Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

At least since Descartes, philosophers have been interested in the special knowledge or authority that we exhibit when we speak about our own thoughts, attitudes, and feelings. This book contends that even the best work in contemporary philosophy of mind fails to account for this sort of knowledge or authority because it does not pay the right sort of attention to the notion of expression. What's at stake is not only how to understand self-knowledge and first-person authority, but also (...) what it is that distinguishes conscious from unconscious psychological states, what the mental life of a nonlinguistic animal has in common with our sort of mental life, and how to think about Wittgenstein's legacy to the philosophy of mind. (shrink)

Expressivism’s central idea is that normative sentences bear the same relation to non-cognitive attitudes that ordinary descriptive sentences bear to beliefs: the expression relation. Allan Gibbard teIls us that “that words express judgments will be accepted by almost everyone” - the distinctive contribution of expressivism, his claim goes, is only a view about what kind of judgments words express. But not every account of the expression relation is equally suitable for the expressivist’s purposes. In fact, what I argue (...) in this paper, considering four possible accounts of expression, is that how suitable each account is for the expressivist’s purpose varies in proportion to how controversial it is. So Gibbard is wrong - if expression is to get expressivism off the ground, then it will be enormously controversial whether words do express judgments. And thus expressivism is committed to strong claims about the semantics of non-normative language. (shrink)

I describe a phenomenon that has not yet been described in the epistemology literature. I label this phenomenon expression-style exclusion. Expression-style exclusion is an example of how s...

Sue Campbell reinstates the personal as an important dimension in analytic philosophy of mind. She argues that the category of feelings has a unique role in psychological explanation: the expression of feelings is the attempt to communicate personal significance. To develop a model for affective meaning, the author moves attention away from the classic emotions to feelings that are more personal, inchoate, and idiosyncratic.

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

I argue for the recognition of a particular kind of interest that one has in freedom of expression: an interest served by expressive activity in forming and discovering one’s own beliefs, desires, and commitments. In articulating that interest, I aim to contribute to a family of theories of freedom of expression that find its justification in the interests that speakers have in their own speech or thought, to be distinguished from whatever interests they may also have as audiences (...) or third parties for speech. Although there are many differences among such speaker-centered theories, a core commitment that most share is that expressive liberty plays a fundamental role in securing or constituting some form of individual self-realization. My account is a defense and elaboration of what I take to be one specific way in which the nature of such self-realization should be understood. In my proposal, self-realization is sometimes internally related to the very activity of expression, viz, expressing ourselves is one way in which we come to form and know our own minds. (shrink)

In discussions concerning intersubjectivity the notion of expression has come to play a part of increasing significance. Expression shifts our point of departure away from subjectivity as something mysterious hidden within the body to subjectivity as altogether embodied and embedded in the world. In this article I engage writings by Maurice Merleau-Ponty to argue that expression is essentially something that happens in a communicative space in between self and other while at the same time giving rise to (...) both. I show how locating expression in a shared space between self and other is a way of emphasizing that self and other are not only expressive of selfhood, but are also expressed by one another and emerge in relation to one another. I point to this understanding of expression as a way of recognizing that there is both a fundamental reciprocity and asymmetry between self and other. (shrink)

Scientific research is constrained by limited resources, so it is imperative that it be conducted efficiently. This paper introduces the notion of epistemic expression, a kind of representation that expedites the solution of research problems. Epistemic expressions are representations that (i) contain information in a way that enables more reliable information to place the most stringent constraints on possible solutions and (ii) make new information readily extractible by biasing the search through that space. I illustrate these conditions using historical (...) and contemporary examples of biomolecular structure determination. Then, I argue that the notion of epistemic expression parts ways with pragmatic accounts of scientific representation and an understanding of models as artifacts, neither of which require models to accurately represent. Explicating epistemic expression thus fills a gap in our understanding of scientific practice, extending Morrison and Morgan's (1999) conception of models as investigative instruments. (shrink)

This article critically addresses the view that ubuntu values limiting freedom of expression to what elders find agreeable. I present a heterogeneous argument in favor of an attractive conception of ubuntu that values individuals by investing in the worth of community. I assume that socioeconomic development is directly related to the extent to which people are granted freedom of expression. The point is that freedom of expression enables everyone to be respected and governed in ways that are (...) associated with the establishment of communities where everyone can be the most they can be. (shrink)

We challenge the classic experience/expression dichotomous account of emotions, according to which experiencing and expressing an emotion are two independent processes. By endorsing Dewey's and Mead's accounts of emotions, and capitalizing upon recent empirical findings, we propose that expression is part of the emotional experience. This proposal partly challenges the purely constructivist approach endorsed by the authors of the target article.

