extending the standard letters used to symbolize die conditional type of argument, If P men Cf (p. 339, with italics added this time). Parkes's misreading of my text does not inspire confidence when he turns to Virginia Woolfs fiction or G. E. Moore's philosophy. On a more significant issue, Parkes complains that I boggle his mind by saying diat philosophically, Moore influenced Virginia Woolf more man anyone else, whereas Platonic ideas abound in her books (p. 35). Of course they do, but not very much in her epistemology, which was the subject of my eurticle.2 What Peirkes does not mention is that Plato was also a profound influence on Moore's philosophy. One of die reasons Moore's influence on Bloomsbury was so strong is that he reinterpreted Plato for them. In her images and ideas Virginia Woolf was influenced direcdy dirough her reading of Plato etnd also indirectly through the work of Plotinus and Moore. These influences are not easily sepeurated, which is why studies of Platonic emd Neoplatonic influences in her work that ignore Moore's significance are so incomplete. 89 90Philosophy and Literature Peirkes claims mat die evidence of Moore's influence on Virginia Woolf is slight (p. 34), and then he concerns himself with the putative influences of German philosophers for whom mere is no evidence at all. In the fifteen years since I wrote my article, the biographical evidence for Moore's influence has continued to accumulate as Virginia Woolfs letters, memoirs, emd dieiries were published. From her first novel, in which Principia Etnica is quoted emd briefly discussed, down to die recently discovered revised version of her last memoir, in which she reaffirms her deep respect for Moore,3 the indications of Moore's significance for Virginia Woolf ought to convince any disinterested reader. It cannot be dismissed with a sneer about "the voguish fascination of the Bloomsbury Group..." (p. 34), especially from someone proposing to study yet again the depth psychology of her fiction via Nietzsche and Heidegger (P- 44). Nothing I say here, of course, will persuade Parkes of the value of philosophical realism for understanding To the Lighthouse because diat philosophy, as he conceives of it in his article, consists of straw. To tedce just one exeimple, Peirkes appeeurs to believe Moore's epistemology etrgues "diat things and persons are what they are independently of human consciousness" (p. 37). There is no space here to explain philosophical realism again to Parkes, odier than to note that it is not inconsistent with the veirious concerns (to use Peurkes's terminology) about "transpersonal imagination" or "participation in phenomena" that he finds so interesting in the novel. But what about die novel? For readers indifferent to whether Moore or Russell, Nietzsche or Heidegger are to be found in To the Lighthouse, the relevant question is what such philosophical interpretations medce of it. To them I ceui only say, reread the novel and then ask yourselves if an account of it diat says nothing about die value of art and almost nodiing about the value oflove bears much resemblance to your reading experience. Parkes thinks the portrait of Mr. Ramsay is unsympathetic because he is criticized emd mocked... (shrink)

In tackling emergentist Marxism in depth, this well-written volume demonstrates that critical realism and materialist dialectics are indispensable to theorizing the functioning of complex social and physical systems. Author Sean Creaven investigates Marxâes dialectics of being and consciousness, forces and relations of production, base and superstructure, class structure and class conflict, and demonstrates how they allow the social analyst to conceptualize geo-history as embodying a tendential evolutionary directionality, rather than as simply random or indeterminate in terms of (...) its outcomes. For those interested in social and political theory, Marxism and communism and contemporary social theory, this outstanding volume is an in important read and a valuable resource. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Edward MacKinnon BORIS PASTERNAK'S CONCEPTION OF REALISM To desire truth is to desire direct contact with a piece of reality. To desire contact with a piece of reality is to love. —Simone Weil, The Needfor Roots According to czeslaw milosz, Boris Pasternak "did not pluck fruits from the tree of reason, the tree of life was enough for him. Confronted by argument, he replied with his sacred (...) dance." Pasternak's poetry, he concludes, is "antispeculative, anti-intellectual," and though he was compelled to make certain concessions in the course of writing Doctor Zhivago, speculative thought nonetheless remained for him a perennial and decided "adversary." ' However, the familiar and conveniently stark distinction between lyricist and thinker upon which such judgments depend is in fact both naive and tiresome since, plainly, creativity and reflection need in no way necessarily subvert one another. Accordingly, while it is indeed likely that the most valued feature of Pasternak's poetry and best prose is its detailed recording ofthe world's incessant change, of the magic and movement of weather and gardens, seasons and landscapes, Milosz is far from just in so readily and categorically dismissing any attribution of poetic thought to Pasternak. For as much as the whole of his poetry amounts to a celebration of life's small wonders, unrivaled in their greatness, there remains at bottom the inspiration of the thinker, of one who has seen and felt, but who at the same time has had to compile and consider in an attempt to make sense of the whole. As if in open challenge to Milosz, CM. Bowra notes that Pasternak's poetic sensibility is "both physical and intellectual." The mental states described in his poems, Bowra writes, "begin with sensations of the eye and ear but contain something else in their mental appreciation of the 211 212Philosophy and Literature situation," namely, his "gift for grasping abstract problems." 2 If Milosz remains unconvinced, and if Wladimir Weidle dismisses Pasternak's poetic thought as "puny and piteous," still more poets and critics have shared Bowra's view.3 Henry Gifford refers to Pasternak's "philosophical habit of mind," Ronald Hingley to the "pyrotechnics" ofhis "darting intellect," and Yury Lotman to his personal and "thoroughly professional philosophical culture." 4 In her review ofPasternak's My Sister, Life, meanwhile, Marina Tsvetaeva observes that "thought is what works in him, burrows in subterranean passages...." 5 And though Nadezhda Mandelstamclaims that the word of all poets "flows from a general, integrated view of the world," she acknowledges too that poets "vary in the range and depth of their understanding" and proceeds to cite Pasternak as her one example of a poet with a particularly unified worldview.6 If we were to agree with Francis Sparshott that "the fiercest hatreds spring from the closest relationships," we could assume in turn that the fundamental antagonism customarily alleged to obtain between the creative and critical faculties in fact indicates only some common, if confused, origin or inspiration.7 In creating, after all, it is predictable rather than idiosyncratic that the artist will be led to investigate the roots ofart within himself, tiiat he will be tempted by the urge to define, to entertain, that is, some rudimentary theory. And indeed, in Pasternak 's case, it is not simply a matter of his poetry and prose having been informed by certain tacit, if stray, aesthetic conceptions, but rather of his having supplemented his intensely thoughtful artwith aconcurrently developed theory. In this article, I want specifically to consider Pasternak's conception of realism, that standard of achievement which, according to his theory, constitutes the touchstone of all great art. In order more firmly to ground this notoriously vague and unwieldy notion, I will appeal not only to complementary theoretical conceptions of Pasternak's, but also to those central ideas advanced by Iris Murdoch in The Sovereignty of Good. My intention will be to locate Pasternak's brand of realism within what I take to be an identifiable tradition, or at least a conspicuous and pervasive theoretical tendency, according to which the most crucial criterion of artistic realism is judged to be not any properly physical aspect ofthe completed work, and certainly... (shrink)

