The recent emergence of reprogramming technologies to convert brain cell types or epigenetically alter neurons and neural progenitors in vivo and in situ hold significant promises in brain repair and neuronal aging reversal. However, given the significant epigenetic and transcriptomic changes to components of the existing neuronal cells and network, we question if these reprogramming technology might inadvertently alter or erase memory engrams, conceivably resulting in changes in narrative identity or personality. We suggest that the nature of these alterations (...) might be less predictable compared to memory and personality changes known to be associated with diseases, drugs or brain stimulation therapies. While research in applying reprogramming technologies to neurological ailments and aging should continue, more targeted analyses should be put in place in animal experiments to gauge the severity and degree of memory alterations, and appropriate risk and benefit analyses should be conducted before these technologies move into human trials. (shrink)

L’exposition d’art dans des paysages est devenu populaire au Japon, avec la multiplication récente de festivals d’art locaux. Dans ces festivals, qui attirent chacun des centaines de milliers de visiteurs, coexistent des œuvres hétérogènes. Certaines sont des sculptures autonomes, d’autres des installations qui se fondent dans le paysage, et d’autres encore sont des œuvres de type « art relationnel ». Bien que ces œuvres in situ affirment leur lien essentiel avec le site naturel rural et avec le corps du (...) spectateur — constituant un événement, une expérience, une rencontre éphémère —, les relations avec le site comme avec le visiteur sont complexes et ambigües. Il y a des œuvres in situ, mais parfois aussi in aliquo situ : des œuvres qui peuvent être installées n’importe où. Qu’est-ce qui attire les visiteurs dans ces expositions? Quels sont donc la nature et le mérite de leur localisation? Si les visiteurs apprécient de voir des œuvres dans ces paysages cela peut être en partie lié au principe japonais traditionnel d’expérience des lieux dit meisho-meguri, ou « pèlerinage vers des sites célèbres ». Cette pratique issue du Moyen Âge est associée historiquement au sacré. Aujourd’hui ce pèlerinage prend la forme du tourisme moderne mais conserve un sens traditionnel invisible car les visiteurs se déplacent à travers une série de lieux géographiques selon un jeu culturellement codé. Selon nous, dans le cas des visites d’œuvres d’art en zones rurales, l’appréciation des œuvres d’art participe à ce même jeu traditionnel de se déplacer physiquement dans une série de lieux. Cette dimension spirituelle implicite modifie à son tour la perception des œuvres. Ainsi on dira que la pratique japonaise de visiter ces expositions d’art in situ témoigne de la survivance d’une tradition, et constitue ainsi un système alternatif d’expérience esthétique. The installations of artwork in natural landscapes have become popular in Japan with the recent increase in local art festivals. In these art festivals where hundreds of thousands of visitors gather, heterogeneous installations coexist; some are autonomous sculptures, some are fused into the natural landscape, and some belong to “relational art”. Although most works assert the essential quality of their location, and the experience as “an event”, their relationships to the rural areas and to the body of the visitor are complex and ambiguous. Some works are really in situ, but some are in aliquo situ—that is, works that could be installed anywhere. What attracts visitors to these exhibitions? Hence what is the nature and merit of the location? What is the relation to the visitor’s bodily presence? If visitors enjoy the site-specificity of the artwork this may be linked to the traditional Japanese system of experiencing places as meisho-meguri—i.e. “a pilgrimage to a series of famous sites”. This practice comes from the Middle Ages and was by then spiritual. While today these pilgrimages appear as a form of modern tourism, they retain a culturally coded character because visitors’s journey is like “a game of visiting a series of geographical places”. According to me, in the case of the visit of artistic sites, the appreciation of the artwork participates in this same game of bodily displacement to a series of places. This implicit spiritual underpinning conversely modifies the visitor’s perception of the works. Thus I propose that visiting artistic sites in natural settings in Japan appears as informed by this Japanese particular tradition, and thus constitutes an alternative system of contemporary aesthetic experience. (shrink)

