Farming of fish and other aquatic species has increased in recent decades and never before have there been more controversial debates on animal welfare in fish husbandry. The practices used and associated welfare issues are becoming increasingly focused on by scientists, consumers and policy makers. International and national organisations have issued recommendations and guidelines concerning fish welfare but there is still a lot of information lacking. Due to § 2 of the German animal protection law, animals must be adequately nourished, (...) cared for and behaved in a proper manner, and pain or avoidable suffering or damage must be avoided. Keeping fish in accordance with the animal protection laws should be part of a good professional aquaculture practice and is indispensable for ethical, legal and economic reasons. As other vertebrates fish have the right of a healthy life with physical and mental integrity, under which they can perform adequately.The paper provides and discusses legal aspects of animal protection applied to fish taking the German welfare act and EU regulations as example. First possible indicators for the assessment of well-being will be mentioned. The assessment of fish welfare indicators should be carried out within the frame of daily and regular working routines, e. g. feeding, harvesting, grading or slaughtering. Further customer’s perception and human interpretation of welfare in fish are discussed and set into the context of human sentiments, projected on fish and the debate on consciousness in fish. (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)

This is a review of contemporary philosophical discussions of population policies. The focus is on normative justification, and the main question is whether population policies can be ethically justified. Although few analytical philosophers have directly addressed this question – it has been discussed more in other academic fields – many arguments and considerations can be placed in the analytical philosophical discourse. This article offers a comprehensive review and analysis of ethically relevant aspects of population policies evaluated on the basis of (...) the main ethical theories. This analysis is preceded by a brief historical contextualisation of when and how population policies became ethically contentious and how this relates to philosophical debates in environmental ethics, population ethics and political philosophy. The article also includes a conceptual analysis of population policies in which the empirical intricacies around individual fertility decisions are sorted out and the different ways in which they can be affected are categorised in a taxonomy which highlight the most relevant ethical aspects of population policies. The ethical analysis shows that while population policies can be justified on the basis of most ethical theories, it all depends on what prior assumptions are made about what is at stake. (shrink)

This book presents the first study of the development of the theory of modal syllogistic in the Middle Ages.

Representative for contemporary attempts to establish a science of consciousness we examine Chalmers' statement and resolution of the 'hard problem of consciousness'. Agreeing with him that in order to account for subjectivity it is necessary to expand the ontology of the natural sciences, we argue that it is not sufficient to just add conscious experience to the list of fundamental features of the world. Instead, we turn to phenomenology as the philosophy of conscious experience and give an outline of Merleau-Ponty's (...) critique of the objectivist ontology underlying science which excludes subjectivity from the world. We reconstruct his proposal for a revised ontology in The Visible and the Invisible aiming at an extended understanding of Being including subjectivity, which takes on the form of a constellation of new ontological terms centered around the concept of the 'flesh of the world'. Trying to spell out the consequences of Merleau-Ponty's ontological considerations for scientific practice and especially the science of consciousness, we notice that his philosophy of subjectivity-in-the-world on its part is unable to connect to the insights of the natural sciences. The phenomenological critique of the 'hard problem' reveals a deeper disparity which, at present, limits its practical implications. (shrink)

Joint attention is an early-emerging and uniquely human capacity that lies at the foundation of many other capacities of humans, such as language and the understanding of other minds. In this article, I summarize what developmentalists and philosophers have come to find out about joint attention, and I end by stating that two problems or questions of joint attention require additional research: 1) the relation between joint attention and the skills for dyadic sharing or affect exchange in young infants, and (...) 2) the evolution of joint attention. (shrink)

When experimental philosophers carry out studies on thought experiments, some participants are excluded based on certain exclusion criteria, mirroring standard social science vignette methodology. This involves excluding people that do not pay attention or who miscomprehend the scenario presented in thought experiments. However, experimental philosophy studies sometimes exclude an alarmingly high number of participants. We argue that this threatens the external and internal validity of the conclusions being drawn and we show how a simple visualization of thought experiments can reduce (...) exclusion rates significantly. Furthermore, we argue that focus should not merely be on how many are excluded, but also why they are excluded, and we highlight the role of comprehension questions in this regard. Philosophical thought experiments often rely on the acceptance of certain key premises that may be regarded contestable, and asking comprehension questions involving such key assumptions could be problematic as that may result in some participants being inadvertently excluded from the study, potentially creating a selection bias. (shrink)

