Carl Gillett has defended what he calls the “dimensioned” view of the realization relation, which he contrasts with the traditional “flat” view of realization (2003, 2007; see also Gillett 2002). Intuitively, the dimensioned approach characterizes realization in terms of composition whereas the flat approach views realization in terms of occupiers of functional roles. Elsewhere we have argued that the general view of realization and multiple realization that Gillett advances is (...) not able to discharge the theoretical duties of those relations (Shapiro 2004, unpublished manuscript; Polger 2004, 2007, forthcoming). Here we focus on an internal objection to Gillett’s account and then raise some broader reasons to reject it. (shrink)

I resolve an argument over “flat” versus “dimensioned” theories of realization. The theories concern, in part, whether realized and realizing properties are instantiated by the same individual (the flat theory) or different individuals in a part-whole relationship (the dimensioned theory). Carl Gillett has argued that the two views conflict, and that flat theories should be rejected on grounds that they fail to capture scientific cases involving a dimensioned relation between individuals and their constituent parts. I argue (...) on the contrary that the two types of theory complement one another, even on the same range of scientific cases. I illustrate the point with two popular functionalist versions of flat and dimensioned positions – causal-role functionalism and a functional analysis by decomposition – that combine into a larger picture I call “comprehensive functional realization.” I also respond to some possible objections to this synthesis of functionalist views. (shrink)

According to the received view in philosophy of mind, mental states or properties are _realized_ by brain states or properties but are not identical to them. This view is often called _realization_ _physicalism_. Carl Gillett has recently defended a detailed formulation of the realization relation. However, Gillett’s formulation cannot be the relation that realization physicalists have in mind. I argue that Gillett’s “dimensioned” view of realization fails to apply to a textbook case of (...) realization. I also argue Gillett counts as realization some cases that should not count if realization physicalism is to be distinguished from its competitors in the usual ways. I conclude that the relation described by Gillett cannot be realization. (shrink)

This paper examines the standard view of realization operative incontemporary philosophy of mind, and proposes an alternative, generalperspective on realization. The standard view can be expressed, insummary form, as the conjunction of two theses, the sufficiency thesis andthe constitutivity thesis. Physicalists of both reductionist and anti-reductionist persuasions share a conception of realization wherebyrealizations are determinative of the properties they realize and physically constitutive of the individuals with those properties. Centralto the alternative view that I (...) explore here is the idea that the requisite,metaphysically robust notion of realization is ineliminably context-sensitive. I shall argue that the sufficiency and constitutivity theses aretypically not jointly satisfied by any one candidate realizer, and that goingcontext-sensitive in one's metaphysics is preferable to the standard view.The context-sensitive views developed here are implicit in a range ofcommon views in both the philosophy of mind and the philosophy of biology,even if they have not been explicitly articulated, and even though theyundermine other views that are commonly endorsed. (shrink)

The aim of this paper is to argue that Kant’s philosophy of education should be interpreted as showing that education can be morally relevant despite the fact that it cannot make the child moral. To support this claim, I suggest that it is necessary to focus on the connection between Kant’s account on education and his views on moral anthropology. For it brings to light that education cannot but work with nature (and in particular human nature, natural feelings and predispositions) (...) rather than against it in order to realize the vocation of humanity. I then go on to argue that the moral dimension of education is best described as enabling the child to use his freedom in the right way, that is to say, autonomously. On this basis, I conclude that whilst education can prepare him for the universal command of duty, nothing can relieve him of the essential burden of the task morality demands of him—having a good will. (shrink)

Following Axel Honneth, I accept that recognition is integral to individuals’ self-realization and to social justice and that instances of misrecognition are injustices that cause moral injuries. The change in approach to misrecognition that I advocate is to replace a macrosocial top-down picture of misrecognition, such as Honneth’s typology, with a fine-grained phenomenological picture of multiple dimensions in misrecognition behaviors that offers greater explanatory power. This paper explains why a multidimensional view of misrecognition is needed and explores the (...) various ways that engagement with pathological norms or disengagement from individuals lead to injustices of misrecognition and how understanding behaviors in terms of these two dimensions—norms and individuals—illuminates causes of injustice. The multidimensional view of misrecognition replaces Honneth’s binary view of misrecognition as the contrary to recognition without replacing Honneth’s conceptions of the value of recognition. (shrink)