Produites entre 1967 et 1974, les Organisations d’espaces de Jean-Michel Sanejouand constituent un exemple d’installations avant la lettre. Les définissant en opposition par rapport aux pratiques artistiques traditionnelles, notamment la sculpture, leur auteur a l’ambition d’induire de nouvelles relations entre l’intervention artistique, l’espace qui l’accueille et les personnes qui en font l’expérience. Notre analyse se propose d’exposer de quelle façon ces relations sont mises en œuvre par l’artiste et de pointer leurs singularités. Il s’agit d’abord de revenir sur les circonstances (...) qui amènent Sanejouand à faire du rapport à l’espace la donnée centrale de ses interventions et à tourner le dos à la production d’œuvres autonomes déplaçables au profit d’une pratique in situ. Ensuite, l’investigation porte sur les qualités des matériaux présents dans les Organisations d’espaces et sur la manière dont l’artiste les utilise. Si certains matériaux sont présents antérieurement dans son œuvre, nous montrons comment l’artiste cherche désormais à déplacer l’attention de l’objet vers ce que celui-ci révèle ou perturbe dans le lieu où il prend place. L’observation menée permet ainsi de mettre en lumière une différence qualitative dans la prise en compte du lieu au sein des Organisations d’espaces, par rapport aux œuvres précédentes de l’artiste. Enfin, l’action menée sur le lieu et son but sont interrogés. La volonté de Sanejouand de désaliéner l’individu permet de comprendre pourquoi celui-ci conçoit les Organisations d’espaces comme des expériences perceptives qui font des lieux et de leur stabilité des espaces, pour reprendre les distinctions posées par Michel de Certeau. Produced between 1967 and 1974, Jean-Michel Sanejouand’s Organisations d’espaces are an example of installation art before the term existed. Defining them in opposition to traditional artistic practices, especially sculpture, their author has the ambition to induce new relationships between the artistic intervention, the space that welcomes it and the people who experience it. Our analysis proposes to expose how these relationships are implemented by the artist and to point out their singularities. First of all, it is a question to return to the circumstances that lead Sanejouand to make the relationship with space the heart of his interventions and to turn his back on the production of autonomous works that can be displaced in favor of a site-specific practice. Then, the investigation focuses on the qualities of the materials present in the Organisations d’espaces and on the way in which the artist uses them. If some materials are previously present in his work, we show how the artist now seeks to shift the attention of the object towards what it reveals or disturbs in the place where it takes place. The observation carried out thus provides the possibility to highlight a qualitative difference in the way Organizations d’espaces take into account the places, compared to the previous works of the artist. Finally, the action carried out on the place and its purpose are questioned. Sanejouand’s desire to de-alienate the individual makes it possible to understand why he conceives Organisations d’espaces as perceptive experiences that turn places and their stability into spaces, to use the distinctions put forward by Michel de Certeau. (shrink)

Unlike adjunct wh’s-in-situ, argument wh’s-in-situ do not seem to be subject to island constraints in Chinese and other East Asian languages. This difference in island sensitivity between argument and adjunct wh’s-in-situ is known as argument–adjunct asymmetry in the theoretical literature. Recently, this long-established asymmetry is challenged by a formal judgment study. It was claimed in the study that this asymmetry is an illusion and both argument and adjunct wh’s-in-situ are subject to island constraints. The present study (...) demonstrates that such a claim is not convincing because it is based on problematic experimental design. We designed two experiments to test the island effects on Chinese wh’s-in-situ. The results reaffirm that the argument–adjunct asymmetry in Chinese wh’s-in-situ is indeed present, contrary to the findings of previous formal judgment study, and they also corroborate our assumption that when object wh’s-in-situ like shénme ‘what’ are located inside a relative clause, they are subject to a pragmatic constraint, suggesting that the VP in the relative clause tends to describe the prominent/salient feature of the relativized nominal head. (shrink)

This article examines the particular aesthetic experience brought about by soundwalks. In each case, the point of departure is the phenomenological analysis of two case study: Janet Cardiff’s Walks and the audio-tours Remote x by Rimini Protokoll. Drawing upon Husserl and Merleau-Ponty, I will examine the conflicts of perception and the peculiar shift from one order of perception to another that punctuate the spectator’s walking, as well as the intertwining of the real and the imaginary coming into being in such (...) performances and experienced at the very level of his bodily inscription in space. More specifically, my aim is to address the challenge that the aesthetic experience here in question sets to Husserl’s phenomenology of perception and to show how the extension of the notion of perception achieved by Merleau-Ponty makes it possible to overcome the paradox. (shrink)