The claim that there are bare particulars — individuals possessing no properties — is a highly controversial thesis in metaphysics. It has been heavily criticized and is often thought to be subject to a number of decisive counterarguments, some of which aim to show that there is something incoherent about the very idea of a bare particular. I believe that the theory of bare particulars can, given certain modifications, be defended from such accusations. But the fact that a theory is (...) not incoherent does not suffice for it to be a good theory, and I believe that the theory of bare particulars — although capable of coherence — is a deeply unsatisfactory theory in metaphysics, for reasons rarely appreciated in the discussion. In sections 2 and 3 of this paper, I introduce the notion of a bare particular by presenting two of the central theoretical tasks for which the postulation of such entities has been thought necessary. In section 4, I present three of the classical arguments intended to show that the theory of bare particulars is fundamentally flawed or even incoherent. In section 5, I argue that if we adopt what I call the minimal view of bare particulars, the theory can handle all of these objections. Finally, in section 6, I argue that despite not being undermined by the classical arguments, the minimal view of bare particulars makes it highly implausible to suppose that there are any entities of that kind. The theory of bare particulars can be made coherent only at the cost of being made highly theoretically unattractive. (shrink)

This book aims at beginning the rewriting of the history of skepticism by highlightening the medieval sources of the modern skeptical discussions.

A set of moral problems known as The Trolley Dilemmas was presented to 3000 randomly selected inhabitants of the USA, Russia and China. It is shown that Chinese are significantly less prone to support utility-maximizing alternatives, as compared to the US and Russian respondents. A number of possible explanations, as well as methodological issues pertaining to the field of surveying moral judgment and moral disagreement, are discussed.

This thesis explores whether the three standard value relations, “better than”, “worse than” and “equally as good”, exhaust the possibilities in which things can relate with respect to their value. Or more precisely, whether there are examples in which one of these relations is not instantiated. There are cases in which it is not obvious that one of these relations does obtain; these are referred to as “hard cases of comparison”. These hard cases of comparison become interesting, since if it (...) not the case that the standard three value relations obtains in these cases then the three standard relations do not exhaust the possibility of instantiated value relations. It is argued that for some of the hard cases of comparison, the standard relations determinately obtain. For some it is indeterminate, due to vagueness, which of the three relations obtains, but it is determinate that one of them obtains. Thereafter it is argued that the influential Collapsing Argument fails in ruling out other accounts of the hard cases of comparison. Since one cannot depend on the Collapsing Argument in order to conclude that all items are related by the standard three relations, the investigation continues. It is argued that none of the hard cases of comparison are cases of incomparability. Furthermore, none of them are cases of a fourth basic positive value relation such as “parity”. Consequently, for all the hard cases of comparison one of the standard value relations holds, although sometimes we do not know which one and sometimes it is indeterminate which one holds. This means that there is no reason to assume that one of the standard three value relations does not hold between items we are comparing. This is followed by a brief discussion about the normative consequences of this result. The thesis ends with four different appendices in which related topics are discussed. (shrink)

Incommensurability is the impossibility to determine how two options relate to each other in terms of conventional comparative relations. This book features new research on incommensurability from philosophers who have shaped the field into what it is today, including John Broome, Ruth Chang and Wlodek Rabinowicz. The book covers four aspects relating to incommensurability. In the first part, the contributors synthesize research on the competing views of how to best explain incommensurability. Part II illustrates how incommensurability can help us deal (...) with seemingly insurmountable problems in ethical theory and population ethics. The contributors address the Repugnant Conclusion, the Mere Addition Paradox and so-called Spectrum Arguments. The chapters in Part III outline and summarize problems caused by incommensurability for decision theory. Finally, Part IV tackles topics related to risk, uncertainty and incommensurability. Value Incommensurability: Ethics, Risk, and Decision-Making will be of interest to researchers and advanced students working in ethical theory, decision theory, action theory, and philosophy of economics. (shrink)

Self-fulfillment of theories is argued to be a threat to social science in at least two ways. First, a realist might worry that self-fulfillment constitutes a threat to the idea that social science is a proper science consistent with a realist approach that develops true and successful statements about the world. Second, one might argue that the potential self-fulfilling nature of social science theories potentially undermines the ethical integrity of social scientists. We argue that if one accepts that social science (...) theories are not based on laws akin to those that govern natural reality or acknowledges that if one can predict self-fulfillment via a meta-theory that explains the underlying regularities of the self-fulfilling change, the threat to realism is dismantled. Furthermore, on the basis of these arguments, we show that if one is unable to predict the consequences of a theory, it is difficult to ascribe moral responsibility at the individual level. It is, therefore, not the potential self-fulfillment of theories per se that poses an ethical challenge, in contrast to claims in the literature. (shrink)