Whether the word ‘passion’, as indicating the suffering or affection from without of a soul, is by now no more than a dead metaphor, surviving from an antique conception of the mind; whether, indeed, there is any way open to us of determining the passivity or otherwise of our inner life, apart, that is, from how it strikes us, from how we are prompted to describe it, are not questions that I can take up this evening. It is enough for (...) my purpose that for much of the time our feelings, our emotions, our inclinations are as fluctuating or as imperious as if they were not totally under our control. We are elated: we are dejected: we get angry, and then our anger gives place to a feeling of absurdity: we remain in love with someone who is lost to us but whom we cannot renounce: we are interested in something, and suddenly we are bored, or frightened that we will be bored: we see a stranger, someone who is nothing to us, who is poor or crippled, and we feel guilt: someone does something wrong or foolish, and we are unaccountably transported by laughter, by ‘sudden glory’ as Hobbes called it, knowing what it was about, and then, as unaccountably, we are thrown down. Man is, in Montaigne's famous phrase, une chose ondoyante, a creature of inner change and fickleness. (shrink)

The biogenesis of RNAs and proteins is a threat to the cell. Indeed, the act of transcription and nascent RNAs challenge DNA stability. Both RNAs and nascent proteins can also initiate the formation of toxic aggregates because of their physicochemical properties. In reviewing the literature, I show that co-transcriptional and co-translational biophysical constraints can trigger DNA instability that in turn increases the likelihood that sequences that alleviate the constraints emerge over evolutionary time. These directed genetic variations rely on the biogenesis (...) of small RNAs that are transcribed directly from challenged DNA regions or processed from the transcripts that directly or indirectly generate constraints or aggregates. These small RNAs can then target the genomic regions from which they initially originate and increase the local mutation rate of the targeted loci. This mechanism is based on molecular pathways involved in anti-parasite genome defence systems, and implies that gene expression-related biophysical constraints represent a driving force of genome evolution. Are randomly generated mutations the only source of genetic variation during evolution? This paper describes the molecular mechanisms by which co-transcriptional and co-translational biophysical constraints trigger genetic variations in targeted-genomic sequences in an RNA-depending manner. This directed-mutational process that drives genome evolution is related to antiparasite genome defence systems. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a (...) replacement of the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

Should our commitment to freedom of speech extend to freedom of hate speech: speech that promotes hatred toward an individual or group on the basis of a characteristic such as race, gender, sexuality, nationality, or religion—often, although perhaps not exclusively, using slurs and epithets? Drawing on philosophy of language and empirical research, this essay outlines five theoretical models of how hate speech may function, and explores their implications for this issue. I argue that (some) hate speech can be regulated without (...) compromising freedom of expression; and furthermore that, under certain circumstances, considerations of free speech may favour regulating hate speech. (shrink)

ABSTRACT It has been frequently observed in the literature that assertions of plain sentences containing predicates like fun and frightening give rise to an acquaintance inference: they imply that the speaker has first-hand knowledge of the item under consideration. The goal of this paper is to develop and defend a broadly expressivist explanation of this phenomenon: acquaintance inferences arise because plain sentences containing subjective predicates are designed to express distinguished kinds of attitudes that differ from beliefs in that they can (...) only be acquired by undergoing certain experiences. Its guiding hypothesis is that natural language predicate expressions lexically specify what it takes for their use to be properly ‘grounded’ in a speaker's state of mind: what state of mind a speaker must be in for a predication to be in accordance with the norms governing assertion. The resulting framework accounts for a range of data surrounding the acquaintance inference as well as for striking parallels between the evidential requirements on subjective predicate uses and the kind of considerations that fuel motivational internalism about the language of morals. A discussion of how the story can be implemented compositionally and of how it compares with other proposals currently on the market is provided. (shrink)

The multifunctional zinc‐finger protein CCCTC‐binding factor (CTCF) is a very strong candidate for the role of coordinating the expression level of coding sequences with their three‐dimensional position in the nucleus, apparently responding to a “code” in the DNA itself. Dynamic interactions between chromatin fibers in the context of nuclear architecture have been implicated in various aspects of genome functions. However, the molecular basis of these interactions still remains elusive and is a subject of intense debate. Here we discuss the (...) nature of CTCF‐DNA interactions, the CTCF‐binding specificity to its binding sites and the relationship between CTCF and chromatin, and we examine data linking CTCF with gene regulation in the three‐dimensional nuclear space. We discuss why these features render CTCF a very strong candidate for the role and propose a unifying model, the “CTCF code,” explaining the mechanistic basis of how the information encrypted in DNA may be interpreted by CTCF into diverse nuclear functions. (shrink)