Cet article explore l’expérience esthétique particulière que nous procurent les promenades sonores. En partant d’une étude d’un cas paradigmatique – les tournées audio Remote X du collectif Rimini Protokoll – et par le biais d’une réflexion sur la perception opérant à partir de Husserl et Merleau-Ponty, je m’intéresse en particulier aux renversements perceptifs qui émaillent le parcours déambulatoire du spectateur ainsi qu’au brouillage entre le réel et l’imaginaire, qu’il éprouve au niveau même de son inscription corporelle dans l’espace. Une telle (...) approche mène à la conclusion que la notion de perception synesthésique offerte par Merleau-Ponty permet non seulement de dépasser le défi posé à la théorie husserlienne de l’imagination ( phantasia ) par l’expérience esthétique ici en question, mais aussi et, de surcroît, de penser le paradoxe d’une affinité du divers sensoriel qui affleure dans les performances contemporaines lorsque de multiples dispositifs médiatiques sont en jeu. (shrink)

This study uses panel data to investigate the different roles of the Chinese government in influencing companies’ decision making about corporate environmental reporting (CER) via a two-stage process. The results show that the Chinese government appears to mainly influence the decision whether to disclose or not, but has limited influence on how much firms disclose. The results also show that the traditional model of authoritarian capitalism (under which state-owned enterprises [SOEs] are the major governance arrangement) is transforming into a new (...) model. In the new model of authoritarian capitalism, the Chinese government uses newer, more sophisticated tools to manage both state-owned and non–state-owned companies. In addition, these new governance arrangements appear to be more efficient than the traditional model. The findings of this study have implications for both the Chinese government and for Chinese companies, as well as making important contributions to the literature and knowledge of CER in China. (shrink)

Drawing on John Dewey and the later Ludwig Wittgenstein, this book employs philosophy as a conceptual resource to develop new methodological and analytical tools for conducting in situ empirical investigations. Chapter one explores the philosophies of Wittgenstein and Dewey. Chapter two exposits Deweyan ideas of embodiment, the primacy of the aesthetic encounter, and aesthetically expressive meaning underdeveloped in Wittgenstein. Chapter three introduces the method of practical epistemological analysis and a model of situated epistemic relations to investigate the learning of (...) body techniques in dinghy sailing. The concluding chapter introduces a model of situated artistic relations to investigate the learning of artistic techniques of self-expression in the Swedish sloyd classroom. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, (...) utilizing a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by administered pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art pieces. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a range of activities (...) and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a range of activities (...) and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

We examined nurses’ perceptions of the ethical climate of their workplace and the relationships among the perceptions, medical error experience and intent to leave through a cross-sectional survey of 1826 nurses in 33 Korean public hospitals. Ethical climate was measured using the Hospital Ethical Climate Survey. Although the sampled nurses perceived their workplace ethical climate positively, 19% reported making at least one medical error during the previous year, and 25% intended to leave their jobs in the near future. Controlling for (...) individual and organizational characteristics, we found that nurses with a more positive perception of the ‘patient’ dimension of ethical climate were less likely to have made medical errors. Nurses with a more positive perception of the ‘patient’, ‘manager’, ‘hospital’ and ‘physician’ dimensions of ethical climate were less likely to leave their current job. Enhancing workplace ethical climate could reduce medical errors and improve nurses’ retention in public hospitals. (shrink)

The author recounts his experience with an uDCD program that ran for three years at the Washington Hospital I Center in Washington, D.C. in the 1990s. Challenges, I benefits, and lessons learned are considered in depth. A I primary focus is the importance of community education, Organ Procurement Organization support, and the need for immediate in-situ preservation of organs.