Background: The acquisition of experience is a major concern for nurses in intensive care units. Although the emotional component of the clinical practice of these nurses has been widely studied, greater examination is required to determine how this component influences their learning and practical experience. Objective: To discover the relationships between emotion, memory and learning and the impacts on nursing clinical practice. Research design: This is a qualitative phenomenological study. The data were collected from open, in-depth interviews. A total (...) of 22 intensive care unit nurses participated in this research between January 2012 and December 2014. Ethical considerations: The School of Nursing Ethics Committee approved the study, which complied with ethical principles and required informed consent. Findings: We found a clear relationship between emotion, memory and the acquisition of experience. This relationship grouped three dimensions: (1) satisfaction, to relieve the patient’s pain or discomfort, give confidence and a sense of security to the patient, enable the presence of family members into the intensive care unit and provide family members with a realistic view of the patient’s situation; (2) error experience, which nurses feel when a patient dies, when they fail to accompany a patient in his or her decision to abandon the struggle to live or when they fail to lend support to the patient’s family; and (3) the feel bad–feel good paradox, which occurs when a mistake in the patient’s care or handling of his or her family is repaired. Conclusion: Emotion is a capacity that impacts on nurses’ experience and influences improvements in clinical practice. Recalling stories of satisfaction helps to reinforce good practice, while recalling stories of errors helps to identify difficulties in the profession and recognise new forms of action. The articulation of emotional competencies may support the development of nursing ethics in the intensive care unit to protect and defend their patients and improve their relationships with families in order to maximise the potential for patient care. (shrink)

This book offers an in-depth analysis of the wide range of issues surrounding "passive euthanasia" and "allow-to-die" decisions. The author develops a comprehensive conceptual model that is highly useful for assessing and dealing with real-life situations. He presents an informative historical overview, an evaluation of the clinical settings in which treatment abatement takes place, and an insightful discussion of relevant legal aspects. The result is a clearly articulated ethical analysis that is medically realistic, philosophically sound, and legally viable.

This collection of new essays interprets and critically evaluates the philosophy of Paul Feyerabend. It offers innovative historical scholarship on Feyerabend's take on topics such as realism, empiricism, mimesis, voluntarism, pluralism, materialism, and the mind-body problem, as well as certain debates in the philosophy of physics. It also considers the ways in which Feyerabend's thought can contribute to contemporary debates in science and public policy, including questions about the nature of scientific methodology, the role of science in society, citizen (...) science, scientism, and the role of expertise in public policy. The volume will provide readers with a comprehensive overview of the topics which Feyerabend engaged with throughout his career, showing both the breadth and the depth of his thought. (shrink)

This article offers a critical review of various ontological-relativist arguments, mostly deriving from the work of W. V. Quine and Thomas K hn. I maintain that these arguments are (1) internally contradictory, (2) incapable of accounting for our knowledge of the growth of scientific knowledge, and (3) shown up as fallacious from the standpoint of a causal-realist approach to issues of truth, meaning, and interpretation. Moreover, they have often been viewed as lending support to such programmes as the 'strong' (...) sociology of knowledge and the turn towards wholesale cultural-relativist doctrines, whether of the Wittgensteinian ('language-games') or Heideggerian (depth-hermeneutic) varieties. Thus Richard Rorty recommends that we should henceforth drop all that old-fashioned talk of 'truth', 'knowledge', or 'reality', since whatever warrants those descriptions from time to time is just the product of some currently favoured language-game or range of elective metaphors. Such ideas have little in common with Quine's general outlook of robust physicalism, nor again - though the case is less clear - with Kuhn's reconsidered approach to these issues as set forth in his 1969 Postscript to The Structure of Scientific Revolutions . However, both thinkers have left themselves open to misconstrual by adopting a sceptical-relativist fallback position in response to the well-known problems with logical empiricism. This essay therefore reviews those problems with reference to alternative, more adequate accounts of what is involved in the process of scientific discovery and theory-change. (shrink)

Taking a new look at the language of ‘religious experience’, the authors in this contribution take into review this aspect in the current theological discussion, and in the church pew, asking the question: Does George Lindbeck’s criticism of the experiential-expressive model of religion still have something to say to us? Firstly, Lindbeck is reviewed and recouped. Then, religious experience and its commodification are discussed, at the hand also of the heritage from Schleiermacher onwards on experience. Taking a position within the (...) post-modern, relativist, critical realist and pragmatist possibilities, a community-embedded sense of truth is concluded to without sacrificing the possibility of universalising claims. Is it possible, though, within the cultural reflex towards psychologised faith to retain a historically oriented depth? (shrink)

This article explores the value of small-scale, intimate, and personal everyday practices, often hidden from the public eye, for sustainability transformations. It invites fellow humans to see value, depth and hope in small-scale transformations and relies on a long-term autoethnographic project of its author as a practitioner of voluntary simplicity and extreme minimalism. Via methodological contemplations underpinned by critical realism, the article celebrates deviation from positivistic conceptions of science that encourage researchers to maintain distinct identities: scientists during (...) our working hours and humans beyond this. It aims to nurture a more holistic approach to ourselves as both researchers and practitioners and reveal the struggles of navigating and reconciling these different roles. (shrink)

In this article, we sketch up an action research process designed to give voice to those who traditionally have not had a voice in organizations. In particular, the research process was structured around “serious play” and designed as a talk show, where researchers played parts, including a talk show host, and where questions pertaining to organizational life were discussed in depth. The structure of the discussion was construed based on reflective teams, i.e., two actors performing a dialogue and a (...) silent group as listeners. The key research question concerns in what ways such an action research process is replicable? Applying a critical lens, we argue that even if strong claims of replicability are not met, as in being able to reproduce results and/or generalize them, this is outside the point. Rather, as we set out to apply a qualitative research design to achieve cogenerative learning effects, we advance an understanding of replicability-as-recoverability. This entails giving explicit grounds for our epistemic anchoring in critical realism and sketching out a research design which is sufficiently clear and transparent to undergo critical scrutiny. (shrink)

