King of the Castle examines closely many of the unquestioned assumptions by which we live our lives, comparing them with the beliefs that have shaped and guided human life in the past. It begins with a consideration of how secular societies attempt to possess their citizens, body and soul and how, as a consequence, the necessity of redefining human responsibility becomes an ever more urgent imperative. The book continues with a presentation of the traditional view of man as 'God's (...) Viceroy on Earth', with an eye to its practical implications in a world that has all but forgotten, under the pressure of mass social persuasion, that man must always be free to choose his own ultimate destiny. The author's thesis is a passionate yet incisive plea for the restoration of the sacred norms of religion, as against the debilitating and falsifying aims of a profane world-view based on no more than recent scientific and technological achievements. (shrink)

“Smallpox was always present, filling the churchyard with corpses, tormenting with constant fear all whom it had not yet stricken, leaving on those whose lives it spared the hideous traces of its power, turning the babe into a changeling at which the mother shuddered, and making the eyes and cheeks of the betrothed maiden objects of horror to the lover.” In 1848, British historian T.B. Macaulay first captured the picture of the devastation smallpox wreaked on its victims, but the “ (...) class='Hi'>King of Terrors,” as it was dubbed by future president John Adams, had already decimated populations in the ancient world from Greece to Egypt to China. Smallpox had no respect for authority: the earliest identified victim, Pharaoh Ramses V was but the first in a long line of monarchs and rulers who succumbed,. including the Hittite king Suppiluliumas I, Aztec Emperor Cuitlahuac, and Queen Mary II of England. (shrink)

Species : visions and values -- Fantasies : seeing without what was within -- Prestiges : illusions in magic and art -- Glamours : demons and virtual worlds -- Images : the reformation of the eyes -- Apparitions : the discernment of spirits -- Sights : King Saul and King Macbeth -- Seemings : philosophical scepticism -- Dreams : the epistemology of sleep -- Signs : vision and the new philosophy.

[1] In twelve quite demanding chapters, outstanding scholars provide an overall view of the key issues of Scotus’s philosophical thought. To this a very concise introduction is added, concerning the life and works of John Duns (very good, especially the survey of works and the information on critical editions etc.). Throughout the book, I find the information clear and the difficult topics well explained. Moreover, the volume gives a quick entrance to the vast literature. Among the topics discussed are: ‘Metaphysics’ (...) (Peter King), ‘Universals and Individuation’ (Timothy Noone), ‘Modal Theory’ (Calvin Normore), ‘Natural Theology’ (James Ross & Todd Bates), ‘Philosophy of Mind’ (Richard Cross), ‘Cognition’ (Robert Pasnau), ‘Moral Dispositions’ (Bonnie Kent). What strikes the eye is the absence of important theological subjects: Trinity, Christology, sin and grace, to name a few. Since the cover text promises that ‘the essays in this volume systematically survey the full range of Scotus’ thought’, this omission is remarkable. It stems, I guess, from the strict philosophical scope of the series of the Cambridge Companions, but such a limitation should have been recognised explicitly: this companion provides, in fact, an introduction to John Duns’s philosophy—i.e., philosophy in our modern sense. Of course, this separation of philosophical from theological thought is not from Scotus. Most of his innovative ‘philosophical’ ideas are developed in a profoundly theological context! (shrink)

THE SOCRATIC ELENCHUS has the potentiality of occasioning a fundamental reorientation in an individual's values which, using Callicles' image, might even be likened to a moral conversion. In this connection the question arises, what does the individual who would remake himself morally do regarding his past? Should he, for instance, condemn his prior life? Excuse it? Ignore it? It appears that self-blame would be a very natural response on the part of the morally serious person toward the life he led (...) previous to the radical reorientation in his values. I claim that self-blame constitutes an unnoticed problem in the Socratic project of inducing men to pursue virtue. In what follows I sketch out this problem and investigate whether the doctrines commonly associated with Socrates afford him the resources for meeting it. My thesis is that to understand the Socratic treatment of the problem of self-blame we must add to the moral theory traditionally counted as Socratic. But like many would-be innovations, this one turns out to have been before our eyes all along, for it is possible to show that one of the formulations of the Socratic Paradox maps quite satisfactorily onto the terms of the problem of self-blame. Thus, the addition I propose we make to Socratic moral theory is not a new doctrine but a new interpretation of an old doctrine, one which renders a paradox perhaps a little less paradoxical. (shrink)