Biobanking in Europe has made major steps towards harmonization and shared standards for the collection and processing of data and samples stored in biobanks. Still, biobanks and researchers face substantial legal difficulties in the field of data protection and sample management. Data protection law was harmonized almost 15 years ago while rights in samples fall under the competence of the Member States of the EU. Despite the Data Protection Directive the field of data protection shows a substantial degree of deviation (...) as public health was excluded from the harmonization. Biobanks seem to have substantially fewer difficulties to cope with in terms of the legal requirements in the field of sample management. This paper discusses the legal framework, experiences of different biobanks in Europe and potential ways forward. It also highlights the need for a health economic analysis of the costs and benefits of privacy protection in Europe. At the moment, policymakers seem to build their decisions on an insufficient evidence base which underestimates the potential value of biobanks for European public health. Within the past few years little progress has been achieved with regards to the development of a unified legal framework in Europe, The diversity in the legal system is also reflected in the different approaches of ethics committees towards biobanking. To secure the responsible and effective use of data and samples, more efforts are needed to come up with pathways for a solution. (shrink)

It is the aim of this paper to assess Levinas’s criticism of Husserl’s concept of evidence. In Sect. 1, I will summarize Levinas’s criticism of Husserl’s concept of evidence. In Sect. 2, I will delineate Husserl’s concept of experience and in Sect. 3, I will try to define the concept of evidence in Husserl. In Sect. 4–6, I will assess Levinas’s criticism of Husserl’s concepts of evidence and show that Levinas’s criticism of Husserl’s concept of evidence is out of the (...) mark, since it is based on a total misunderstanding of Husserl’s concepts of evidence. (shrink)

In emphasising improvement, smooth coping and success over variability and regression, skill theory has overlooked the processes performers at all levels develop and rely on for managing bodily and affective fluctuations, and their impact on skilled performance. I argue that responding to the instability and variability of unique bodily capacities is a vital feature of skilled action processes. I suggest that embodied intelligence – a term I use to describe a set of abilities to perceptively interpret and make use of (...) information from body, mind, environment and task requirements, and to modulate one’s focus, awareness and action strategies accordingly – is critical for performing well-learned skills in vulnerable situations. It is critical for staying safe. To investigate these components of skilled action, I employ a cognitive ethnographic method, combined with apprenticeship on the static trapeze, to produce two ‘experience near’ case studies. These document in-situ experiences of awareness, self-regulation and embodied intelligence. Both reveal strong connections between a reflective awareness of bodily vulnerability and variability, and self-regulatory processes – specifically, the down- and up-regulation of anxiety. I then reflect on these case studies in relation to a prospective sense of agency, the awareness of control acts that may lead to performance outcomes. With increased clarity on these features of embodied intelligence and attention during action, other researchers can build on this study to further probe and map the maintenance and functions of embodied intelligence in dealing with the instability of skills. (shrink)

Companies are increasingly engaging in corporate activism, defined as taking a public stance on controversial sociopolitical issues. Whereas prior research focuses on consumers’ brand perceptions, attitudes, and purchase behavior, we identify a novel consumer response to activism, unethical consumer behavior. Unethical behavior, such as lying or cheating a company, is prevalent and costly. Across five studies, we show that the effect of corporate activism on unethical behavior is moderated by consumers’ political ideology and mediated by desire for punishment. When the (...) company’s activism stand is [incongruent/congruent] with the consumer’s political ideology, consumers experience [increased/decreased] desire to punish the company, thereby [increasing/decreasing] unethical behavior toward the company. More importantly, we identify two moderators of this process. The effect is attenuated when the company’s current stance is inconsistent with its political reputation and when the immorality of the unethical behavior is high. (shrink)

