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)

This paper aims to critically review the existing literature on the relationship between corporate governance, in particular board diversity, and both corporate social responsibility and corporate social responsibility reporting and to suggest some important avenues for future research in this field. Assuming that both CSR and CSRR are outcomes of boards’ decisions, this paper proposes that examining boards’ decision making processes with regard to CSR would provide more insight into the link between board diversity and CSR. Particularly, the paper stresses (...) the importance of studies linking gender diversity and CSR decision making processes, which is quite rare in the existing literature. It also highlights the importance of more qualitative methods and longitudinal studies for the development of understanding of the diversity–CSR relationship. (shrink)

Values Education in Schools is a new resource for teachers involved in values and ethics education. It provides a range of 'practical philosophy' resources for secondary school teachers that can be used in English, religious education, citizenship, personal development and social science subjects. The materials include narratives to engage students in philosophical inquiry, doing ethics through the activity of philosophy, not simply learning about it.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Poetics of PerspectiveHarvey L. HixThe Poetics of Perspective, by James Elkins; xv & 324 pp. Ithaca: Cornell University Press, 1994, $39.95.The Poetics of Perspective does not mention that Leonardo was born more than 100 years before Galileo and nearly 200 before Newton, but doing so would underscore its thesis. According to James Elkins, our anachronistic view of perspective, invented in the Enlightenment, systematically distorts our understanding of (...) Renaissance art. Instead of “tracing the outline” of the real nature of Renaissance art, our discussions (to borrow Wittgenstein’s metaphor) merely trace “the frame through which we look at it.” The actual Renaissance view, unlike the modern idée fixe, involved no concept of a unified pictorial space. In the absence of such a concept, “Renaissance authors and artists [End Page 368] thought there were many compatible perspectives, so that their writing and painting evince a ‘pluralist’ approach in strict contrast to the monolithic mathematical perspective we imagine today” (p. xi). The Poetics of Perspective attempts, in six substantial chapters and a brief envoi, to unearth this pluralistic Renaissance approach to perspective buried beneath modern preconceptions.Elkins identifies a number of differences between the Renaissance view of perspective and modern views. For instance, no longer is perspective “charged with the religious and social meanings it had for the early Renaissance” (p. 2). Why? “Renaissance artists and writers saw many techniques where we see a single discovery” (p. 8). Renaissance artists thought of perspective as a series of rules and techniques for constructing images; modern art historians, in contrast, think of perspective on analogy with tracing a scene on a pane of glass. In contrast to the “object oriented” Renaissance notion of perspective, the modern concept is “space oriented.” For the Renaissance, perspective was “a strategy for making pictures,” but for us it has become “a sign signifying a mental state, a culture, or an expressive language” (p. 17). Renaissance perspective originated as “a construction, an intellectual accomplishment rather than as a transcription of appearances” or a “revelation of optical reality” (pp. 136–38). To its contemporaries, Renaissance perspective suggested “the complicated, unfinished, and partial” rather than “the harmonious, balanced, and whole” (p. 170). We expect a uniform accuracy of perspective through an entire painting, but Renaissance practitioners were selective in their applications of perspective to passages of particular interest or significance. All these differences taken together, Elkins says, imply that our insistence on attributing to Renaissance paintings an isotropic application of perspective based on an ideal geometry is a mistake: “we are looking for something the Renaissance artists did not supply” (p. 226).Elkins’s excellent book is a corrective for the sort of thing Lillian Schwartz does in the April 1995 Scientific American. In the middle of a series of ill-substantiated conjectures, based on computer manipulations of images and ranging from the claim that Leonardo himself was a model for the Mona Lisa to the assertion that Piero della Francesca’s Resurrection of Christ, plastered over during the seventeenth century, must have been painted “in sunset colors,” she suggests that Leonardo intended The Last Supper to “appear as an extension of the refectory” in which it was painted. She explains the quirks of the painting’s perspective (“Leonardo placed Christ and the apostles up front, tilted the floor and table, designed side walls of uneven lengths and tapestries of different sizes and spacing”) by constructing a computer simulation to show that a person entering the room from what was then the main door “would perceive the supper as taking place in the refectory.” Schwartz’s conjecture may or may not be right, but comparison with her article reveals the major strengths of Elkins’s book. In contrast to Schwartz’s hasty manipulations, The Poetics of Perspective is encyclopedic; it takes scrupulous care to meet on their own ground the many [End Page 369] texts and paintings it examines, and it follows the Wittgensteinian imperative to stop thinking and look. Whatever the promise of the new technologies available to art historians, they can never replace the sort of patient attention Elkins lavishes on the works he studies.Harvey L. HixKansas City Art InstituteCopyright... (shrink)

Early Chinese argumentative texts are full of historical anecdotes. These short accounts of events in Chinese history enhance the appeal of the text, but they also have an important rhetorical function in helping the reader understand, accept, and remember the arguments propounded in the text. In this paper I examine the rhetorical function of historical anecdotes in two argumentative texts of the Western Han dynasty (202 BCE-9 CE): Han’s Illustrations of the Odes for Outsiders and The Master of Huainan. These (...) two texts found creative use for anecdotes, namely as illustrations of quotations from canonical sources. Through case studies of several combinations of anecdotes and quotations, I argue that the combinations serve to present the creators of these texts as beacons of knowledge with profound understanding of historical events and canonical literature, and with the necessary skills to fruitfully combine the two. (shrink)