It is my endeavour in this paper to connect literary and philosophical texts with each other which all articulate the relation of the good sovereign to the supreme god. I try to show that despite the difference in age and genre these texts have some traits in common: the motiv of the eye looking benignly upon and/or bringing fertility to land and people, and the metempsychosis with the arrival of the king from the god and/or his return to the (...) divine sphere. I suggest that the recurrence of these motifs cannot be accidental and might reveal some continuity of tradition. Although the nature of such conceptual development is bound to be very complex and its starting point hard to trace, I nevertheless argue for a Pythagorean origin for the metempsychosis and the eye of the king, attested by Empedocles and Pindar, which mixed with the old belief of the king assuring fertility, as evidenced in Homer. (shrink)

Following the American indie cinema boom of the 1990s and the creation of "specialty" divisions by several Hollywood studios, many predicted an end to both the indie sector's viability and the making of films with ambitions beyond the commercial mainstream. Yet, as Geoff King demonstrates, plenty of distinct indie productions continue to thrive, even in the face of difficult economic circumstances. Recasting the term "indie" to denote a particular form of independent feature production that has risen to prominence in (...) the twenty-first century, King identifies and discusses the new opportunities available to indie filmmakers. These new options and techniques include low-cost digital video and a range of Internet and social-media ventures providing funding, distribution, promotion, and sales. He also covers the ultra-low-budget "mumblecore" movement; the social realism of such filmmakers as Kelly Reichardt and Ramin Bahrani; the "digital desktop" aesthetics of Jonathan Caouette's Tarnation and Arin Crumley and Susan Buice's Four Eyed Monsters ; and the affect of certain dominant discourses, such as the articulation of notions of "true" indie film and its opposition to what some see as the quirky contrivances of crossover hits such as Little Miss Sunshine and Juno. King ultimately locates a strong vein of continuity in indie practice, both industrially and in the textual qualities that define individual features. (shrink)

Your digital camera can do so much! And Digital Photography For Dummies, 6th Edition helps you shoot, edit, and share great photos. This full-color guide is packed with stuff that’s not in your camera manual — tips on upgrading your equipment, working with focus and exposure, shooting like a pro, organizing and enhancing your images, and printing them or getting them online. Are you already you’re hip-deep in images? Here’s how to manage them. This guide helps you learn what you (...) need for the way you take pictures, how to prolong battery life, the pros and cons of digital SLR, and more. Baffled by the lingo? The glossary explains all those terms and acronyms. You’ll also learn to: Set up your camera for basic shooting and learn to use automatic mode, common scene modes, and all the camera’s features Manage depth of field, exposure, and white balance, and make easy fixes with your photo editor Compose your photos for better pictures Easily transfer your pictures to the computer, print them, or distribute them electronically Edit your images and fix common problems like dim photos and red-eye Send photos to a cell phone Organize your pictures so you can find what you want Decide if your camera needs updating, what equipment you need, and what your digital darkroom should have Rich, full-color examples show what you can achieve. Digital Photography For Dummies, 6th Edition will make your digital camera a lot more fun! (shrink)

You've decided to upgrade from your old point-and-shoot by purchasing the compact and economical Nikon D60, an SLR model without all the bulk. Now, make the most of your new digital camera by actually learning how to use all those options and settings! Take advantage of external controls and learn how to navigate the camera menus to fully customize internal options so that you can capture, share, and print photographs like a professional. You'll find out how to understand the controls, (...) navigate the menus, choose your settings, access internal options, and become familiar with automatic modes. You'll learn to use the Image Quality and Image Size settings, which are necessary for both automatic and manual picture-taking. Then, you can easily express your creativity by managing aperture, shutter speed, ISO, and editing your photographs on a computer. You will download photos and print them to share with your friends and family! You will find out how to: Master camera controls Use automatic and manual modes Change, focus, and zoom lenses Adjust picture quality and resolution Manipulate exposure and lighting Work with picture files Print and share photos Complete with lists of ten photo-retouching tricks from repairing red eye to cropping photos and ten special-purpose features you can explore on a rainy day, Nikon D60 For Dummies is your one-stop guide to taking and sharing the pictures like a pro. (shrink)

For more than thirty-five years, the Beatles have credited their musical success to the long hours they spent playing in Hamburg, before they were discovered by Brian Epstein and then the rest of the world. Now it’s the official story: The Beatles Anthology (367 pp. Chronicle Books $60), the group’s collective ‘autobiography’ published October 5th, describes how their musical apprenticeship served on the Reeperbahn produced the sound that defined the 1960s and, arguably, popular music ever since. Told through the words (...) of surviving band members Paul McCartney, George Harrison, and Ringo Starr, supplemented by extensive culling of old interviews with John Lennon, the history of the band is recounted from its beginnings as the Quarrymen in 1957 to the final acrimonious breakup in 1970. Like the television series and CD-sets to which it is a companion, Anthology is meant to be a picture of their life as a band from the inside—what it was like “in the eye of the hurricane,” as McCartney puts it. To hear the Beatles tell it, the seven-hour sets in Hamburg under pressure to “make a show” and bring in customers transformed their music, so much so that when they returned to England after their first stint in Hamburg, the world had its first taste of Beatlemania. Billed as “The Beatles—Direct from Hamburg!”, when they began playing in the Litherland Town Hall in Liverpool (27 December 1960), for the first time the crowd spontaneously rushed the stage in the frenzy that would become familiar in the succeeding years. (shrink)