While the question of free will does not figure as prominently in Buddhist writings as it does in western theology, philosophy, and psychology, it is a topic that was addressed in the earliest Buddhist writings. According to these accounts, for pragmatic and ethical reasons, the Buddha rejected both determinism and indeterminism as understood at that time. Rather than asking the metaphysical question of whether already humans have free will, Buddhist tradition takes a more pragmatic approach, exploring ways in which we (...) can acquire greater freedom to make wise choices that are truly conducive to our own and others' genuine well-being. One key to achieving such freedom is the cultivation of attentional skills so that one can deliberately focus one's attention with continuity and clarity on one's chosen object. A second theme is the cultivation of insight into the manner in which our own attitudes shape experience, allowing for the possibility of altering not only the way we experience events in the present, but also how we are influenced by our memories of the past. Finally, the Great Perfection school of Tibetan Buddhism emphasizes the realization of the deepest dimension of consciousness -- pristine awareness -- which transcends the nexus of causality. This is regarded as the ultimate source of freedom and the ultimate nature of human identity. (shrink)

According to the subset view of realization, a property realizes another if the causal powers of the latter are a subset of those of the former. Against this view, some authors (in particular, Kevin Morris and Paul Audi) have argued that it has an untenable consequence that realizing properties are less fundamental than the properties they realize, because the subset view characterizes realized properties as parts (subsets) of their realizers whereas it is generally true that a (...) part is prior to its whole. This paper defends the subset view from this “part-whole” objection, by arguing that if we compare individual powers of realizer and realizee with particular attention to their manifestation conditions, it turns out that each power of a realizee is grounded in some power of its realizer. This grounding relation between powers, I shall argue, allows subset theorists to explain why a realizer is more fundamental than its realizee, even while having the latter as a part. (shrink)

Sometimes neuroscientists discover distinct realizations for a single psychological property. In considering such cases, some philosophers have maintained that scientists will abandon the single multiply realized psychological property in favor of one or more uniquely realized psychological properties. In this paper, we build on the Dimensioned theory of realization and a companion theory of multiple realization to argue that this is not the case. Whether scientists postulate unique realizations or multiple realizations is not determined by the neuroscience (...) alone, but by the psychological theory under examination. Thus, one might say that, in the splitting or non-splitting of properties, psychology enjoys a kind of autonomy from neuroscience. (shrink)

The Subset View of realization, though it has some attractive advantages, also has several problems. In particular, there are five main problems that have emerged in the literature: Double-Counting, The Part/Whole Problem, The “No Addition of Being” Problem, The Problem of Projectibility, and the Problem of Spurious Kinds. Each is reviewed here, along with solutions (or partial solutions) to them. Taking these problems seriously constrains the form that a Subset view can take, and thus limits the kinds (...) of relations that can fulfill the realization relation on this view. (shrink)