Experiments using a preferential looking method, a perceptual judgment method, and a predictive judgment method investigated the development, from 7 months to 6 years of age, of sensitivity to the effects of gravity and inertia on inanimate object motion. The experiments focused on a situation in which a ball rolled off a flat surface and either continued in linear motion (contrary to gravity), turned abruptly and moved downward (contrary to inertia), or underwent natural, parabolic motion. When children viewed the three (...) fully visible motions, both the preferential looking method and the perceptual judgment method provided evidence that sensitivity to inertia developed between 7 months and 2 years, and that sensitivity to gravity began to develop after 3 years. When children predicted the future location of the object without viewing the motions, the predictive judgment method provided evidence that sensitivity to gravity had developed by 2 years, whereas sensitivity to inertia began to develop only at 5±6 years. These findings suggest that knowledge of object motion develops slowly over childhood, in a piecemeal fashion. Moreover, the same system of knowledge appears to be tapped both in preferential looking tasks and in judgment tasks when children view fully visible events, but a different system may underlie children's inferences about unseen object motions. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Boredom is an affective experience that can involve pervasive feelings of meaninglessness, emptiness, restlessness, frustration, weariness and indifference, as well as the slowing down of time. An increasing focus of research in many disciplines, interest in boredom has been intensified by the recent Covid-19 pandemic, where social distancing measures have induced both a widespread loss of meaning and a significant disturbance of temporal experience. This article explores the philosophical significance of this aversive experience of ‘pandemic boredom.’ Using Heidegger’s work as (...) a unique vantage point, this article draws on survey data collected by researchers in an ongoing project titled ‘Experiences of Social Distancing During the Covid-19 Pandemic’ to give an original phenomenological interpretation of the meaninglessness and monotony of pandemic boredom. On a Heideggerian interpretation, pandemic boredom involves either a situative confrontation with relative meaninglessness that upholds our absorption in the everyday world, or an existential confrontation with absolute meaninglessness that forces us to take up the question of our existence. Arguing that boredom during the pandemic makes this distinction difficult to sustain, I consider some of the ways in which pandemic boredom might be seen to expose and then exceed the distinctive methodological limitations of Heidegger’s philosophical interpretation of boredom. (shrink)

Biobanking in Europe has made major steps towards harmonization and shared standards for the collection and processing of data and samples stored in biobanks. Still, biobanks and researchers face substantial legal difficulties in the field of data protection and sample management. Data protection law was harmonized almost 15 years ago while rights in samples fall under the competence of the Member States of the EU. Despite the Data Protection Directive the field of data protection shows a substantial degree of deviation (...) as public health was excluded from the harmonization. Biobanks seem to have substantially fewer difficulties to cope with in terms of the legal requirements in the field of sample management. This paper discusses the legal framework, experiences of different biobanks in Europe and potential ways forward. It also highlights the need for a health economic analysis of the costs and benefits of privacy protection in Europe. At the moment, policymakers seem to build their decisions on an insufficient evidence base which underestimates the potential value of biobanks for European public health. Within the past few years little progress has been achieved with regards to the development of a unified legal framework in Europe, The diversity in the legal system is also reflected in the different approaches of ethics committees towards biobanking. To secure the responsible and effective use of data and samples, more efforts are needed to come up with pathways for a solution. (shrink)

Although fairness is a key moral trait, limited research focuses on participants' observed fairness behavior because moral traits are generally measured through self-report. This experiment focused on day-to-day interpersonal fairness rather than impersonal justice, and fairness was assessed as observed behavior. The experiment investigated whether a self-reported fairness trait would moderate a situational influence on observed fairness behavior, such that individuals with a stronger fairness trait would be less affected by a situational influence than those with a weaker (...) fairness trait. We used an iterated resource game in which participants could withdraw resources as they chose, and we manipulated the number of resources bogus players withdrew. The number of resources participants withdrew was the behavioral measure of fairness. Results confirmed the expected moderation of the unfairness manipulation by a fairness trait on observed behavior. Those reporting a stronger fairness trait were unaffected by the manipulation, whereas those reporting a weaker fairness trait were more strongly influenced. (shrink)

In the framework of the minimalist program, the assumption that wh-in-situ move covertly to be assigned wide scope is infeasible. Rather, it is assumed that they must be interpretable in situ, and that syntactic conditions like ‘superiority’ are effects of economy, which restricts overt rather than covert movement of a wh-element. The remaining syntactic problem for this line of reasoning is the putative ECP effects of adverbial wh-adjuncts, which were the strongest evidence for covert movement. A serious semantic (...) problem is that the interpretative procedures which have been proposed for wh-in-situ – unselective binding or absorption – fail to capture correctly their interpretation. I will argue first that both problems are solved if the interpretation in situ employs choice functions, and it is the function variable, rather than an individual variable, which is long-distance bound by the question existential operator. Adverbial adjuncts, which cannot be interpreted via choice functions, cannot, therefore, be interpreted in situ. However, the concept of economy underlying the account of overt superiority effects requires both theoretical and empirical clarification (as it leaves some empirical problems unaddressed). I argue, following a proposal by Golan (1993), that in this case the economy considerations apply at the interface (‘interface economy’) and that they consider not only different derivations out of the same numeration, but also their semantic representation. (shrink)