The target article retains the traditional account of saccades as conjugate eye movements. However, recent single-unit recordings of premotor cells in the saccade pathway (excitatory burster neurons [EBNs]) found that they do not encode conjugate eye velocity, but rather, monocular eye velocity. These data argue against the traditional concept of saccades as inherently conjugate. Instead, they suggest a monocular mechanism in the sensorimotor transformation stage of saccade generation. This commentary will discuss the implications of these data for the saccade generation (...) model proposed in Findlay & Walker's target article. (shrink)

Digital Photo Projects For Dummies presents a unique twist on understanding the basics of digital photography. This full-color book walks you through the most common projects and tasks you’ll encounter in your digital photography activities. The book demonstrates the basics of setting your camera for the best shot before diving into how to improve your photos. Projects include brightening a dark photo, improving focus, getting rid of red-eye, touching up blemishes, creating a collage, adding a photo to a business card, (...) rescuing old or damaged photos, and turning a photo into a piece of artwork ready for framing. This book includes a DVD that contains "screencast" lessons created by the author that let you watch the specific steps of selected projects on your screen while you do them yourself. The DVD also includes trial versions of photo software as well as sample images from the book. (shrink)

Historian James H. Jones published the first edition of Bad Blood, the definitive history of the Tuskegee Syphilis Experiment, in 1981. Its clear-eyed examination of that research and its implications remains a bioethics classic, and the 30-year anniversary of its publication served as the impetus for the reexamination of research ethics that this symposium presents. Recent revelations about the United States Public Health Service study that infected mental patients and prisoners in Guatemala with syphilis in the late 1940s in order (...) to determine the efficacy of treatment represent only one of the many attestations to the persistence of ongoing, critical, and underaddressed issues in research ethics that Bad Blood first explored. Those issues include, but are not limited to: the complex and contested matters of the value of a given research question, the validity of the clinical trial designed to address it, and the priorities of science. (shrink)

In 1536 the English Parliament under pressure from Henry VIII and the Lord Chancellor, Thomas Cromwell, gave its consent for the dissolution of the lesser monasteries and abbeys in the king’s realm, and three years later with the sanction of MPs some of the greater religious houses also suffered the same fate. The principal aim of this paper is to assess the importance of this political decision with a view to examining the progress being made in the field of (...) education in England in the middle of the sixteenth century resultant upon this dissolution. The evaluation of the merits and demerits originating from the suppression of the English monasteries is made in terms of both primary and academic education. The answers to these key questions are preceded by a short analysis of the reputation monasteries and abbeys had acquired by that time. Also on a selective basis, some opinions have been presented here to provide an overall picture of the standing of the monks and nuns and their concomitant activities, as perceived through the eyes of English society; the eminent scholars and humanists in particular. Subsequently, before assessing the consequences resulting from the dissolution of the religious houses in England, some consideration is given to the reasoning and rationale which lay behind both Henry VIII and his Lord Chancellor’s political decisions. (shrink)

In his De Iside et Osiride, Plutarch writes: "The Chaldaeans call two of the planets, which they consider benign gods, the authors or sources of everything that is good, two, on the other hand, the authors or sources of everything that is evil, and the three remaining planets they regard as being 'in between,' participating in the two opposite qualities.... It is worthwhile also to observe that the [Greek] philosophers are in accord with the Chaldaeans. For this reason Heraclitus [of (...) Ephesus] declared 'war the father, king and ruler of everything....' After him Empedocles designates the benign principle as 'love and friendship,' and at times as 'the harmony of the serene eye,' while at the same time he defines the evil principle as 'the cursed discord' and 'the bloody struggle....' Aristotle [by following this tradition] proclaims the [principle of] form and [the principle of] privation....". (shrink)