Past research has found that skin colouration, particularly facial redness, influences the perceived health and emotional state of target individuals. In the current work, we explore several extensions of this past research. In Experiment 1, we manipulated facial redness incrementally on neutral and angry faces and had participants rate each face for anger and health. Different red effects emerged, as perceived anger increased in a linear manner as facial redness increased. Health ratings instead showed a curvilinear trend, as both extreme (...) paleness and redness were rated as less healthy than moderate levels of red. Experiment 2 replicated and extended these findings by manipulating the masculinity of both angry and neutral faces that varied in redness. The results found the effect of red on perceived anger and health was moderated by masculine face structure. Collectively, these results show that facial redness has context dependent effects that vary based on facial expression, appearance, and differentially impact ratings of emotional states and health. (shrink)

In Difference and Repetition, Deleuze claims that it is in virtue of a relation of expression which holds between intensive processes of individuation and virtual Ideas that the former determines the latter to be actualised in concrete entities. He is, however, less than forthcoming in this book about exactly how we should understand the relation of expression. This article addresses itself to this lacuna. It clarifies five characteristic features of the expressive relation, partly by drawing on Deleuze's discussion (...) of the relation of expression in Expressionism in Philosophy, party by examining familiar examples of expressive relations. It then maps these characteristic features of expression onto Deleuze's discussion of the relation between Ideas and intensity in Difference and Repetition, showing that virtual Ideas are ontologically inseparable from the intensive processes that both constitute and actualise them in the production of actual entities. By way of conclusion, this expressive account of the relation between the virtual, the actual and the intensive will be compared and contrasted with several leading accounts to be found in the secondary literature. (shrink)

This research focuses on the complex relationship between the musical narrative and emotional expression in piano works from a philosophical point of view. It aims at identifying how emotions are enacted within music and how they can influence and mold the listener’s experience. Building on the premises of important philosophical theories, the study explores the idea of musical narrative, its origins, and its impact on forming emotions within music. Emotional communication in piano works is also discussed in the study, (...) with an emphasis on how composers incorporate various musical features to portray certain emotions. Furthermore, this research elaborates on the philosophical perspective of musical narrative and emotional expression and contributes to the understanding of the aspects within the framework of piano music. The findings of this research are intended to add to the debates in the philosophy of music, with regard to performance and listener’s reception. (shrink)

Introduction of human plasma protein genes into the mouse genome to produce transgenic mice furnishes an in vivo model for correlating chromosomal DNA sequences with developmental and tissue‐specific expression. The liver produces an array of plasma proteins that circulate throughout the body contributing to homeostasis. Non‐hepatic tissue sites of synthesis have been identified where a local provision of plasma proteins in needed. Analysis of expression of human plasma protein genes in ageing transgenic mice appears especialy promising in identifying (...) DNA sequences that respond to environmental adversities such as inflammatory factors, hormonal changes and metal toxicity. The results indicate that human genes encoding and controlling liver plasma proteins serve as useful models for studying genetic regulation in the background of development and ageing. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there (...) limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

This Great Debates volume grew out of exchanges that followed the 2012 publication of a Festschrift volume for Crispin Wright, just over a decade ago (Coliva 2012). As often happens in Philosophy, the process of trying to clarify and iron out apparently local points of disagreement between us has unearthed deeper divergences concerning larger issues in the philosophy of language and mind, in epistemology, and in the theory of action. Such is our profession.

In this commentary, John O'Neill concentrates upon three themes in the goal Merleau-Ponty set for himself, namely "to restore to things their concrete physiognomy, to organisms their individual ways of dealing with the world, and to subjectivity its inherence in history." O'Neill considers the three objectives in their original order: first, the study of animal and human psychology; then, the phenomenology of perception; and finally, certain extensions of these perspectives in the historical and social sciences.

Although many recent free speech skeptics claim Millian credentials, they neglect the more pessimistic elements of Mill's account of human nature. Once we recover the darker elements of Mill's thought, American-style laissez-faire in the domain of expression looks significantly more attractive. Indeed, this paper argues that if Mill is correct about human nature, we have good reason to oppose recent proposed restrictions on expression and to embrace a legal regime that tolerates much speech that is false, obscene, demeaning, (...) and even hateful. While philosophers are right to worry about the substantial moral costs of such regimes, we ought to attempt to address these costs in ways that do not amount to rejecting the regimes themselves. (shrink)

A Shock to Thought brings together essays that explore Deleuze and Guattari's philosophy of expression in a number of contemporary contexts. It will be of interest to all those in philosophy, cultural studies and art theory. The volume also contains an interview with Guattari which clearly restates the 'aesthetic paradigm' that organizes both his and Deleuze's work.