This book offers innovative historical scholarship on Feyerabend’s take on topics such as realism, empiricism, pluralism, materialism, and incommensurability. In addition to discussing certain debates in the philosophy of physics, it also considers the ways in which Feyerabend’s thought can contribute to contemporary debates in science and public policy. It does so by including questions about the nature of scientific methodology, the role of science in society, the public understanding of science, scientism, and the role of expertise in public (...) policy. The chapters provide readers with a comprehensive overview of the topics that Feyerabend engaged with throughout his career, showing both the breadth and the depth of his thought. Though of great value to academics in philosophy of science, it is also accessible and appealing to non-academic audiences with a general interest in science. (shrink)

This article explores the way in which certain theoretical frameworks and analytical procedures combine to present stories about experience as objects of no depth, confusing this artefact with the phenomenon studied. By pointing out abusive potentials in a constructivist approach, it is argued that critical realism is needed in the field of narrative analysis. The creation of life stories as well as the project of analysing them involve interaction with a material world, and elaboration on it. We (...) meet the Other, not as disembodied spirits, but in and through our bodies, which allow us to infer realities beyond language. We need to open up the field of empirical study to include the plurality of all experienced facts. What is more, this plurality must be firmly grounded within theoretical frameworks that cultivate humility, contending that there will always be more to reality than what meets the researcher’s eye. And we need a theoretical framework that dares to use the concept of truth. Only by doing so may we accord our informants the status of making relevant truth claims. Critical realism provides a much needed theoretical framework and sensitizing concepts, allowing for life stories to bear witness to the multidimensional realities from which they emerge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2003) 302-303 [Access article in PDF] Sedgwick, Sally, ed. The Reception of Kant's Critical Philosophy: Fichte, Schelling, and Hegel. New York: Cambridge University Press, 2000. Pp. x + 338. Cloth, $59.95. This collection consists almost entirely of papers from a 1995 conference at Dartmouth on "The Idea of a System of Transcendental Idealism in Kant, Fichte, Schelling, and Hegel." Four categories (...) of papers address: (1) the relation between Kant's three Critiques and the Opus Postumum; (2) Fichte's reception of the Critical Philosophy; (3) Schelling's Naturphilosophie as a reaction to Kant and Fichte; and (4) Hegel's indebtedness to and famous departure from Kantianism.In "The Unity of Nature and Freedom: Kant's Conception of the System of Philosophy," Paul Guyer argues that, appearances aside, Kant's thought from the first Critique to the Opus Postumum forms a continuous and self-consistent project. Indeed, Guyer claims that Kant's conception of transcendental philosophy remained essentially unchanged throughout this period (this despite frequent—and often flattering—remarks in the Opus Postumum concerning Spinoza). In contrast, Jeffrey Edwards' "Spinozism, Freedom, and Transcendental Dynamics in Kant's Final System of Transcendental Idealism" points to a conceptual tension present in Kant's late attempt to find common ground between Spinoza and transcendental idealism. Edwards argues that Kant's notion in the Opus Postumum of a dynamical form of matter leads him to embrace a realist (quasi-Spinozistic) conception of space. Finally, in "Is the Critique of Judgment Post-Critical?" Henry Allison challenges the view (common from Hegel to Guyer) that a profound change in Kant's project occurs in the Critique of Judgment, viz., that something profoundly un-transcendental emerges with Kant's notions of the intuitive intellect and purposiveness of nature.Günter Zöller, in "From Critique to Metacritique: Fichte's Transformation of Kant's Transcendental Idealism," offers an interpretation of the development of notions of "system" and "transcendental idealism" from Kant to Fichte. This is an indispensable paper for anyone concerned with the fine points of this development and, [End Page 302] indeed, Zöller's treatment is throughout a model of clarity. In "The Spirit of the Wissenschaftslehre," Daniel Breazeale offers an outstanding survey of the defining features of Fichte's early Jena Wissenschaftslehre. The breadth and depth of Breazeale's paper is a signal achievement, one that puts before the reader's eyes the lay of the often convoluted and confusing land that is the Wissenschaftslehre. Furthermore, Breazeale's discussion of the subdivisions of the Wissenschaftslehre (i.e., the particular sciences grounded by the "science of science") is of particular benefit for understanding the totality of Fichte's conception of philosophy."The 'I' as Principle of Philosophy" by Allen Wood, and "The Practical Foundation of Philosophy in Kant, Fichte, and After" by Karl Ameriks offer differing evaluations of the kind of "primacy of the practical" that each author locates in Fichte. Ameriks rejects Wood's sympathetic reading of the fundamentally practical character of the Fichtean "I." What is at stake for the authors is the success or failure of Fichte's attempt to account for the unity of theoretical and practical reason. It is important to note however that, unlike Kant, Fichte does not subscribe to the "primacy of the practical" thesis; indeed, Fichte holds the two aspects of reason to be "equiprimordial." As such, some of Wood's and Ameriks' claims are either misleading or simply wrong. This point aside, a common criticism of Fichte is that he reduces the world to the bare posit of the "I," a view of which Robert Pippin's "Fichte's Alleged Subjective, Psychological, One-Sided Idealism" quickly disposes. Instead, Pippin presents a "normative non-psychologistic" interpretation of Fichtean idealism.Regarding Schelling's Kant-reception, Manfred Baum's "The Beginnings of Schelling's Philosophy of Nature" locates the origins of Schelling's Naturphilosophie in his youthful interpretation of Plato's Timaeus. Baum's analyses, which abound with rich historical and philological information, are complemented by Dieter Sturma's... (shrink)

This edited collection of papers seeks to celebrate the scope and accomplishment of Margaret Archer’s work, distilling her theoretical and empirical contributions into four sections, capturing the essence and trajectory of her work over almost four decades. Long fascinated with the problem of structure and agency, Archer’s work has constituted a decades long engagement with this perennial issue of social thought. Through an initial empirical study and two expansive trilogies, Archer has developed an explanatory framework that comes to grips with (...) the complexity of social processes at different levels of analysis over time. _The Morphogenetic Approach_ and, later, her work on the _Internal Conversation_, together, provide a detailed account of the interrelated processes by which structure, agency and culture come to take the forms they do. However in spite of the deep interconnections which unify her body of work, it is rarely treated as a coherent whole. Though its range and depth has been widely acknowledged, it nonetheless has an unclear place within the cannon of sociological theory. The proposed collection seeks to address this relative neglect through collating a selection of papers, spanning Archer’s career, which collectively elucidate both the development of her thought and the value which can be found in it as a systematic whole. It seeks to illustrate the empirical origins of her later ideas in her early work on the sociology of education, as well as foregrounding the diverse range of influences which have conditioned her intellectual trajectory: the systems theory of Walter Buckley, the functionalist Marxism of David Lockwood, the critical realist philosophy of Roy Bhaskar and, more recently, her engagement with American pragmatism and the Italian school of relational sociology. (shrink)