The ArgumentThis essay describes the emergence and stabilization in French and English experimental accounts, in second half of the seventeenth century, of the narrative sequence: X did (some process in the laboratory) and X saw (something happen), where X stands for a pronoun, I or we in English,je, nousoronin French. Focussing on the French case, it shows how the use of the collective pronounonin the experimental accounts registered in the files of the Académie des Sciences is directly related to the (...) will of this newly created institution to assert a collective authority on the production and legitimization of experimental matters-of-fact produced in the laboratory. It is argued, through the case of the discovery of the blind spot in the eye by Mariotte, that this new narrative form imbeds a construal of the experiment as a public spectacle, and of the proof as a witnessing event, which eludes the Academy's attempts to monopolize the process of fact validation and favors the diffusion and display of experiments in front of larger audiences. The question of whether a privileged witness such as the King of France who patronized the Academy could not have constituted by himself a suitable audience to ensure a full legitimization of experimental matters-of-fact while remaning within the bounds of academic practices is addressed. It is answered in the negative by providing evidence for the lack of interest of the absolute monarch in experiments. On the other hand, the outdoor practices of observation and measurement are shown to interfere in a constructive manner with the absolutist power and to capture the attention of the absolutist monarch, where laboratory experiments had failed. It is proposed that natural philosophers in the early modern period bear the burden of proof in buying credibility for the phenomena they try, by paying a tribute to the standing of the patrician elites that witness their experiments. This makes sense in a straightforward manner of the lack of interest of the King of France in a practice which exalts the power of the very group he is trying hard to control through the absolutist structure of power. (shrink)

The great majority of phenotypic characteristics are complex traits, complicating the identification of the genes underlying their expression. However, both methodological and theoretical progress in genome‐wide association studies have resulted in a much better understanding of the underlying genetics of many phenotypic traits, including externally visible characteristics (EVCs) such as eye and hair color. Consequently, it has become possible to predict EVCs from human samples lacking phenotypic information. Predicting EVCs from genetic evidence is clearly appealing for forensic applications involving the (...) personal identification of human remains. Now, a recent paper has reported the genetic determination of eye and hair color in samples up to 800 years old. The ability to predict EVCs from ancient human remains opens up promising perspectives for ancient DNA research, as this could allow studies to directly address archaeological and evolutionary questions related to the temporal and geographical origins of the genetic variants underlying phenotypes. (shrink)

Thoughts and theoretical reflections about “governance” in Islamic society, whether theorizing about the desired structure of government or describing the characteristics of an ideal ruler, is one of the most important topics studied in the field of political thought and philosophy in Islam, to which great names such as Farabi, etc. are connected. In this context, this research, through a comparative approach, seeks to examine and analyze the views of Farabi and Sohrawardi about the ideal ruler from the perspective of (...) a judicial approach. Based on such an approach, a philosopher like Farabi considers the different ways of connecting to the active intellect as the separation of the theoretical intellect from matter and the connection to the active intellect, and a divine sage like Sohrawardi also speaks of the separation of the theoretical intellect and the separation of the power of imagination, which is manifested in a prophet. In the eyes of both thinkers, human reason has the ability to overcome material existence. This type of excellence is a condition for achieving complete metaphysical knowledge and theoretical perfection. The ultimate happiness is the achievement of the active intellect. “The Absolute First Leader” and “Quṭb (Imam or pole)” have both achieved this position. Introduction The ideal government and ruler, in the system of Islamic philosophy, are based on the approach of philosophers to wisdom and their opinions and ruling foundations. The philosophers’ approach to wisdom and intellect in the system of Islamic philosophy has changed and developed from Farabi to Sohrawardi and later. Based on this change in the method and approach to wisdom of the sages, philosophical issues and topics including the issue of government and the ideal ruler, have also undergone changes and transformations. Despite the significant evolution of Islamic philosophy in the two Peripatetic and Illuminative systems, it seems that the ideal ruler in Sohrawardi’s philosophy, which he refers to as “the pole/Imam (quṭb),” is compatible with the first leader of al-Farabi’s utopia. The problem of this research is to investigate the characteristic features of “Qutb” and “First Leader/Philosopher” in the Peripatetic and Illuminative systems of philosophy based on Sohrawardi and Farabi’s approach to wisdom and its types. “Qutb” in Sohrawardi’s thought In the wisdom of enlightenment, the perfect human being and the “Qutb” to whom the position of caliph belongs, is perfect in intuitive and argumentative wisdom, and in other words, he is both adept in reflection and adept in discussion. In Sohrawardi’s thought, the rulers must know wisdom as well be practical wayfarers, that is, they must possess a combination of theoretical and practical wisdom. On the one hand, Sohrawardi’s theory is influenced and consistent with Plato’s theory, both of which emphasize the “ruling sage,” and on the other hand, it is influenced by the Iranian tradition and the benefit of the ideal kings from wisdom and intellect, and “Khurra-yi Kiani”1 and the approval of God, which is in the interpretation Religious and close to Sufism and Shiism, it is interpreted as Qutb and divine sage. A Qutb or an Imam is one who is connected with the active intellect, receives grace from the higher realm, and spreads goodness, prosperity, knowledge, justice, and virtue among religions with a divine plan. “The First Leader” in Farabi’s thought The First Leader is someone who does not need the guidance of another human being; rather, all sciences and knowledge are obtained by him in esse and he is able to infer appropriate actions and behavior from general reasoning. He can also best guide others to perform these meritorious deeds; the same actions and actions that bring a person to happiness. These abilities are realized in people of great and outstanding nature by connecting to the active intellect. Such a person, in fact, in the eyes of the ancients, is a king and ruler and worthy of revelation. The rule of such a person is the first rule and his leadership is the first leadership, and the rule of others that is through his rule will be the subordinate rule, and people under the rule of this leader and leader are virtuous people, the chosen ones, and the fortunate ones. Conclusion In examining and comparing the two viewpoints, it should be said that a philosopher like Farabi considers the different ways of connecting to the active intellect to be the separation of the theoretical intellect from matter and the connection to the active intellect, and a Godly sage like Sohrawardi also speaks of the separation of the theoretical intellect and the power of imagination, which manifests itself in a prophet, where we witness detachment from matter and the ability to remove the soul from the body. In the eyes of both thinkers, human reason has the ability to overcome material existence. This type of excellence is a condition for achieving complete metaphysical knowledge and theoretical perfection. The ultimate happiness is the achievement of the active intellect.”First Leader”and “Qutb” have both achieved this position. Based on this, the complete transcendence of material existence is possible for certain people. (shrink)