Thomas Polger and Laurence Shapiro argue that Carl Gillett's much publicized dimensioned theory of realization is incoherent, being subject to a reductio. Their argument turns on the fact that Gillett's definition of realization makes property instances the exclusive relata of the realization relation, while his belief in multiple realization implies its denial, namely, that properties are the relata of the realization relation on occasions of multiple realization. Others like Sydney Shoemaker have also expressed (...) their view of realization in terms of property instances, yet they too have accepted the multiple realizability of properties. Thus I am interested in the more general issue raised by Polger and Shapiro's argument. Specifically, I show how to supplement a theory of realization with a category-inclusive auxiliary assumption, which avoids the stated reductio. I then offer a few reasons to justify the proposed category-inclusive view of realization, making some comparisons to supervenience and causation along the way. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Religion and Science: Nishitani’s View of Nihility and Emptiness–A Pure Land Buddhist CritiqueRyusei TakedaIn general, philosophical critique of Nishida, Tanabe, and Nishitani, the so-called Kyoto school, has been mainly conducted from a Zen Buddhist perspective. One should not, however, overlook the fact that a profound regard for the philosophical aspects of Pure Land Buddhist thought, another major stream of Mahayana Buddhism, is deeply intertwined in the foundation of (...) their philosophies. But the ways in which they interpret it and the position they give it within their philosophical systems are not the same: they have taken different forms, often giving rise to original terminology, in accord with each thinker’s metaphysical speculation.As Alfred N. Whitehead critically argues in his Religion in the Making, the fundamental reason for the decay of both Buddhism and Christianity is that “each religion has unduly sheltered itself from the other. The self-sufficient pedantry of learning and the confidence of ignorant zealots have combined to shut up each religion in its own forms of thought. Instead of looking to each other for deeper meanings, they have remained self-satisfied and unfertilized.” Further, “both have suffered from the rise of the third tradition, which is science, because neither of them had retained the requisite flexibility of adaptation.” 1In this contemporary situation, the philosophies of Nishida, Tanabe, and Nishitani, in which the issue of religion and science has been brought into fundamental question and examined on the dimension of origin of their development, have extremely important implications for the critical interpretation of Pure Land Buddhist doctrines, particularly in the postmodern world. 2There are two points I want to make in this paper. First, the fundamental structure of Pure Land Buddhism, in a way an antipode to Zen, will be examined in light of Nishitani’s metaphysical analysis of the relationship between human experience and the laws of nature, particularly bringing into focus his existential realization of ‘nihility.’And second, I want to challenge Nishitani’s understanding of ‘emptiness’ from my perspective as a Pure Land Buddhist, and also to uncover some fundamental [End Page 155] problems underlying his view of ‘emptiness’ by attempting to relate it to Nagarjuna’s negation of ‘substance’ in his concept of ‘non-self being,’ or ‘nih-svabhava.’ 3What is Religion for Nishida, Tanabe, and Nishitani?Before getting into those two topics, I want to make a rough sketch indicating about where Nishida, Tanabe, and Nishitani see that religious experience is to be truly realized.The starting point of Nishida’s understanding of religion is found in his argument that “it is on the ground of fact that religion ought to be considered.” The fact of religious experience is in his view none other than self-awareness of ‘absolute nothingness,’ which is also the foundation of what we consider as objective knowledge. The self-awareness manifests itself in the midst of such fact and serves to reveal that fact. He argues that the ultimate goal of Mahayana Buddhism is to penetrate into the depth of this fact.In Tanabe’s philosophy, one’s resurrection and return to the world (genso) and self-renunciation through ‘metanoetics’ (zangedo), a philosophy of absolute Other-power, are required and witnessed to in order for one to establish a genuine religious standpoint. Neither/nor, instead of both/and, is the only relationship in which the self negates itself by means of contradiction, so that at the same time as the self is extinguished in the negation, the contradiction of that which opposes the self is also extinguished. Converted into the neither/nor relationship, both self and contradiction cease to be contradictory opposites. 4 This is Tanabe’s criticism directed at Nishida’s notion of the self-identity of absolute contradiction. Nothingness can never be intuited as such self-identity. The self-consciousness of nothingness is only in resurrection and return to the world, which is witnessed to through practice based upon faith and performed in obedience to Other-power. 5For Nishitani the question of the essence of religion must be answered through tracing the process of the genuine pursuit of true reality. He attempts to interpret the religious quest... (shrink)

The ?Dimensioned? view analyzes (multiple) realization in terms of compositional relation, and the ?Flat? view analyzes (multiple) realization in terms of causal-functional mechanism. The two different analyses of realization lead to the disagreement about whether realization is transitive. The two views, perhaps not surprisingly, have different consequences on testing for multiple realization, and prescribe different ?reconstructions? for the evidential significance of observation for multiple realization. I examine the differences between the two (...) views on testing for multiple realization within a model-selection theoretical framework. I claim that the model-selection theoretical framework provides a ground to discuss and assess evidence for multiple realization. (shrink)

It is widely assumed that functional and dispositional properties are not identical to their physical base, but that there is some kind of asymmetrical ontological dependence between them. In this regard, a popular idea is that the former are realized by the latter, which, under the non-identity assumption, is generally understood to be a non-causal, constitutive relation. In this paper we examine two of the most widely accepted approaches to realization, the so-called ‘flat view’ and the ‘dimensioned (...) view’, and we analyze their explanatory relevance in the light of a number of examples from the life sciences, paying special attention to developmental phenomena. Our conclusion is that the emphasis placed by modern-day biology on such properties as variability, evolvability, and a whole collection of phenomena like modularity, robustness, and developmental constraint or developmental bias requires the adoption of a much more dynamic perspective than traditional realization frameworks are able to capture. (shrink)