A four dimensional approach to Newtonian physics is used to distinguish between a number of different structures for Newtonian space-time and a number of different formulations of Newtonian gravitational theory. This in turn makes possible an in-depth study of the meaning and status of Newton's Law of Inertia and a detailed comparison of the Newtonian and Einsteinian versions of the Law of Inertia and the Newtonian and Einsteinian treatments of gravitational forces. Various claims about the status of Newton's Law (...) of Inertia are critically examined including these: the Law of Inertia is not an empirical law but a definition; it is not a law simpliciter but a family of schemata; it is a convention and gravitational forces exist only by convention; it is (or is not) redundant; the concepts it embodies can be dispensed with in favor of operationally defined entities; it is unique for a given theory. More generally, the paper demonstrates the importance of space-time structure for the philosophy of space and time and provides support for a realist interpretation of space-time theories. (shrink)

This paper explores and ultimately affirms the surprising claim that artificial intelligence (AI) can become part of the person, in a robust sense, and examines three ethical and legal implications. The argument is based on a rich, legally inspired conception of persons as free and independent rightholders and objects of heightened protection, but it is construed so broadly that it should also apply to mainstream philosophical conceptions of personhood. The claim is exemplified by a specific technology, devices that connect human (...) brains with computers and operate by AI-algorithms. Under philosophically reasonable and empirically realistic conditions, these devices and the AI running them become parts of the person, in the same way as arms, hearts, or mental capacities are. This transformation shall be called empersonification. It has normative and especially legal consequences because people have broader and stronger duties regarding other persons (and parts of them) than regarding things. Three consequences with practical implications are: (i) AI-devices cease to exist as independent legal entities and come to enjoy the special legal protection of persons; (ii) therefore, third parties such as manufacturers or authors of software lose (intellectual) property rights in device and software; (iii) persons become responsible for the outputs of the empersonified AI-devices to the same degree that they are for desires or intentions arising from the depths of their unconscious. More generally, empersonification marks a new step in the long history of human–machine interaction that deserves critical ethical reflection and calls for a stronger value-aligned development of these technologies. (shrink)

Within the nursing ethics literature, there has for some time now been a focus on the role and importance of character for nursing. An overarching rationale for this is the need to examine the sort of person one must be if one is to nurse well or be a good nurse. How one should be to live well or live a/the good life and to nurse well or be a good nurse seems to necessitate a focus on an agent's character (...) as well as actions because character is (for the most part) expressed in action (e.g. seeLaird). This paper will give an overview of the reasons for the role and importance of character in nursing practice and explain its relation to nursing's frequent use of virtue ethics in order to recommend caution. While the paper agrees that the role of character is important in nursing caution is needed in both how much moral and thus normative, emphasis is being placed on the psychology of character and on the drift to virtue ethics. The psychological which may be explanatory needs to be linked with the normative, and a justification for the normative is needed. A justification as virtue ethics is contested, and nursing practice does not need to take on this explanatory and justificatory burden.A tentative proposal raised but not discussed in depth in this paper is that when an ultimate explanation or explanatory ground is needed, nursing practice leads quite naturally to a form of consequentialism as well as a realist metaethic. On this account, there are two levels of moral thinking, and nursing practice entails the virtues at one level and leads quite naturally to moral thinking at another more critical level of the criterion of what makes something right and good independently of character. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Uttering the Unutterable: Aristotle, Religion, and Literature by Louis GroarkeJay R. ElliottGROARKE, Louis. Uttering the Unutterable: Aristotle, Religion, and Literature. Montreal: McGill-Queen’s University Press, 2023. 336 pp. Cloth, $120.00Louis Groarke’s Uttering the Unutterable is an extraordinarily ambitious book. Its aims include: to provide a definition of literature; to argue that literature must be morally good; to argue that literature is necessarily concerned with an “utterable” transcendent reality; to (...) advance a version of Aristotelian realism in metaphysics and epistemology; to defend the Western “tradition” in literature and philosophy; to criticize the entire enterprise of structuralist and poststructuralist literary theory; to criticize the entire enterprise of analytic philosophy of language; to resurrect the Chicago School of literary criticism associated with figures such as R. S. Crane and Richard McKeon; to relitigate the mid-twentieth-century battles between the Chicago School and “New Criticism”; and to offer an homage to Groarke’s former teacher, the Chicago-trained Bernard Suits.At the center of Groarke’s project is his aspiration to formulate an Aristotelian literary theory and to defend it against a wide variety of alternative perspectives. But as the above list of Groarke’s ambitions suggests, he carries out this aspiration in a highly unusual way. For Groarke, questions of literary theory are not to be debated exclusively— or even primarily—through discussion of literature. This book contains very few examples of literary works, and none of them is discussed in depth. Indeed, for Groarke, matters of literary theory are not even to be [End Page 719] discussed primarily in terms of literary theory. Rather, Groarke’s central conviction is that we can approach literature properly only by situating it within the context of certain fundamental questions in epistemology, metaphysics, ethics, and religion. Readers who pick up this work expecting a discussion of Aristotle’s Poetics will be sorely disappointed. Groarke barely mentions this seminal work of Aristotelian literary criticism. Rather, his project begins from a diagnosis of what ails contemporary literary criticism: that it suffers, not so much from a false view of literature, as from a false view of truth, goodness, and reality. He accordingly undertakes to provide a better view of those fundamental matters, one that he derives from aspects of Aristotle’s thought. According to Groarke, it is these aspects of Aristotle that have the most to offer literary theorists today.Groarke draws his most important Aristotelian inspiration from Aristotle’s discussion of theōria in Nicomachean Ethics 10.7–8. In Groarke’s view, Aristotelian theōria is a truthful vision of a supreme reality that transcends human life and pervades the universe. This vision, for Groarke, is what literature is (or should be) about. On this basis, he critiques forms of literary criticism that see literature as concerned only with politics, or with class distinctions, or with entertainment, or with language itself. As Groarke sums up his argument: “[L]iterature supplies opportunities for intelligence gathered up in an artful and superlative moment of beholding of what is fundamental, real, meaningful, and true. Literature provides an avenue for contemplation (theōria), facilitating a divine-like gaze upon the world.” For Groarke, Aristotelian theōria allows us to behold what is “fundamental, real, meaningful, and true.” It is especially valuable because it affirms the essential unity of these attributes. Like Aristotle’s god, Groarke’s transcendent reality is simultaneously the highest reality and the summation of all value. For Groarke, to engage in theōria is thus to affirm that the universe is suffused with moral significance. It is this stance that Groarke thinks literature should promote.I have a great deal of sympathy both for Groarke’s reading of Aristotle and for his sense that these aspects of his thought are relevant to fundamental questions about literature. But I found the experience of reading this book challenging. The bulk of Groarke’s work is not devoted to developing his Aristotelian conception, applying it to literary case studies, or considering any problems it might raise. Rather, Groarke applies most of his time and energy to attacking what he perceives to be the myriad enemies of his Aristotelian outlook in the... (shrink)