Philosophy, science, and common sense all refer to propositions--things we believe and say, and things which are true or false. But there is no consensus on what sorts of things these entities are. Jeffrey C. King, Scott Soames, and Jeff Speaks argue that commitment to propositions is indispensable, and each defend their own views on the debate.

Panopticism is commonly taken to rely on something like a panoptic gaze – a reading of Foucault which still prevails in the discussion of today’s surveillance technologies in the wake of Surveiller et punir. In my re-reading of the relevant chapters of Foucault’s book I argue that the gaze does not occupy a central role in the techniques of discipline and power that Foucault describes. Quite to the contrary, Foucault analyses virtualization and automatization procedures that – after cutting off of (...) the King’s head – invert and eliminate the sovereignty of the gaze as well: they also rip out the sovereign’s eye. Surveiller et punir thus should be read as a book about a certain eyelessness of the modern political. Where truly modern power is assumed to be, there is nothing to be seen. This also means that panopticism does not provide a master key to understand digital technologies of power. (shrink)

Completing the translation of Derrida's monumental work _Right to Philosophy_, _Eyes of the University_ brings together many of the philosopher's most important texts on the university and, more broadly, on the languages and institutions of philosophy. In addition to considerations of the implications for literature and philosophy of French becoming a state language, of Descartes' writing of the _Discourse on Method_ in French, and of Kant's and Schelling's philosophies of the university, the volume reflects on the current state of research (...) and teaching in philosophy and on the question of what Derrida calls a "university responsibility." Examining the political and institutional conditions of philosophy, the essays collected here question the growing tendency to orient research and teaching towards a programmable and profitable end. The volume is therefore invaluable for the light it throws upon an underappreciated aspect of Derrida's own engagement, both philosophical and political, in struggles against the stifling of philosophical research and teaching. As a founding member of the Research Group on the Teaching of Philosophy and as one of the conveners of the Estates General of Philosophy, Derrida was at the forefront of the struggle to preserve and extend the teaching of philosophy as a distinct discipline, in secondary education and beyond, in the face of conservative government education reforms in France. As one of the founders of the Collège International de Philosophie, he worked to provide a space for research in and around philosophy that was not accepted or legitimated in other institutions. Documenting and reflecting upon these engagements, _Eyes of the University_ brings together some of the most important and incisive of Derrida's works. (shrink)

For centuries it has been assumed that democracy must refer to the empowerment of the People's voice. In this pioneering book, Jeffrey Edward Green makes the case for considering the People as an ocular entity rather than a vocal one. Green argues that it is both possible and desirable to understand democracy in terms of what the People gets to see instead of the traditional focus on what it gets to say. The Eyes of the People examines democracy from the (...) perspective of everyday citizens in their everyday lives. While it is customary to understand the citizen as a decision-maker, in fact most citizens rarely engage in decision-making and do not even have clear views on most political issues. The ordinary citizen is not a decision-maker but a spectator who watches and listens to the select few empowered to decide. Grounded on this everyday phenomenon of spectatorship, The Eyes of the People constructs a democratic theory applicable to the way democracy is actually experienced by most people most of the time. In approaching democracy from the perspective of the People's eyes, Green rediscovers and rehabilitates a forgotten "plebiscitarian" alternative within the history of democratic thought. Building off the contributions of a wide range of thinkers--including Aristotle, Shakespeare, Benjamin Constant, Max Weber, Joseph Schumpeter, and many others--Green outlines a novel democratic paradigm centered on empowering the People's gaze through forcing politicians to appear in public under conditions they do not fully control. The Eyes of the People is at once a sweeping overview of the state of democratic theory and a call to rethink the meaning of democracy within the sociological and technological conditions of the twenty-first century. In addition to political scientists and students of democracy, the book likely will be of interest to political journalists, theorists of visual culture, and anyone in search of political principles that acknowledge, rather than repress, the pathologies of political life in contemporary mass society. (shrink)