Pragmatism gained considerable attention in bioethical discussions in the early 21st century. However, some dimensions and contributions of pragmatism to bioethics remain underexplored in both research and practice. It is argued that pragmatism can make a distinctive contribution to bioethics through its concept, developed by Charles S. Peirce and John Dewey, that ethical issues can be resolved through experimental inquiry. Dewey’s proposal that policies can be confirmed or disconfirmed through experimentation is developed by comparing it to the confirmation of scientific (...) hypotheses, with a focus on the objection that the consequences of following a moral view or policy do not provide guidance on choosing among competing ethical perspectives. As confirmation of scientific hypotheses typically relies on evidence gathered from observation, the possibility of ethically relevant observation is then explored based on Peirce’s views on feelings as emotional interpretants. Finally, the connection between Dewey’s experimental ethics and democracy is outlined and compared to unfettered ethical progressivism. (shrink)

In 1997 John Broome presented the Collapsing Argument that was meant to establish that non-conventional comparative relations cannot exist. Broome's argument has faced a lot of scrutiny and a certain type of counterexample has been used to undermine it. Most of the counterexamples focus on the Collapsing Principle which plays a central role in Broome's argument. In this article we will take a closer look at the most common type of counterexample and propose how to adjust the Collapsing Principle in (...) order to avoid objections based on these counterexamples. We argue that a weaker version of the Collapsing Principle is not susceptible to the classical counterexamples. Furthermore, after an explorative discussion about the intuitions behind the original principle, we show that this weaker formulation is at least as intuitive as the principle suggested by Broome. (shrink)

In this study the relationship of religiosity and value priorities is differentiated, based on a multidimensional measurement of different contents of religiosity. The structure of values is conceptualized using Schwartz' two orthogonal dimensions of Self-transcendence vs. Self-enhancement and Openness to change vs. Conservation. The relations between these two dimensions and eight religious contents, ranging from open-minded to more close-minded forms of religiosity, were tested in a sample of church attenders , gathered in Germany. The results show, that depending on the (...) content of religiosity, different values are preferred . The results indicate the importance of the content of religiosity for predicting value-loaded behaviors. (shrink)

Studies in experimental philosophy claim to document intuition variation. Some studies focus on demographic group-variation; Colaçoet al., for example, claim that age generates intuition variation regarding knowledge attribution in a fake-barn scenario. Other studies claim to show intuition variation when comparing the intuition of philosophers to that of non-philosophers. The main focus has been on documenting intuition variation rather than uncovering what underlying factor(s) may prompt such a phenomenon. We explore a number of suggested explanatory hypotheses put forth by Colaçoet (...) al., as well as an attempt to test Sosa's claim that intuition variance is a result of people ‘filling in the details’ of a thought experiment differently from one another. We show (i) that people respond consistently across conditions aimed at ‘filling in the details’ of thought experiments, (ii) that risk attitude does not seem relevant to knowledge ascription, (iii) that people's knowledge ascriptions do not vary due to views about defeasibility of knowledge. Yet, (iv) we find no grounds to reject that a large proportion of people appear to adhere to so-called subjectivism about knowledge, which may explain why they generally have intuitions about the fake-barn scenario that vary from those of philosophers. (shrink)

Studies in experimental philosophy claim to document intuition variation. Some studies focus on demographic group-variation; Colaço et al., for example, claim that age generates intuition variation regarding knowledge attribution in a fake-barn scenario. Other studies claim to show intuition variation when comparing the intuition of philosophers to that of non-philosophers. The main focus has been on documenting intuition variation rather than uncovering what underlying factor(s) may prompt such a phenomenon. We explore a number of suggested explanatory hypotheses put forth by (...) Colaço et al., as well as an attempt to test Sosa's claim that intuition variance is a result of people ‘filling in the details’ of a thought experiment differently from one another. We show (i) that people respond consistently across conditions aimed at ‘filling in the details’ of thought experiments, (ii) that risk attitude does not seem relevant to knowledge ascription, (iii) that people's knowledge ascriptions do not vary due to views about defeasibility of knowledge. Yet, (iv) we find no grounds to reject that a large proportion of people appear to adhere to so-called subjectivism about knowledge, which may explain why they generally have intuitions about the fake-barn scenario that vary from those of philosophers. (shrink)

I Two Traditions. Scientific inquiry, seen in a very broad perspective, may be said to present two main aspects. One is the ascertaining and discovery of ...