_ Source: _Volume 29, Issue 1, pp 86 - 102 The aim of this paper is to give an overview of the place that Hobbes assigns to optics in the context of his classification of sciences and disciplinary boundaries. To do this, I will begin with an account of Hobbes’s conception of philosophy or science, and particularly his distinction between true and hypothetical knowledge. I will also show that in his demarcation between mathematics or geometry and natural philosophy Hobbes was (...) influenced by Galileo’s _Dialogue_. I then analyse the consequences of this distinction for optics, and conclude by clarifying its status among the scientific disciplines. (shrink)

Significantly, Berkeley, in his Essay Towards a New Theory of Vision, leveled a sustained attack on just this geometrical theory of distance perception. At first glance it may seem, as it did to Berkeley, that Descartes’ geometrical theory is produced by a simple error: namely, by the idea that a physiological optics provides an adequate description of the psychological processes of judging distances. In truth, this is the weakest of Berkeley’s objections to Descartes’ theory. Obviously we do not see the (...) angles and lines of convergence when we focus on a distant object, nor are we aware of having used any geometrical rules in judging distance. And Descartes never claimed this. (shrink)

In the inaugural issue of this journal, David Tyfield used some recent discussions about "meaning finitism" to conclude that the sociology of scientific knowledge is an intellectually hopeless basis on which to erect an intelligible study of science. In contrast, the authors show that Tyfield's argument rests on some profound misunderstandings of the SSK. They show that his mischaracterization of SSK is in fact systematic and is based on lines of argument that are at best incoherent.

Cheryl Chase has argued that “the problem” of intersex is one of “stigma and trauma, not gender,” as those focused on medical management would have it. Despite frequent references to shame in the critical literature, there has been surprisingly little analysis of shame, or of the disgust that provokes it. This paper investigates the function of disgust in the medical management of intersex and seeks to understand the consequences—material and moral—with respect to the shame it provokes.Conventional ethical approaches may not (...) provide quite the right tools to consider this affective dimension of the medical management of intersex, but we find in Nietzsche's Genealogy of Morality a framework that allows us a profound appreciation of its moral significance (Nietzsche 1887/1998). Understanding doctors' disgust—and the disgust that they promote in parents of those born with atypical anatomies—as a contemporary expression of ressentiment directs us to not focus on the bodies of those born with intersex conditions, which have been the privileged objects of attention both in medical practice and in criticisms of it, but moves us to consider instead the bodies of those whose responses constitute the motivating force for normalizing practices in the first place. (shrink)

In the previous article (Found. Phys. Lett. 16:325–341, 2003), we showed that a reciprocity of the Gauss sums is connected with the wave and particle complementary. In this article, we revise the previous investigation by considering a relation between the Gauss optics and the Gauss sum based upon the recent studies of the Weil representation for a finite group.

This volume contains essays that examine the optical works of Giambattista Della Porta, an Italian natural philosopher during the Scientific Revolution. Coverage also explores the science and technology of early modern optics. Della Porta's groundbreaking book, Magia Naturalis, includes a prototype of the camera. Yet, because of his obsession with magic, Della Porta's scientific achievements are often forgotten. As the contributors argue, his work inspired such great minds as Johanes Kepler and Francis Bacon. After reading this book, researchers, historians, (...) and students will have a better appreciation of this influential scientist. They will also gain a greater understanding of an important period in the history of optics. Readers will learn about Della Porta's experimental method, a process governed by the protocols, aims, and theoretical assumptions of natural magic. Coverage also discusses the material properties and limitations of optical technology in the early 17th century, based on a recently discovered Dutch spyglass. It also demonstrates how diagrams were instrumental in the discovery of the sine law of refraction. In addition, the book includes an in-depth analysis of previously untranslated Latin sources. This makes the material useful to historians of optics unfamiliar with the language. More than 70 illustrations complement the text. (shrink)

This essay looks to re-evaluate sculptor Richard Serra’s famous claim that “to remove the work is to destroy it.” Using OOO, and particularly Graham Harman’s interpretation of Martin Heidegger’s tool analysis, in order to analyze the now famous moment when Tilted Arc was de-installed from Federal Plaza, Manhattan in 1989, this paper argues that the work was not in fact destroyed but rather that its ontological autonomy was even more absolutely revealed in that moment as such. Although it is the (...) case that art objects and sites are prone to discursive co-construction and evaluation, it is this analysis’ claim that they both are possessive of a deep, substantive form also, a form resistant to appropriation. Tilted Arc therefore revealed something even more insidious and dangerous to those who opposed it than the power of art to speak back to its surroundings. Rather, it uncovered the substantive objecthood of the site itself. (shrink)

The relativistic optics of the nondispersive media endowed with the metric gij(x) [Eq. (1.6)] and with a nonlinear connection [Eq. (1.2)] is studied. The d-connection [Eqs. (3.3)– (3.4)] relates the conformal and projective properties of the space- time. A post-Newtonian estimation for the metric gij(x) is also given. It is shown that the solar system tests impose a constraint [Eq. (4.20)] on a combination of the post- Newtonian parameters describing the model.