Essays covering a wide range of subjects: spiritual symbolism, the afterlife, and more.

Orientalism and Religion offers us a timely discussion of the implications of contemporary post-colonial theory for the study of religion. Drawing on a variety of post-structuralist and post-colonial thinkers, including Foucault, Gadamer, Said, and Spivak, Richard King examines the way in which notions such as mysticism, religion, Hinduism and Buddhism are taken for granted, and shows us how religion needs to be redescribed along the lines of cultural studies.

At the end of the sixteenth century, a new conception of history appeared that Jean Bodin theorized in France as geographistory. Building on the discoveries of the New World and the subsequent onset of globalization, and drawing on Polybius’s Histories as well as Stoic cosmopolitanism, geographistory aimed to impose a coherent and authentic order (“metre en ordre des choses tant désordonnees”) on the puzzle of fortuitous historical events by appealing to the immanent and material nature of things, presented as a (...) kind of Fortune through which events would realize their universal telos. Configured after the model of the destiny of the Roman Empire, which at his apogee dominated all the world urbi et orbi, the growing world’s unity and universality would therefore providentially substitute for both God’s miraculous intervention and the Aristotelian epic hero’s action; which had failed in the eyes of Calvinists because of the historic fiasco of King Henri IV. In that respect, the poet Agrippa d’Aubigné hoped, with his Histoire universelle, to endow history with a new direction and progress (as Bacon and, still later, Bossuet will do) by methodically combining the parameters of time and space, in the manner of panoptic and rotating Baroque perspective. (shrink)

What makes for a good education? What does one need to count as well-educated? Knowledge, to be sure. But knowledge is easily forgotten, and today's knowledge may be obsolete tomorrow. Skills, particularly in critical thinking, are crucial as well. But absent the right motivation, graduates may fail to put their skills to good use. In this book, Nathan King argues that intellectual virtues-traits like curiosity, intellectual humility, honesty, intellectual courage, and open-mindedness-are central to any education worthy of the name. (...) Further, such virtues are crucial to our functioning well in everyday life, in areas as diverse as personal relationships, responsible citizenship, civil discourse, and personal success. Our struggles in these areas often result from a failure to think virtuously. Drawing upon recent work in philosophy and psychology, King paints a portrait of virtuous intellectual character-and of the vices such a character opposes. Filled with examples and applications, this book introduces readers to the intellectual virtues: what they are, why they matter, and how we can grow in them. (shrink)