_Purpose._ The study is aimed at the "philosophy of translation" methodology outlining as an original philosophical texts translation tool from the point of view of culture as anthropological phenomena, namely, individuals’ participating in the text creation process providing the consistent following tasks solution: a) clarifying the text author’s role, which is the object of recipients’ perception; b) the human psyche inexhaustible potential realization for the primary text semantic content understanding by the translator to prevent its distortion; c) defining (...) the requirements for the translation process as a mean of bringing the reader closer to author’s understanding by language barrier elimination as an intuitive "obstacle" on its way. _Theoretical basis._ The author proceeds from the factual absence of the "philosophy of translation" concept unambiguous definition in the modern anthropological and philosophical space and seeks to take into account all the factors affecting the newly created text quality due to the all participants’ features reviled on every stage of the text translation process. Today, the "philosophy of translation" is a widely used phrase, though ignoring the characteristics of man as a single meaning creator of the concept under study. The article provisions are based on philosophical, translation, and psychological studies with an emphasis on classical and non-classical anthropology research (Gadamer, Khoma, Holovach, Chepeleva, Dizdar, Leonov, Lotman, Bakhtin, etc.). _Originality._ The author proposes a methodology for the original philosophical text adaptation and presents a generalized step-by-step scheme for its translation, which helps to solve the personality of the researcher and/or translator’s influence problem on the individual author’s meaning preservation during its reproduction in a reader’s convenient language. _Conclusions._ A look at the "philosophy of translation" from the philosophical anthropology point of view allows us not only to consider the process of translation from the individual characteristics of all the participants (author/philosopher-reader-researcher/translator-reader-philosopher/reader) but also to describe such translation methodology by concentrating on highlighting the author’s reasoning course, which rises new knowledge and encourages further philosophical reflection within the human nature instability problem. The translation of a philosophical text not only reproduces the semantic structure of the original message but also provides a number of possible dialogical reactions to it as an object of human phenomenology. The proposed concept takes into account any reader’s needs, fully preserving the author’s position. (shrink)

Current conceptions of shame emphasize its negative communication value as a phenomenon of conscious experience. A tendency in our contemporary society is to view this phenomenon as an extremely disparaging and undesirable experience that every person should avoid or eliminate. It has become a cultural norm now that shame, perceived as human failure or sickness, is to be rejected, hidden, and not discussed. It is believed to stand in the way of personal progress and self-realization. The research literature (...) mirrors not only the lack of interest in understanding but the ignorance of this central-to-human-life experience. The present study examines the meaning and communicative structure of shame through an application of the phenomenological method of Merleau-Ponty and Lanigan. My analysis is grounded in empirical phenomenology and focuses on meaning as reflected in verbal protocols. The results obtained dispel the misleading notion of shame as primarily a negative, to-be-avoided experience. Rather, reflection on the empirical data indicates that the subjects do not adopt the negative theoretical model of shame but accept it as a universal positive experience of communication that is fundamental in their self-improvement process. (shrink)