As one of Mozart's classic works, the tenor aria of the opera “Idomeneo” has unique artistic characteristics and singing form, which profoundly expresses the character's inner emotions. In order to be able to explore the singing characteristics and artistic features of the tenor in the aria, this paper firstly analyzes the creative background and plot of the opera “Idomeneo”. Secondly, it analyzes the singing characteristics of the opera and discusses the characteristics of tenors in different versions. Finally, it discusses the (...) skills that need to be emphasized when singing in the opera, as well as the pitch problems of the singers in the singing process. The analysis of the artistic characteristics of the opera “Idomeneo” concludes that the opera “Idomeneo” has high artistic characteristics and cultural value, and the melody and logic of the opera is more compact, which attracts a large number of audiences. The chorus part of the opera is more satisfactory scoring 8.6 points, and the emotional expression aspect of the opera is 7.3 points. The chorus part of the opera scored 7.5, which concluded that the opera is innovative and can resonate with the audience, and the way of singing is more delicate, which can deeply express the emotion of the opera. (shrink)

Some philosophers (Duff, Hampton) conceive of punishment as a way of communicating a message to the punished and argue that this communicative function justifies the harm of punishment. I object to communicative theories because punishment seems intuitively justified in cases in which it fails as a method of communication. Punishment fails as communication when the punished ignores the intended message or fails to understand it. Among those most likely to ignore or fail to understand the message of punishment are the (...) most hardened criminals, whom we typically think are appropriate targets of punishment. I suggest that an alternative justificatory strategy, one that focuses not on the successful receipt of the message of punishment by the wrongdoer but on the expression of condemnation by the community, is not subject to the same worry. The norms of successful expression are more easily met than those of communication, so that expressing condemnation toward a criminal might be justified even if he is unreceptive in the face of the expression. (shrink)

The Sensible World and the World of Expression presents the lecture notes for a course taught by Maurice Marleau-Ponty, a central figure of phenomenological philosophy, at a key point in his career.

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

ABSTRACTThe present research tested the notion that emotion expression and context perception are bidirectionally related. Specifically, in two studies focusing on moral violations and positive moral deviations respectively, we presented participants with short vignettes describing behaviours that were either moral, polite or unusual together with a picture of the emotional reaction of a person who supposedly had been a witness to the event. Participants rated both the emotional reactions observed and their own moral appraisal of the situation described. In (...) both studies, we found that situational context influenced how emotional reactions to this context were rated and in turn, the emotional expression shown in reaction to a situation influenced the appraisal of the situation. That is, neither the moral events nor the emotion expressions were judged in an absolute fashion. Rather, the perception of one also depended on the other. (shrink)

TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE BY DOUGLAS AINSLIE B.A. (OXON.).

Leibniz frequently uses the notion of expression, but it is not easy to see just how he understood that relation. This paper focuses on the particular case of the expression of God, which is prominent in the 'Discourse on Metaphysics'. The treatment of expression there suggests several questions. Which substances did Leibniz believe expressed God? Why did Leibniz believe those substances expressed God? And did he believe that all substances expressed God in the same way and for (...) the same reasons? In answering those questions the paper distinguishes two views about expression in the 'Discourse', considers Leibniz's reasons for holding that substances express their causes, and argues that Leibniz's views about emanative causation are important for understanding the unity of his apparently distinct views here. The paper concludes by looking briefly at how the 'Discourse' fits into the evolution of Leibniz's views on this issue over time. (shrink)

We review a recent paper in Genome Research by Guantes et al. showing that nuclear gene expression is influenced by the bioenergetic status of the mitochondria. The amount of energy that mitochondria make available for gene expression varies considerably. It depends on: the energetic demands of the tissue; the mitochondrial DNA (mtDNA) mutant load; the number of mitochondria; stressors present in the cell. Hence, when failing mitochondria place the cell in energy crisis there are major effects on gene (...) expression affecting the risk of degenerative diseases, cancer and ageing. In 2015 the UK parliament approved a change in the regulation of IVF techniques, allowing “Mitochondrial replacement therapy” to become a reproductive choice for women at risk of transmitting mitochondrial disease to their children. This is the first time that this technique will be available. Therefore understanding the interaction between mitochondria and the nucleus has never been more important. (shrink)