Despite our interests in conceptual schemes, paradigms, styles of reasoning, levels of explanation, and populationist modes of theorizing, many philosophers ignore the fact that instruction occurs in situ. This paper highlights the importance of cultural location by reflecting upon the author’s experience as an instructor of modernity at Marshall University, a regional state institution in Huntington, West Virginia. For many Appalachian students, issues barely tolerated by others (as part of their required history sequence) are uniquely resonant. At the same (...) time, existing power structures—and the very real limits established by those structures—discourage Appalachian students from embracing or even entertaining the canonical themes of modernity. Immersing oneself in the regional culture, instead of bemoaning it, enables a philosophy instructor to examine modernity from both the pre- and postmodern perspectives, while also conveying to students that their education matters a great deal to the fate of the region. (shrink)

An in-situ transmission electron microscopy straining technique has been used to investigate the dynamics of dislocation-defect interactions in ion-irradiated copper and the subsequent formation of defect-free channels. Defect removal frequently required interaction with multiple dislocations, although screw dislocations were more efficient at annihilating defects than edge dislocations were. The defect pinning strength was determined from the dislocation curvature prior to breakaway and exhibited values ranging from 15 to 175 MPa. Pre-existing dislocations percolated through the defect field but did not (...) show long-range motion, indicating that they are not responsible for creating the defect-free channels and have a limited contribution to the total plasticity. Defect-free channels were associated with the movement of many dislocations, which originated from grain boundaries or regions of high stress concentration such as at a crack tip. These experimental results are compared with atomistic simulations of the interaction of partial dislocations with defects in copper and a dispersed-barrier-hardening crystal plasticity model to correlate the observations to bulk mechanical properties. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the contributors (...) could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

A legal obligation to conduct weapons reviews is a means by which the international community can ensure that States assess whether the use of new types of weapons in armed conflict would raise humanitarian concerns. The use of artificial intelligence in weapon systems greatly complicates the process of conducting reviews, particularly where a weapon system is capable of continuing to ‘learn’ on its own after being deployed on the battlefield. This paper surveys current understandings of the weapons review challenges presented (...) by in situ learning and outlines some concepts which may inform appropriate changes to existing weapons review processes. The main arguments made are that: a distinction should be drawn between learning capabilities that are limited to optimising existing behaviour and capabilities that extend to acquiring new behaviours; and the extent of a weapon system’s learning capabilities should be used as the basis for defining a schedule of weapons reviews. (shrink)

The ArgumentSociologists of Third World science, who share the dominant assumption in the philosophy of science that the “culture” of specific substantive fields of scientific inquiry is invariant across the globe, have, after a period of blind optimism devoted to building a critical mass of scientists in the developing countries, relapsed into a bleaker mood and see the Third World as a peripheral region lacking in “creativity” in its research programs.Challenging the doctrine of the universality of scientific practice by means (...) of an in situ study of an Indian physics laboratory, an attempt is made to bring to light a particular community's shared ideals of knowledge which animate the everyday practice of its field of study and fashion its choice of problems, style of professional communication, attitudes toward experiment, etc. These local ingredients should not be understood as deficiencies with respect to some arbitrary norm but as what differentiates research practices in different parts of the world. (shrink)