Norton has recently argued that causation is merely a useful folk concept and that it fails to hold for some simple systems even in the supposed paradigm case of a causal physical theory – namely Newtonian mechanics. The purpose of this article is to argue against this devaluation of causality in physics. My main argument is that Norton’s alleged counterexample to causality within standard Newtonian physics fails to obey what I shall call the causal core of Newtonian mechanics. In particular, (...) I argue, Norton’s example is not in conformity with Newton’s first law. Moreover, Norton’s reformulation of this first law seems insufficient as a replacement for the original version since the notion of inertial frames in the resulting reformulated theory lacks a physical justification, and since an intelligible notion of time in Newtonian mechanics appears to be closely tied to Newton’s first law in its standard form. I will finally suggest how, given a plausible relationist account of time, the causal core of Newtonian mechanics may play a central role also in relativity and quantum theory. (shrink)

It is well known that Niels Bohr insisted on the necessity of classical concepts in the account of quantum phenomena. But there is little consensus concerning his reasons, and what he exactly meant by this. In this paper, I re-examine Bohr’s interpretation of quantum mechanics, and argue that the necessity of the classical can be seen as part of his response to the measurement problem. More generally, I attempt to clarify Bohr’s view on the classical/quantum divide, arguing that the relation (...) between the two theories is that of mutual dependence. An important element in this clarification consists in distinguishing Bohr’s idea of the wave function as symbolic from both a purely epistemic and an ontological interpretation. Together with new evidence concerning Bohr’s conception of the wave function collapse, this sets his interpretation apart from both standard versions of the Copenhagen interpretation, and from some of the reconstructions of his view found in the literature. I conclude with a few remarks on how Bohr’s ideas make much sense also when modern developments in quantum gravity and early universe cosmology are taken into account. (shrink)

Volume 22, Issue 3-4, November - December 2023.

Weite Teile der katholischen Dogmatik und Fundamentaltheologie dieser Tage sind in nicht unerheblichem Maße von dem geprägt, was man”Letztbegründung“nennen könnte. Diese Denkrichtung sucht in der Tradition der Aufklärung und des deutschen Idealismus nach letzten, philosophisch ausweisbaren Gründen für die Glaubensinhalte der katholischen Theologie. Der Autor zeichnet Thomas Pröppers, Hansjürgen Verweyens und Klaus Müllers Angänge nach und prüft, ob ihr Anspruch auf einen letztgültigen Sinn gelingen kann. Die Lektüre ausgewählter Texten von Emmanuel Levinas und Jacques Derrida lässt erhebliche Zweifel am Erfolg (...) einer Letztbegründung aufkommen. Darüber hinaus gibt ein Durchgang durch lehramtliche und biblische Texte zu bedenken, ob ein solcher Anspruch theologisch überhaupt erhoben werden muss. Gilt nicht auch und gerade nach der philosophischen Aufklärung: "Mein Angesicht kannst Du nicht sehen. Nicht sieht mich der Mensch und lebt."? (shrink)

According to a standard account of incomparability, two value bearers are incomparable if it is false that there holds a positive value relation between them. Due to the vagueness of the comparative predicates it may also be indeterminate as to which relation that holds - for each relation it is neither true nor false that it holds. John Broome has argued that indeterminacy cannot coexist with incomparability and since there seems to exist indeterminacy there cannot exist incomparability. At the core (...) of his argument lies the collapsing principle. There are several arguments against this principle; Erik Carlson has advanced most of these. In this paper two strategies in dealing with these arguments are discussed. One strategy is to deny the existence of a certain kind of properties; another strategy that has been advanced by Christian Constantinescu is to restrict the collapsing principle. In the paper it is argued that the first of these strategies is the most promising strategy. A novel argument in favour of this strategy is presented and several objections to the strategy are rebutted. Finally it is concluded that, even though this strategy deals with most objections, without a better argument in favour of the principle the debate seems to run into a stalemate. (shrink)