Art as communication, by L. Tolstoi.--Art, intuition, and expression, by B. Groce.--Art as expression, by R. G. Collingwood.--The Groce-Collingwood theory of art, by J. Hospers.--The act of expression, by J. Dewey.--Art and the language of the emotions, by C. J. Ducasse.--Music as impressive and music as expressive, by E. Gurney.--Expression, by G. Santayana.--The expressiveness of colors, by W. Kadinsky.--Expression and association, by C. Hartshorne.--Expressiveness, by R. Arnheim.--The expression theory of art, by O, K. Bouwsma.--The (...) concept of expression in art, by V. Tomas, D. Morgan and M. Beardsley.--Musical expression, by M. Beardsley.--Expressive predicates of art, by G. Sircello. (shrink)

Would suppressing deepfakes violate freedom of expression norms? The question is pressing because the deepfake phenomenon in its more poisonous manifestations appears to call for a response, and automated targeting of some kind looks to be the most practically viable. Two simple answers are rejected: that deepfakes do not deserve protection under freedom of expression legislation because they are fake by definition; and that deepfakes can be targeted if but only if they are misleadingly presented as authentic. To (...) make progress, following a discussion of why freedom of expression deserves protection in a democracy, the question is reframed. At issue is not whether the arrival of deepfakes brings new and potentially serious dangers (it does), nor whether these dangers call for measures that potentially limit freedom of expression (they do), but whether the need for such measures raises any new and unfamiliar freedom-of-expression challenges. The answer to that question, surprisingly, is no. The balancing act needed to cope with the arrival of deepfakes brings plenty of difficulties, certainly, but none of the measures likely to be effective in tackling deepfake harms raises freedom-of-expression concerns that aren’t familiar from consideration of non-deepfake harms. In that respect, at least, the arrival of deepfakes makes no difference. (shrink)

While “dignity” plays an increasingly important role in contemporary moral and political debates, there is profound dispute over its definition, meaning, and normative function. Instead of concluding that dignity’s elusiveness renders it useless, or that it signals its fundamental character, this paper focuses on illuminating one particular strand of meritocratic dignity. It introduces a number of examples and conceptual distinctions and argues that there is a specific strand of “expressive” meritocratic dignity that is not connected to holding a special office (...) or rank, but that is ascribed to individuals who are able to engage in autonomous self-expression. (shrink)

ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an altogether (...) subjective phenomenon, available at most only to those psychological subjects conditioned or predisposed to recognize certain features as possessing specific aesthetic properties. The article examines topics related to the intentionality of expression in art. Intention is often rejected as a basis for aesthetic judgment. The present discussion, by focusing on the role of perception in art production and appreciation, considers ways of addressing those objections to restore an intuitive sense of the intentional expressiveness of art. The proposed solution also helps uphold an approach toward answering the question of whether aesthetic value generally is only subjective or also has a distinctively objective element. (shrink)

Large protein assemblies are usually the effectors of major cellular processes. The intricate cell homeostasis network is divided into numerous interconnected pathways, each controlled by a set of protein machines. One of these master regulators is the CCR4‐NOT complex, which ultimately controls protein expression levels. This multisubunit complex assembles around a scaffold platform, which enables a wide variety of well‐studied functions from mRNA synthesis to transcript decay, as well as other tasks still being identified. Solving the structure of the (...) entire CCR4‐NOT complex will help to define the distribution of its functions. The recently published three‐dimensional reconstruction of the complex, in combination with the known crystal structures of some of the components, has begun to address this. Methodological improvements in structural biology, especially in cryoelectron microscopy, encourage further structural and protein‐protein interaction studies, which will advance our comprehension of the gene expression machinery. (shrink)

Aby Warburg a accordé une attention particulière au monstre comme motif iconographique mais aussi comme notion abstraite impliquant un certain type de rapport du sujet au réel. Pour comprendre ce qu’il entendait par la « causalité monstrueuse » et la « dialectique du monstre », l’article fait retour sur ses Fragments sur l’expression (1888-1903) et les met en parallèle avec les « Mnemosyne Allgemeine Ideen » et les « Mnemosyne Grundbegriffe I et II » (1927-1929) qui devaient accompagner le (...) célèbre Atlas Mnémosyne. Le monstre apparaît alors non comme un innommable qui résiste à la rationalité mais comme un des points d’appui du sujet rationnel dans son effort pour élaborer un espace de pensée. (shrink)