This chapter describes the development of a workshop series focused on helping students develop research lab ethics guidelines. The workshop was developed through a National Science Foundation-funded project that situates ethics education within the research environment. Students in four departments at a private research university were recruited to join a Student Ethics Committee that collaboratively developed context-specific codes-of-ethics-based guidelines for their departments. These bottom-up developed guidelines were revised in an iterative process, including feedback from faculty, other graduate students, and the (...) original Student Ethics Committee. The goal of the workshops was to promote the cultivation of an ethical culture in experimental laboratories by integrating research stakeholders in a bottom-up approach to developing context-specific guidelines and to identify factors that students consider relevant to the ethical conduct of research. After describing the workshop series, this chapter presents a qualitative content analysis of the guidelines. The guidelines developed by the Student Ethics Committees reflect the current culture of experimental labs in these departments and the ethical issues that students think are important. The content of these guidelines and the ethical issues the students focused on contrast in some key ways with what ethical issues faculty who head research groups saw as paramount. The chapter describes the first two iterations of the ethics education workshop module, a qualitative analysis of the first draft of these guidelines, and finally reflects on future work in this area of in situ ethics education. (shrink)

The conservation of rice plant genetic diversity is particularly important for resource-poor farmers in economically marginal areas of the Philippines. This paper discusses the state of rice plant genetic diversity in the Philippines and the reasons behind the decrease in diversity witnessed over the last 30 years. A case study describes the in situ management of rice plant genetic diversity by resource-poor farmers from the Philippine island of Bohol, throughout the traditional, green revolution, and post-green revolution periods. This analysis (...) demonstrates that farmers tend to favor genetically heterogeneous varieties that adapt to varied environments. The case study also reviews an NGO-sponsored agricultural biodiversity project that demonstrates that rice plant genetic diversity can be increased by empowering farmers – providing them with access to varieties, knowledge of varietal trials, varietal selection, and varietal breeding, as well as increasing the linkages they have with other farmers and institutions. (shrink)

The Transamazon (Br-230) Highway in the state of Pará has had its image frozen for decades: themuddy road, the cars stopped or tractors tearing down a forest, empty of people, opening the amazonianspace to a project of an authoritarian modernization. Reproduced by and reproductive of the teachingsof geography – including for children and teenagers who live on the edge of the road, in settlements andcommunities on the sideroads (vicinais) – in textbooks and discourses that frame regional scale (astotalizing and explanatory) (...) instead of scales emplaced in situ. The result of such dinamics is not restricted to a gap between what one experiences as a phenomenon and what one learns as a concept,it goes towards the reproducibility of an “unexistance of the creative potential” of the people living onthe sideroads, places of the construction of a geography, as well as mapping, that, from there, push usto rethink the unwavering foundations of such frosen images , of the generalistic maps and theirstandardizing projections, scales and simbology. To do so, we have, along with students and teachersof 2 schools on the sideroads of the municipality of Pacajá (PA), in the period of the beggining of 2016to 2019, done several geocartographic exercises: mind maps developped with students about the past,present and the future of the vicinal (sideroad). That is, an attempt to provoque the body into the mapand the map into the body in a context of a limit situation of existance, given the precarious schoolconditions as well as the diferent challenges lived by students and teachers. Such corporal engagementas an attempt to think the sideroads as a location in construction and, from there, a situated opening tothe world, is what gives meaning to geocartography. It is possible to conclude that: a) facing thesedimentary representations paralysing and overview of the Transamazon in the state of Pará , thephenomenological exercise of reactivation of geocartogrphying provoques the emergence of asubjective significance that does not separate the emotional and symbolic perspectives on creatingmaps; b) the corporal engagement and the situated perspective of students and teachers, not only hasthe value of a totalyzing exemple, but that of an opening to what is new as they bring up a simbologythat reveals the need to build a dialogical bridge between what is lived on the sideroads and the worldthat classifies it as “unexisting”. (shrink)

The elongated fiber cells of the eye lens contain a unique cytoskeletal system, the beaded chain filaments (BFs). The BFs had been morphologically identified more than two decades ago, but the precise identity of their subunit molecules remained unknown. Recently, use of recombinant DNA approaches, refined morphological and immunochemical studies and experiments with mutant mice have allowed the molecular dissection of these structures and provided clues about their potential functins. The BFs represent a highly specialized network of intermediate filaments (IFs) (...) juxtaposed to the plasma membrane. They are obligate heteropolymers composed of two lens‐specific polypeptides, filensin and phakinin. In this review we discuss the properties, molecular interactions and in situ arrangement of these two proteins, and comment on their potential roles during lens development. (shrink)