Philosophy has not an easy time after the Second Vatican Council. As a response to this situation, the late Pope John Paul Ⅱ wrote the encyclical "Fides et ratio" and appealed to the Catholics the need for a sound philosophy. One of the philosophers he recommended in his encyclical is the French philosopher Jacques Maritain. Maritain was a prominent figure in philosophy at the beginning of the 20th century. He died in 1973. After a period of relative silence after his (...) death, his works rekindled the interest of scholars' especially Catholic philosophers. The establishment of numerous associations, academic conferences, the publication of books, papers and review dedicated to the study of his works are the witnesses to this revival of interest. There are several reasons for this return. The depth and the range of Maritain's thought, his reflection on the human person, the state and the common good, his defense for the freedom and dignity of human being, his commitment to the Catholic faith, his claim on the balance of sense perception, rational cognition, wisdom, faith and mystical thinking in human knowledge are sources of inspiration for thinkers in a world of relativism, skepticism and distrust of reason. But the most important one is that he is able to reflect on the traditional thinking of Christianity and out of his own critical thinking addresses problems of today's world. Many Catholic thinkers are helped by Maritain to have a deeper insight of their own thought from his confidence in the truth and his bold realism. (shrink)

The papers collected in this volume vividly reflect the strikingly wide range of interests characterizing current research in phenomenology inspired by Roman Ingarden. One of Husserls closest and most devoted students, and at the same time one of his earliest and sharpest critics, Ingarden himself explored numerous fields of philosophy in considerable depth. While he remains best known for his groundbreaking work in aesthetics, ontology, and metaphysics, he also dealt extensively in ethics, epistemology, philosophical anthropology, and cognitive science, and (...) his work was characterized throughout by a deep and abiding interest in the sciences and an unwavering respect for painstakingly thorough logical investigation. Issues from all of these areas of study provide the topics dealt with by the authors contributing to this volume. Several authors focus explicitly on historical matters, often casting surprising new light on the development of early phenomenology in general and of Ingardens own realist phenomenology in particular. Other authors have concentrated instead on specific areas or particular topics of long-standing interest, such as the aesthetic experience, the philosophy of music, and artistic creation, while others have explored the relevance of Ingarden's ontological and anthropological analyses to current research into everything from the interpretation of texts to the study of technological posthumanization. With contributions from both established experts and young scholars, this collection brings together three generations of researchers who share the same basic philosophical goals and methodology, yet exhibit noticeably distinct styles, making this collection not only accessible and topical but also unusually lively. (shrink)

Popular representations of third-world sex workers as sex slaves and vectors of HIV have spawned abolitionist legal reforms that are harmful and ineffective, and public health initiatives that provide only marginal protection of sex workers' rights. In this book, Prabha Kotiswaran asks how we might understand sex workers' demands that they be treated as workers. She contemplates questions of redistribution through law within the sex industry by examining the political economies and legal ethnographies of two archetypical urban sex markets in (...) India.Kotiswaran conducted in-depth fieldwork among sex workers in Sonagachi, Kolkata's largest red-light area, and Tirupati, a temple town in southern India. Providing new insights into the lives of these women--many of whom are demanding the respect and legal protection that other workers get--Kotiswaran builds a persuasive theoretical case for recognizing these women's sexual labor. Moving beyond standard feminist discourse on prostitution, she draws on a critical genealogy of materialist feminism for its sophisticated vocabulary of female reproductive and sexual labor, and uses a legal realist approach to show why criminalization cannot succeed amid the informal social networks and economic structures of sex markets. Based on this, Kotiswaran assesses the law's redistributive potential by analyzing the possible economic consequences of partial decriminalization, complete decriminalization, and legalization. She concludes with a theory of sex work from a postcolonial materialist feminist perspective. (shrink)