This article offers a reading of the “transcendental” character of Alain Badiou’s and Giorgio Agamben’s ontologies. While neither Badiou nor Agamben are “transcendental” philosophers in the Kantian sense, this article argues that their respective projects of ontology both recover aspects of the “classical” conception of the transcendentals. Not unlike how pre-modern philosophers conceived of oneness, truth and goodness as transcendental properties of all things, both Badiou’s and Agamben’s ontologies present various structures which can be universally predicated of all being. However, (...) as opposed to the essentialist or even theological tendencies of traditional metaphysics, Badiou’s and Agamben’s ontologies are committedly “inessential” and atheistic at their very core. By replacing the divine names of the one, the true and the good in traditional metaphysics with a new yet quasi-classical transcendental notion of “the void” as a universal predicate of all beings, Badiou’s and Agamben’s works may be regarded as projects that go beyond both the pre-Kantian “theological” and the post-Kantian “subjective” conceptions of transcendental philosophy, thereby marking a new development in the history of western metaphysics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Eye of the Beholder: Deformity and Disability in the Graeco-Roman WorldThomas A. J. McGinnRobert Garland. The Eye of the Beholder: Deformity and Disability in the Graeco-Roman World. Ithaca: Cornell University Press, 1995. xviii + 222 pp. 64 pls. Cloth, $39.95.Recent years have witnessed increased attention among ancient historians in the subject of marginal types. What is new is not so much the unearthing of evidence, most of (...) which has long been available though not always easily accessible in the works of antiquarians, but the sophistication of method and the vigor of approach spurred by developments in the social history of more recent periods.An incomplete notice might include the studies devoted to gladiators (Wiedemann) and actors (Leppin, Ducos), Roman slaves (Bradley), so-called humiliores (Rilinger), leistai, mercenaries, and traders in fourth-century Greece (McKechnie), blacks in the Roman world (Thompson), and dwarfs in Egypt and Greece (Dasen).What is common to most or all of these efforts is a tight focus limited to one society, a narrowly-framed period of time, and/or a well-defined group. This narrow approach is not at all surprising, given the fact that the sources are scattered and composite, and demand a wide range of expertise in their treatment. A general study of the situation of the deformed and disabled in antiquity is then an all the more welcome addition to this trend in scholarship, though the true test of its usefulness will be its ability to confront successfully this central challenge posed by the sources.The book under review deserves praise for attempting to fill this need. There are undeniable advantages to the panoptic approach. The book calls attention to the value of evidence that is easily ignored: two prominent examples are the visual arts and physiognomy. Among its other virtues is a valuable demonstration of how ridicule is employed as a “marginalizing” device. The introduction is in some ways exemplary for its lucid emphasis on the difficulties of the enterprise. Unfortunately, such caution is fully justified by the result. This review argues two points: that a synthesis of this subject is as yet premature and that future studies should avoid wedding themselves as directly to modern concerns as this one does.A list of the chapter-headings shows that the book is organized thematically: “Survival of the Weakest,” “Half-Lives,” “The Roman Emperor in His Monstrous World,” “The Deformed and Divine,” “Deriding the Disabled,” “The Physiognomic Consciousness,” “Images of the Deformed,” “Medical Diagnosis and Treatment,” “Towards a Teratology,” and “Racial Deformity.” The chapters are bracketed by an Introduction and Conclusion, and followed by a Glossary, Notes, Bibliography, Index Locorum, and General Index. Plates with sixty-four illustrations complement the presentation of visual evidence in the text.The author sets himself a double aim (xii–xiii). One goal is to study the social [End Page 667] and economic conditions governing the existence of the deformed and disabled, and further to attempt to establish to what extent the ancients developed a teratology—the study of the causes of congenital deformity. The other purpose lies in the author’s desire to contribute a personal perspective, one avowedly shaped by the passage in 1990 of the Americans with Disabilities Act (ADA).The forthright assertion of modern—and deeply personal—concerns is a hallmark of this work. As the title suggests, this is a subjective evaluation of the ancient evidence. It will come as no surprise that, when measured by the author’s standard, that of the ADA, the Greeks and particularly the Romans fall short of the mark. Unfortunately, the successful pursuit of this second goal spoils the fruits of the first. In brief, the author displays a pronounced inclination to moralize, which reduces the power of his work.In a similar way, the breadth of approach ultimately defeats its own purpose. The challenge of the sources—confronted with honesty by Garland in his introductory chapter—is exacerbated to an unacceptable degree by his refusal to define carefully what he means by “deformed” and “disabled” (see 5–7). There are also various infelicities of treatment, especially though not exclusively on the Roman side, which might have been avoided... (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)

Tasan Chong Yagyong (1762-1836) is one of the most creative thinkers Korea has ever produced, one of the country's first Christians, and a leading scholar in Confucian philosophy. Born in a staunchly Neo-Confucian society, in his early twenties he encountered writings by Catholic missionaries in China and was fascinated. However, when he later learned that the Catholic Church condemned the Confucian practice of placing a spirit tablet on a family altar to honor past generations, he left the small Catholic community (...) he had helped found and ostensibly returned to the Neo-Confucian fold. Nevertheless, the Christian ideas he studied in his youth influenced his thinking for the rest of his life, stimulating him to look at Neo-Confucianism with a critical eye and suggest new solutions to problems Confucian scholars had been addressing for centuries. A Korean Confucian's Advice on How to Be Moral is an annotated translation of Tasan's commentaries on the Confucian classic Zhongyong (usually translated as The Doctrine of the Mean) in which he applies both Confucianism and Christianity to the question of how to best develop a moral character. Written as a dialogue with King Chongjo, (r. 1776-1800) these texts reveal how Tasan interpreted his Confucian tradition, particularly its understanding of how human beings could cultivate morality, while the king's questions illustrate the mainstream Neo-Confucianism Tasan was reacting against. Tasan challenged the non-theistic standard, insisting that living a moral life is not easy and that we need to be motivated to exert the effort necessary to overcome our selfish tendencies. He had abandoned his faith by the time he wrote these commentaries but, influenced by Catholic works and determined to find a more effective way to live a moral life than non-theistic Neo-Confucianism provided, Tasan constructed a Confucian philosophy of moral improvement centered on belief in God. This translation, helpfully annotated for context and analysis, is an exploration of early Korean engagement with the West and a powerful guide to all those interested in Confucianism, Christianity, and morality. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...) courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

Biomedical research is increasingly globalized with ever more research conducted in low and middle-income countries. This trend raises a host of ethical concerns and critiques. While community engagement has been proposed as an ethically important practice for global biomedical research, there is no agreement about what these practices contribute to the ethics of research, or when they are needed.