In Mohist philosophy, the gnomon is a metaphor for the standard of valid arguments. This metaphor comes from the method of establishing due east and west by observing gnomon shadows at dusk and dawn. I argue that there is also an overlooked, implicit aspect of the gnomon metaphor that comes from its function of measuring the height of heaven indirectly through proportional calculation. The function of indirect measurement inspires a strategy of argumentation in Mohist ethics, which I call “analogical upscaling.” (...) Such an argument draws a parallel between small-scale and large-scale actions for the purpose of determining the Will of Heaven in a particular circumstance, just as the gnomon measures heaven’s physical height analogically. In the conclusion, I compare the epistemological status of light and shadow in the Mozi and Plato’s Republic. (shrink)

Quantum optics does not give a local explanation of the coincidence counts in spatially separated photodetectors. This is the case for a wide variety of phenomena, including the anticorrelated counting rates in the two channels of a beam splitter, the coincident counting rates of the two “photons” in an atomic cascade, and the “antibunching” observed in resonance fluorescence.We propose a local realist theory that explains all of these data in a consistent manner. The theory uses a completely classical description of (...) the electromagnetic field, but with boundary conditions of the far field that are equivalent to assuming a real fluctuating, zero-point field. It is related to stochastic electrodynamics similarly to the way classical optics is related to classical electromagnetic theory.The quantitative aspects of the theory are developed sufficiently to show that there is agreement with all experiments performed till now. (shrink)

The screen is not a pre established object: it becomes a screen—and that screen—when it interacts with a group of elements and relates to a set of practices that produce it as a screen. In this process of becoming screen, a crucial step is played by the space in which the screen is located and where spectators gather. The confluence of screen and space changes our perception of both: the screen displays the situatedness of its action, and the space its (...) nature of medium. The landscape becomes a screenscape, in which individuals access images through which they negotiate with reality and others. Eventually, the insistence on becoming screen highlights the role of contingency and conjuncture in the process of mediation: screenscapes emerge according opportunities, conflicts, and potentialities. Hence a media archeology that, far from being linear and teleological, follows unpredicted paths and creates surprising links—a rhizomatic media archeology. (shrink)

In 1975, the death of dictator Francisco Franco opened the door to a turbulent period known as the “Spanish Transition.” In the wake of the 1973 oil crisis, national politics, political violence and social demands were interwoven with international shifts in science and technology and global debates on “energy transitions.” In close dialogue with foreign environmental groups, the anti-nuclear movement in Spain deployed a large repertoire of collective action; it ranged from pleasant activities to violent direct actions against nuclear technologies, (...) but also included the making of technological alternatives. Counter-culture activists and counter-experts opposed nuclear energy and promoted renewable energy as two sides of the same coin.This paper explores the pioneering initiatives of an anarchist-oriented group called Self-Managed Radical Alternative Technologies, created in 1976, and a group of young engineers who founded the cooperative Ecotècnia, which was behind the construction of the first commercial wind turbine in Catalonia in 1984. The paper focuses on the transnational circulation of grassroots knowledge, the epistemics of resistance, and the development of wind energy technologies as “technologies of protest.” Technologies of protest illuminate how the social construction of technology is intertwined with what I call the “social destruction of technology.”. (shrink)

Minkowski geometry is axiomatized in terms of the asymmetric binary relation of optical connectibility, using ten first-order axioms and the second-order continuity axiom. An axiom system in terms of the symmetric binary optical connection relation is also presented. The present development is much simpler than the corresponding work of Robb, upon which it is modeled.

_ Source: _Volume 29, Issue 1, pp 39 - 65 Since Euclid, optics has been considered a geometrical science, which Aristotle defines as a “mixed” mathematical science. Hobbes follows this tradition and clearly places optics among physical sciences. However, modern scholars point to a confusion between geometry and physics and do not seem to agree about the way Hobbes mixes both sciences. In this paper, I return to this alleged confusion and intend to emphasize the peculiarity of Hobbes’s geometrical optics. (...) This paper suggests that Hobbes’s conception of geometrical optics, as a mixed mathematical science, greatly differs from Descartes’s one, mainly because they do not share the same “mechanical conception of nature.” I will argue that Hobbes and Descartes also have in common the quest for a different kind of geometry for their optics, different from that of the Ancients. I will show that this departure is not recent since Hobbes’s approach is already evident in 1636, when he judges the demonstrations of his contemporary friends, Claude Mydorge and Walter Warner. Finally the paper broadly suggests what is noteworthy in Hobbes’s optics, that is, the importance of the idea of force in his mechanics, although he was not able to conceptualize it in other terms than “quickness.”. (shrink)

This paper is a review of Gerald Gaus's The Order of Public Reason. Its initial purpose is to explain how the overall argument of the book is meant to hang together. It also identifies four points at which the argument might be challenged, particularly as it relates to justificatory liberalism’s ‘classical tilt’.