Chapter 1: An Introduction: The ‘Semantic Sting’ Argument Describes Dworkin’s theory as concerning the conditions of legal validity. “A legal system is a system of norms. Validity is a logical property of norms in a way akin to that in which truth is a logical property of propositions. A statement about the law is true if and only if the norm it purports to describe is a valid legal norm…It follows that there must be certain conditions which render certain norms, (...) but not others, legally valid. Hence it also follows that there can be two types of disagreement over the truth or falsehood of propositions about the law. People can disagree over the question ‘What are the conditions of legal validity?’, in which case their disagreement is a theoretical one. Or they can agree on the conditions of validity, and disagree as to whether or not those conditions actually obtain in a given case or not.” Argues that the best way to interpret Dworkin’s ‘semantic-sting argument’ is as a general argument against conventionalism in legal positivism. Summarizes the outcome of Dworkin’s argument as follows: “[I]f Dworkin is right about the legal reasoning of lawyers and judges, conventionalism would be self-defeating: if lawyers and judges recognize as legally binding not only those norms which are uncontroversially identifiable under the Rule of Recognition, that is, if what they recognize as binding is not only source-based law, then conventionalism turns out to be false on its own terms. In other words, either law is not what lawyers and judges think that it is, in which case law is not a matter of conventions, or – if it is what lawyers and judges think – conventionalism is false, as they do not see the law as purely a matter of conventions.” Dworkin’s theory, then, is a new conception of jurisprudence aiming to present itself as a rival to conventionalism. The book will be concerned with re-examining positivism in light of the interpretative challenge. Chapter 2: Meaning and Interpretation “[R]oughly, interpretation can be defined as an understanding or explanation of the meaning of an object.” Interpretation in this narrow sense is distinct from a less formal and broader use of interpretation that makes it equivalent to explanation. “Hence also, only those objects which are capable of bearing some meaning qualify as objects of interpretation.” [Why shouldn’t we think of interpretation as object-identification? This seems to be closer to what Dworkin has in mind.] Thus, a consideration of the philosophical work on meaning is appropriate. First, a consideration of Davidson on interpretation. The thesis is that Davidson’s “radical interpretation” can only account for sentence meaning and not for linguistic interpretation in general. Davidson cannot account for the non-rule-governed aspects of communication. “Semantics, as opposed to interpretation, concerns those aspects of communication which are rule or convention governed…but such rules are normally unavailable as reasons or justifications for an interpretation. On the contrary, interpretation is usually required because the issue is not determined by rules or conventions.” Interpretation, rather, is parasitic with understanding the meaning of an expression and not equivalent with it. As Dummett notes, any reflection on the meanings of words assumes prior knowledge of ordinary meanings. “This leads to the conclusion that understanding or explaining the meaning of an expression and interpreting it, are two conceptually separate things. It also indicates that seman ics can only be employed, if at all, to elucidate the concept of interpretation by way of contrast: interpretation concerns those aspects of communication which are under-determined by semantic rules or conventions.” Pragmatics, the study of problems posed by discrepancies between utterer’s meaning and sentence meaning, would seem to be closer to inquiry into interpretation. Both are concerned with understanding how meaning is possible where conventional rules leave off. Contemporary pragmatics, moreover, recognizes the logically indeterminate character of communicative inferences beyond conventional meaning and that the contextual conditions that account for the possibility cannot be realized in the semantic structure of the sentence. However, different criteria of success may be at work in pragmatics than interpretation. Pragmatics is concerned with how communication is achieved and thus the criteria of success would be grasping a speaker’s intentions. Many think, however, that communication is unimportant in certain spheres of communication, e.g. artistic interpretation, and that in these cases the aim of interpretation is not to uncover the actual artist’s intentions. What kind of meaning is interpretation aimed at then? It cannot be the meaning the object has for the interpreter. “Interpretation purports to be a statement about the object interpreted, not about the subject who offers the interpretation…it is crucial to remember that not everything we say about a work of art, or any other text, amounts to an interpretation of it. Only those aspects of a text which can shed light on its meaning form part of the text’s interpretation. What the text means for someone rarely entails anything about what the text means.” [This is puzzling to some extent for it remains somewhat ambiguous what it means to talk of subject-independent meaning.] Interpretive meaning attribution is, rather, counterfactual. “In general, I will suggest that the answer to this question consists in the fact that meaning is assigned by a counterfactual statement. Given that x is the meaning attributed to, for instance a text T, and x is not the literal meaning of T, nor is it the meaning of T intended by its author, then the attribution of meaning x to T can only be understood as the contention that on the basis of certain assumptions a certain fictitious or stipulated speaker would have meant x by expressing T.” Thus, on this account, interpretation, when it does not concern an actual speaker, turns out to be a kind of counterfactual intention attribution. Twofold point: “First, that interpretation is essentially a matter of attributing intentions, that is, in the pragmatics sense of ‘meaning’, namely, meaning that such-and-such by an act or expression. At the same time, interpretations need not be based on the intentions of actual authors; the meaning of an act or expression is understandable in terms of counterfactual intentions.” [Are we really restricted to understanding the coherence and integrity of meaning in such a way? Presumably the author is a kind of device for organizing meaning, much like Dworkin’s integrity, but need it take that format?] The logic of interpretation is typically reducible to intention attribution. [What role does the counterfactual author play in structuring meaning?] The criteria of interpretive success will depend upon the object, whether it is the real author or the counterfactual author. If the former, success will depend upon the retrieval of the author’s actual intentions. “Likewise, if the author is characterized in terms of some ideal representative of a certain genre, for instance, the presumptions which are taken to determine this c aracterization would provide the criteria of success for the particular interpretation offered.” [The criteria of success would seem, then, to be the principles, ideals, etc. that we attribute to the counterfactual author. These attributed qualities would be doing all the work – is the attribution of intention to the hypothetical author, then, really necessary at all?] [Does this account presuppose a weird dichotomy between what an object is and what it means? This dichotomy is different, if present at all, in Dworkin.] Chapter 3: Dworkin’s Theory of Interpretation and the Nature of Jurisprudence Three main insights of Dworkin’s theory of interpretation: “First, that interpretation strives to present its object in its best possible light. Second, that interpretation is essentially genre-dependent. And third, that there are certain constraints that determine the limits of possible interpretations of a given object.” Why the best light? Dworkin doesn’t really address this question in depth but claims that otherwise we are left with no way of justifying and choosing an interpretation or we are left with the author’s intention model, which we should reject. [Marmor doesn’t seem clear on what precisely it means to present something in its best light – seems to conflate it with most appealing light which, I take it, is different than what Dworkin has in mind.] “Dworkin is quite right to maintain that without having some views about the values inherent in the genre to which the text is taken to belong, no interpretation can take off the ground. The values we associate with the genre partly, but crucially, determine what would make sense to say about the text, what are the kinds of meaning we could ascribe to it.” There is no necessity for an interpretation to present an object in its best light with regards to the genre it is taken to be part of. Interpretations “could simply strive to present it in a certain light, perhaps better than some, worse than others, but in a way which highlights an aspect of the meaning of the text which may be worth paying attention to for some reason or another.” [What kind of reasons would count in choosing to present it in one light rather than another?] There is simply zero grounds for Dworkin’s assertion that we have no reason to pay attention to an interpretation that does not present it in its best light. Take a psychoanalytic interpretation of Hamlet, for example – not the best light, but a legitimate one. [This seems related to the next criticism – clearly Dworkin would have to loosen his insistence on the best, though not to detriment.] Moreover, especially with regards to art, it doesn’t appear possible to make an all things considered judgment about the best interpretation given the incommensurability of different values that are taken to inhere in a given genre. [Dworkin can respond here that we may have different available interpretations that could be justified with respect to the relevant value. Moreover, a lack of common denominator does not prevent any comparison whatsoever.] Constructive interpretation concerns social practices constituted by norms – it imposes a purpose or value rendering intelligible the normative character of the practice. There is a separate aspect of constructive interpretation that maintains that elements of the practice are sensitive to the point of the practice. It is important to note that different social practices will institutionalize themselves in different ways – thus, different practices will establish varying conditions on how the practice can be altered. The position of the positivists is that evaluative judgments concerning what the law should be are insufficient for determining what the law is given the nature of law’s institutionalization.&nb p; [This would seem to reside on a certain conception of law, i.e. an interpretation about where the value of law lies.] “[T]his being one of the main points of dispute between Dworkin and his positivist opponents, Dworkin cannot at this initial state presume law to be sensitive to its value in the manner that other, non-institutional practices might be, without incurring the charge of having assumed the very point at issue.” The upshot for Dworkin is that any explanation of a social practice such as law requires the same kind of reasoning as participation in that practice. This will be called the hermeneutic thesis. We can try to reconstruct a justification for this view based on the necessity of shared background assumptions – but this will not do since Dworkin’s claim is stronger: it contends that participants’ and theorists’ must “adopt one and the same normative point of view.” [The sense of normative here is unclear. It is true, though, that shared background assumptions do not imply viewing the law as valuable in any particular way, or at least it does not imply this in any strong sense.] Dworkin makes two distinct points with the hermeneutic thesis: “First, that the explanation of a social practice, like law or the arts, is essentially interpretative, and as such, necessarily value laden. Second, that the interpretation of such social practices, which Dworkin calls ‘argumentative’, is unique in the sense that the practice itself is an evaluative enterprise, and that therefore the interpreter of such a practice must form an evaluative judgment of her own about those values which are inherent in the practice that she purports to interpret.” [As stated, the first thesis is terribly ambiguous – for Dworkin, it clear implies a commitment to constructive interpretation. For Marmor, who accepts it, it is totally unclear what commitment he intends to make. He seems to mean simply that we have criteria for success concerning what counts as a successful explanation.] Mamor denies the second thesis. “What Dworkin seems to ignore here is that there is a crucial difference between forming a view about the values which are manifest in a social practice, like law, and actually having evaluative judgments about them.” [The problem, however, it that it is a contentious matter what values are part of the law – a theorist’s account of what values are constitutive of a particular legal system must rely on the kind of arguments which participants rely on. Of course, a theorist might simply note a debate about values and attempt to remain agnostic, but this will fail to be a full theoretical account of what law is!] Dworkin’s thesis seems to depend exclusively on his account of constructive interpretation. [This seems exactly right.] Chapter 4: Coherence, Holism, and Interpretation: The Epistemic Foundation of Dworkin’s Legal Theory Begins with discussion of Rawls’ reflective equilibrium. Sums up dual criticism as follows: “[T]he assumption that intuitions are independently true and the converse one, that their truth depends on fitting a coherent scheme, both seem to yield paradoxical results.” Dworkin, in his article “The Original Position”, claims that Rawls cannot commit himself to ethical realism. “[T]he natural model presupposes some form of ethical realism, while the constructive model does not. One important difficulty arising from an attempt to apply the natural model to Rawls is, that under the natural model, any theory which dopes not account for an intuition, at least for one which is held firmly, cannot be wholly satisfactory, just as scientific theory which does not account for certain observational data it is supposed to cover, would not be satisfactory in a familiar way.” Rawls, rather, is committed to a constructivist view of morality. Moreover, the reason we value coherence epistemically in moral theory is that it itself is a value of political morality – fairness requires consistency and publicity in the application of moral standards. Marmor notes the following problem with such a view: “[I]f coherence is justified, as it is here, with reference to certain moral values, that is, a specific conception of fairness, then we face the following problem: the presupposed values of fairness must themselves be based upon intuitive convictions, in which case the question of their truth cannot be ignored. If they are taken to be true…we are driven back to the perplexities of the natural model.” Discusses, helpfully, the Fish/Dworkin debate. The upshot is that Dworkin’s interpretive model is best off if it commits itself to a Quineian holism. However, this undermines his distinction between internal and external skepticism since holism must deny that moral judgments constitute a closed system. [This analysis seems exactly right.] Endorses Simmonds view that Dworkin’s theory does not meet the requirements of complexity he identifies as necessary to avoid vicious circularity in interpretive judgments of fit and identity. Coherence is doing the work through and through and therefore the interpretive theory of law is circular. [Will require further investigation, though it is unclear how coherence is doing any work in the pre-interpretive stage. At this stage, the judgments, if interpretive, seem to be derived from different sources. In any case, using coherence as a value seems to be highly suspect.] Why doesn’t Dworkin just reject Fish’s assumptions: because of his jurisprudence. “If legal texts can have a meaning that is not entirely dependent on a process of interpretation, then it is at least sometimes the case that the law can simply be understood, and applied, without the mediation of interpretation. And if that is the case, then the argument from interpretation against legal positivism collapses. It is no longer the case that every conclusion about what the law is, depends on evaluative considerations about what it ought to be.” Chapter 5: Semantics, Realism, and Natural Law Assessment of Michael Moore’s legal realism and its implications. [The final criticisms of Moore are not decisive.] Chapter 6: Constructive Identification and Razian Authority A consideration of Dworkin’s denial that the communication model of interpretation is appropriate for legal interpretation. Marmor argues that intentions do play a crucial role in the identification of legal norms in a way that is incompatible with Dworkin’s “coherence thesis”. Marmor takes Dworkin to be committed to the constructive identification thesis: that the identification of something as part of the legal, artistic, etc. genre can be done sufficiently by evaluative considerations. “Here, one must maintain that evaluative considerations are sufficient to determine whether something is a legal norm or a work of art”. [Fit, however, constrains possible evaluative considerations – thus evaluative considerations are not sufficient in themselves.] “Now the crucial point here is this: if you maintain the possibility of constructive identification in art, you must assume that works of art can be identified as such on the basis of certain features they happen to possess, features which contain no reference to any particular intention to create a work of art…unless we take intentions into account, how can we discriminate between the concept of an aesthetic artifact and the con ept of a work of art?” [It is unclear, and I think false, that constructive interpretation of anything requires identifying something irrespective of an artificers intentions. Those intentions may be relevant, dependent upon the genre under which we are trying to classify the object. Nothing, seemingly, about constructive interpretation in general excludes this possibility.] Marmor’s point is that it turns out to be impossible to identify art as art without reference to an artist’s intentions – especially given the state of contemporary art. [It is notable that Marmor’s response to counterexample implicitly depends upon a fully developed theory of aesthetics. His cursory comments on the matter of identifying art seem insufficient to say the least.] The rest of the chapter considers the incompatibility of Raz’s account of authority with constructive interpretation. The incompatibilities mentioned do not move beyond what Raz identifies in his article “Authority, Law and Morality”, but a defense of this notion of authority is defended in several [inconclusive] respects. [Raz and Marmor want to separate identification from content. This is not clearly a defensible separation.] Chapter 7: No Easy Cases? Chapter defends notion that there is a distinction between easy and hard cases in the positivist sense. Takes a Hartian approach and ultimately defends the distinction by associating it Wittgenstein’s conception of rule following. The point is that one need to look the purpose of rule in order to understand what the rule requires. Chapter 8: Legislative Intent and the Authority of Law Examines the following doctrine concerning the role of legislative intent in adjudication: “[F]irst, it would hold that laws, at least in certain cases, are enacted with relatively specific intentions, and that this is a matter of fact which is discernible through an ordinary fact-finding procedure. Second, that in certain cases the presence of such a fact, namely, that the law was enacted with a certain intention, provides judges with a reason to decide the legal dispute in accordance with the relevant legislative intent.” [It is important that for Marmor, interpretive strategies are only appropriate in hard cases. However, we should wonder what grounds positivism can offer for deciding a hard case in any manner which is not the morally best manner according to the judgment of the judge. There are no legal grounds, by definition, in hard cases and so what justificatory strategy would endorse any judicial decision except for the morally best one?] We can ascribe intentions to a legislative body, when this is possible at all, by taking the shared intentions of the majority, rather than some group intention, to be the significant intentions. Moreover, we should expect a good deal of consensus about intentions for otherwise it is hard to explain how legislative bodies are able to produce so much legislation. Discussion of kinds of intentions concludes as follows: “I have distinguished between three main types of intention that are potentially relevant from the legal point of view. Apart from the intentions that are manifest in the language of the law itself, legislators typically have further intentions in enacting a given law, and sometimes they would have certain intentions bearing on its proper application. I have also suggested that some of these further intentions may be essentially non-avowable, in which case they are rendered initially irrelevant. Finally, I have pointed out that considerations of consistency require that the legislator’s application intentions be taken into account only if, and to the extent that, they are in accord with his further intentions.” The manner in which intentionalism is to be justif ed relies on the distinction, Marmor maintains, between expert and mere collective action authority. “The point I wanted to make is strictly conditional: if, and only if, a certain law is justified on the basis of the expertise branch of the normal justification thesis, would it make sense to defer to the legislature’s intentions in the interpretation of the law, that is, to the extent that there is, in fact,; such an intention and it can clarify something that needs clarification.” Insofar as a legislature can be considered an expert on the matter requiring adjudication and interpretation should the body’s intention be taken into account. Chapter 9: Constitutional Interpretation Begins by laying out general necessary features of a constitution. Then Marmor moves on to consider general questions of constitutional legitimacy. First, he considers what grounds might be offered for the legitimacy of a constitution at all. He notes that the central question is what permits a single generation to bind future generations. He then examines four arguments to avoid this problem. The first is based on the moral legitimacy of the constitution; Marmor rejects this solution for the [truly dubious] reason that the constitution would make no practical difference because it would not supply reasons in addition to those provided by morality [but, presumably, the point is that these legally valid rules would be institutionally enshrined]. The second is based on the moral authority of the framers and Marmor rightly rejects this on the basis of the idealization of the framers it requires and less rightly on the basis that there cannot be moral authorities. Third is the “argument from interpretation” which claims that “as long as the particular content of the constitution is determined by its interpretation, and the authoritative interpretation at any time correctly instantiates the values which ought to be upheld in the community, the constitution would be morally legitimate”. The fourth is Raz’s which argues that a constitution is valid so long as its constraints are morally permissible because conventions of this type might aid the continuity of the legal system, i.e. it is important to have a convention of this type and the constitution is a kind of this type. Marmor appears to endorse these two approaches and concludes: “The conditions for the legitimacy of a constitution must comprise the following conditions. First, the values and principles enshrined in it must be morally permissible…Second, when certain choices are made in particular cases, they would be legitimate if they are either morally underdetermined, or else, morally correct…It follows from this that both arguments must assume that at least in those areas in which the constitution would make a moral difference, it can be interpreted to make the difference that it should, that is, according to the true moral principles that should apply to the particular case...the moral legitimacy of constitutions very much dependent on the practices of their interpretation. In other words, a great deal of the burden of moral legitimacy is shifted by these arguments to the application of the constitution, thus assuming that the constitution is legitimate only if the courts are likely to apply the constitution in a morally desirable way.” [This implies that the only significant value constitutions have is in providing a conventional practice where some such practice is required.] Moves on to argue that courts typically rely, and rightly so, on moral considerations when deciding constitutional issues because typically, in cases of the kind that reach the supreme or constitutional court, there is no law on the case. Much of this relies on his earlier discussion about the nature of interpretation in the law – that legal interpretation is always a matter of cha ging the law. (shrink)