This study examines values and value types as well as scores in levels of moral reasoning for␣students enrolled in a business program. These two factors are measured using the Schwartz Personal Values␣Questionnaire and the Defining Issues Test 2. No statistically significant differences in levels of moral␣reasoning, rankings of values, and value types could be attributed to gender. However, eight significant correlations between value types and levels of moral reasoning provide evidence that a systematic relationship exists. The relationships are not only (...) internally consistent but also consistent with the model of values based on motivational goals (Schwartz S. H. and K. Boenke: 2004, Journal of Research in Personality, 38 230–255). (shrink)

As concerns about the negative health effects of unhealthy eating, overweight and obesity have increased, so too have policy efforts to promote healthy eating. Federal, state, and local governments have proposed and implemented a variety of healthy eating policies. Many of these policies are controversial, facing objections that range from the practical (e.g., the policy won’t succeed at improving people’s diets) to the ethical (e.g., the policy is paternalistic or inequitable). Especially controversial have been policies limiting the options offered in (...) the marketplace, limiting access to certain options, or providing disincentives for the purchase of certain options. Examples of such policies include proposed .. (shrink)

Richly informed by readings of Heidegger, Derrida, and Blanchot, the author argues that the notion of responsibility at the heart of Levinas's notion of ethics is intimately dependent upon his account of death.

Imagine you are casually browsing an online bookstore, looking for an interesting novel. Suppose the store predicts you will want to buy a particular novel: the one most chosen by people of your same age, gender, location, and occupational status. The store recommends the book, it appeals to you, and so you choose it. Central to this scenario is an automated prediction of what you desire. This article raises moral concerns about such predictions. More generally, this article examines the ethics (...) of artificial social cognition—the ethical dimensions of attribution of mental states to humans by artificial systems. The focus is presumptuous aim attributions, which are defined here as aim attributions based crucially on the premise that the person in question will have aims like superficially similar people. Several everyday examples demonstrate that this sort of presumptuousness is already a familiar moral concern. The scope of this moral concern is extended by new technologies. In particular, recommender systems based on collaborative filtering are now commonly used to automatically recommend products and information to humans. Examination of these systems demonstrates that they naturally attribute aims presumptuously. This article presents two reservations about the widespread adoption of such systems. First, the severity of our antecedent moral concern about presumptuousness increases when aim attribution processes are automated and accelerated. Second, a foreseeable consequence of reliance on these systems is an unwarranted inducement of interpersonal conformity. (shrink)

The aim of this work is to analyze the constitution of a new collective subject thanks to wearable computers. Wearable computers are emerging technologies which are supposed to become pervasively used in the near future. They are devices designed to be on us every single moment of our life and to capture every experience we have. Therefore, we need to be prepared to such intrusive devices and to analyze potential effect they will have on us and our society. Thanks to (...) a phenomenological and postphenomenological analysis, we will show how these technologies are able to generate a new collective subject with its different collective needs and appetites by merging the living body of many subjects into one. The world becomes dwelled by these new collective subjects, and we will feed their own peculiar needs. (shrink)

Immanuel Kant promised, ‘as Your Majesty's loyal subject’, to abstain from all public lectures about religion. All past commentators agree this phrase permitted Kant to return to the topic after the King died. But it is not part of the ‘at-issue content’. Consequently, ‘as Your Majesty's loyal subject’ is no more an escape clause than the corresponding phrase in ‘I guarantee, as your devoted fan, that these guitar strings will not break’. Just as the guarantee stands regardless of whether (...) the guarantor ceases to be your devoted fan, the compliance conditions of Kant's promise are not affected by Kant's ceasing to be the king's loyal subject. For good or ill, Kant made a lying promise to King Friedrich Wilhelm II in 1794. (shrink)

In the modern age, the hermeneutics of the sacred text knows a differentiated approach, defined by the belonging to a certain school or exegetic group, researchers being more and more interested from an analytic point of view in the strong connection between history and theology, in its phenomenology. For specialized research, the interdisciplinary approach introduces new and surprising perspectives to the results, as the thematic of the Psalms underlines not only the interest rejoiced of by the fascinating Hebrew poetics, but (...) also the analytic interest in their complexity, and most of all in the divine message, the historical, social and economic context in which they were written. (shrink)