By a classifying topos for a first-order theory , we mean a topos such that, for any topos models of in correspond exactly to open geometric morphisms → . We show that not every first-order theory has a classifying topos in this sense, but we characterize those which do by an appropriate ‘smallness condition’, and we show that every Grothendieck topos arises as the classifying topos of such a theory. We also show that every first-order theory has a conservative extension (...) to one which possesses a classifying topos, and we obtain a Heyting-valued completeness theorem for infinitary first-order logic. (shrink)

Recent metaphysics has seen a surge of interest in grounding—a relation of non-causal determination underlying a distinctive kind of explanation common in philosophy. In this article, I investigate the connection between grounding and another phenomenon of great interest to metaphysics: ontological dependence. There are interesting parallels between the two phenomena: for example, both are commonly invoked through the use of “dependence” terminology, and there is a great deal of overlap in the motivations typically appealed to when introducing them. I approach (...) the question of the relationship between grounding and ontological dependence through an investigation of their modal connections. I argue, firstly, that on the common assumption that grounding is factive, it can be shown that no known variety of rigid ontological dependence is either necessary or sufficient for grounding. I also offer some suggestions in support of the claim that this generalizes to every possible form of rigid ontological dependence. I then broaden the discussion by considering a non-factive conception of grounding, as well as by looking at forms of generic ontological dependence. I argue that there is at least one form of rigid ontological dependence that is sufficient for non-factive grounding, and that a form of generic dependence may be necessary both for factive and non-factive grounding. However, justifying even these fairly weak modal connections between grounding and ontological dependence turns out to require some quite specific and substantive assumptions about the two phenomena that have only rarely been discussed. (shrink)

Recently a lot has been written on the topic of value incomparability. While there is disagreement on how we are to understand incomparability, most seem to accept Ruth Chang's claim that all comparisons must proceed in some specific respect. Call this the Requirement for Specification. Interestingly, even though most seem to accept this requirement, next to nothing has been written on it. In this paper I focus on the requirement and discuss two different but related topics. First, an important observation (...) is made: as it turns out, the requirement plays an important explanatory role for the thesis that incomparability is to be understood in terms of vagueness. Second, I consider what is entailed by the Requirement for Specification. There is a general worry that the requirement entails that there is no such thing as goodness simpliciter. The line of thought is that if we always must specify in which way something is e.g., better than something else, then perhaps things cannot be better simpliciter. And if there is no such thing as betterness-simpliciter, then can there be such a thing as goodness simpliciter? Finally, I consider how an answer to this question affects the view that incomparability is vagueness. (shrink)

A short review of some recent developments in the philosophy of physics is presented. I focus on themes which illustrate relations and points of common interest between philosophy of physics and three of its `neighboring' elds: Physics, metaphysics and general philosophy of science. The main examples discussed in these three `border areas' are decoherence and the interpretation of quantum mechanics; time in physics and metaphysics; and methodological issues surrounding the multiverse idea in modern cosmology.

A number of single- and dual-process theories provide competing explanations as to how reasoners evaluate conditional arguments. Some of these theories are typically linked to different instructions—namely deductive and inductive instructions. To assess whether responses under both instructions can be explained by a single process, or if they reflect two modes of conditional reasoning, we re-analysed four experiments that used both deductive and inductive instructions for conditional inference tasks. Our re-analysis provided evidence consistent with a single process. In two new (...) experiments we established a double dissociation of deductive and inductive instructions when validity and plausibility of conditional problems were pitted against each other. This indicates that at least two processes contribute to conditional reasoning. We conclude that single-process theories of conditional reasoning cannot explain the observed results. Theories that postulate at least two processes are needed to account for our findings. (shrink)

According to Ruth Chang the three standard positive value relations: “better than”, “worse than” and “equally good” do not fully exhaust the conceptual space for positive value relations. According to her, there is room for a fourth positive value relation, which she calls “parity”. Her argument for parity comes in three parts. First, she argues that there are items that are not related by the standard three value relations. Second, that these items are not incomparable, and third, that the phenomena (...) she has focused on are not due to the vagueness of the comparative predicates. This paper focuses on the second part of the argument and an objection is presented. By assuming the Small Unidimensional Difference Principle, which is a key premise for the second part of the argument, Chang’s argument could be accused of begging the question. More so, by assuming this principle, the space for incomparability gets severely limited. If these worries are justified, then Chang’s argument for parity as a fourth form of comparability is unsuccessful. (shrink)