The publication of the Critique of Pure Reason by Immanuel Kant marked the beginning of an intellectual revolution not only in Philosophy, but also in other spheres of intellectual activity. Every year interest to this work is only growing up, especially in the context of the development of cognitive sciences and technologies related to the development and implementation of artificial intelligence systems. However, both Kant’s contemporaries and subsequent generations of researchers had questions about the basic concepts, outlined in the first (...) Critique. Nikolay Lossky became one of such outstanding experts in Kant’s philosophy, who carried out a metacritique of transcendental idealism. His analysis is interesting because it is characterized by consistency, depth and inclusiveness, despite the fact that he was not a supporter of Kant’s philosophy. The proposed article explicates the main points of the metacritique of pure reason carried out by Lossky. The aim is to systematize the advantages and disadvantages of transcendental idealism highlighted by him in order to assess the validity of objections and identify points that paradoxically escaped Lossky’s attention. In particular, it is shown that the highest evaluation of Lossky is awarded to Kant’s efforts to create an epistemology that does not rely as presuppositions on any other branches of human knowledge; the resolution of contradictions between Empiricism and Rationalism; the creation of the doctrine of synthetic rationality and transcendental logic; the idea of the need for the immanence of knowledge to consciousness. Lossky identified as the key shortcomings of transcendental idealism a range of contradictions grouped around such concepts as the things in themselves, affection, experience, inner sense, transcendental schema, and unity of apperception. At the same time, it is shown that such a key concept for Kant’s theoretical philosophy as transcendental reflection has disappeared from the Lossky’s field of consideration. The study is preceded by a brief description of Lossky’s characteristics, including personal ones, as a meta-critic of pure reason. (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)

Facial information is a powerful channel for human-to-human communication. Characteristically, faces can be defined as biological objects that are four-dimensional (4D) patterns, whereby they have concurrently a spatial structure as well as temporal dynamics. The spatial characteristics of facial objects possess three dimensions (3D), namely breadth, height and importantly, depth. The temporal properties of facial objects are defined by how a 3D facial structure evolves dynamically over time; where time is referred to as the fourth dimension (4D). Our entire (...) perspective of another’s face, whether it be social, affective or cognitive perceptions, is therefore built on a combination of 3D and 4D visual cues. Counterintuitively, over the past few decades of experimental research in psychology, facial stimuli have largely been presented to participants as a spatial pattern that has been flattened into two dimensions (2D), while remaining largely static. The following review aims to advance and update facial researchers, on the recent revolution in computer-generated, realistic 4D facial models produced from real-life human subjects. We delve in-depth to summarize recent studies which have utilized facial stimuli that possess 3D structural cues (geometry and depth) and 4D temporal cues (3D structure + dynamic viewpoint and movement). In sum, we have found that higher-order perceptions such as identity, gender, ethnicity, emotion and personality, are critically influenced by the 4D characteristics embedded within natural human faces. In future, it is recommended that facial stimuli incorporate the 4D space-time perspective with the proposed time-resolved methods. (shrink)