The question of the world in itself — the world beyond its correlation with experience in the broadest sense — is one of the sore points of phenomenology and becomes especially acute in the light of modern discussions around correlationism. These discussions, in one way or another, make phenomenology come around to the classical distinction between the phenomenon and the thing-in-itself, with the help of which Kant outlines the field of ethics as a special world lying on the other side (...) of the correlation of knowledge and object constitutive for nature. Philosophy deals with the thing-in-itself in the proper, positive sense of the word, not as phenomenology (transcendental philosophy, which reveals the correlation of knowledge and reality in the world of phenomena and the futility of attempts by theoretical reason to know anything beyond phenomena), but as a critique of practical reason. The article attempts to consider the opposition of the thing-in-itself and the phenomenon in the context of the criticism that Kant’s practical philosophy is subjected to in Hegel’s The Phenomenology of Spirit and to explicate the arguments that this criticism makes available to phenomenology for rethinking the problem of Ding an sich and the ethical dimension of the epoche. The first part of the article examines the Hegelian analysis of the main contradiction contained in the Kantian opposition of duty as something that is in itself, and nature as a phenomenon (this opposition forms what Hegel calls the moral worldview): duty does not depend on nature and therefore does not need natural (phenomenal) realization in actions, but at the same time, duty is nothing but the necessity of actions and, consequently, the necessity of a phenomenon. This contradiction, as Hegel shows, leads to the disintegration of the moral worldview and, thus, turns into the sublation of the absolute separation of duty (thing in itself) and nature (phenomenon). The restitution of the difference between the moral an sich and the phenomenon within conscience — a phenomenon that arises as a result of the destruction of the moral worldview — turns into a new paradox, which demonstrates that the thing-in-itself (ethical good), since it is freed from the phenomenon, is not only unreal, but also turns into its own opposite. The paradox consists in the fact that the consciousness of duty, taken in its independence from the phenomenal realization in actions, becomes evil itself, turning to hypocrisy in the moral judgment about other people’s actions. In the second part of the article, the significance of the Hegelian critique of Kant’s practical philosophy for the phenomenological destruction of the difference between the thing-in-itself and the phenomenon and the problematization of the ethical dimension of the phenomenological method is explicated. Tracing the naive origins of this difference in the natural attitude and their transformation in Kantian philosophy, the author tries to consider the sublation of the opposition of the thing-in-itself and the phenomenon in the field of ethics as one of the possible paths to phenomenology. It is shown how the necessary relation of the supra-worldly an sich with the situational nature of its phenomenal realization in actions calls into question the possibility of a phenomenological epoche. The author also seeks to demonstrate that the problematization of the difference between the thing-in-itself and the phenomenon does not turn phenomenology into a system in the Hegelian sense. (shrink)

Two rival conceptions of well-being are reconstructed and contrasted, which have contended for philosophical pre-eminence throughout the Western conversation of philosophy. One view understands well-being as a life course in which as many as possible of a subject’s preferences are satisfied. The other view understands well-being as a life course in which some unique project of the subject comes to be realized. In the second part of the paper the aggregative view of well-being, championed by Hobbes and (...) Locke is shown to correlate with a radically or moderately understanding of freedom, and the holistic view of well-being with a positive notion of freedom, championed by Rousseau, Kierkegaard and Kohut. After showing how some of the conceptual difficulties of the radically negative view of freedom reverberate on the aggregative notion of well-being, in the final section some constitutive dimensions of the holistic view are discussed. (shrink)

B a c k g r o u n d. Sinicized Marxism involves the utilization of Marxist theory to address issues specific to China and the transformation of China's rich practical experience into theory, combined with Chinese history and traditional culture. This can be observed in the context of the exploration of philosophical-anthropological issues. M e t h o d s. The key methods employed to address the outlined tasks were comparative and dialectical. The use of the comparative method allowed (...) for the identification of commonalities and differences in the understanding of the human problem in Western European and contemporary Chinese philosophy. The inclusion of the dialectical method helped reveal contradictions in the explication of the nature and meaning of human existence by various contemporary Chinese thinkers. R e s u l t s. It has been found that contemporary Chinese thinkers perceive a dichotomy in human nature–social and natural. Considering not only Karl Marx's works but also those of other Western philosophers, particularly Immanuel Kant, Marxist philosophers in China emphasize the social component of human nature, which is crucial to individuality. C o n c l u s i o n s. It is argued that Sinicized Marxism, like its Soviet counterpart, also incorporates the concept of the "new man" whose life's purpose is to exist exclusively based on the principles and values of Marxist philosophy. The formation and functioning of this concept are influenced by extensive discussions regarding the role of humans in history. Sinicized Marxism emphasizes that each individual, living in society, pursues their own specific values and, guided by them, acts to achieve their realization. Although these goals and actions are diverse, varied, and contradictory, there is a common essence underlying this mass of individual goals and actions. Accordingly, contemporary Chinese thinkers assert that within a specific historical society, people are integrated independently of their will and desire into a unique system of material relations that constitutes their social existence. As a result, they are in a certain way connected within each formation and with the means of production. Production relations organize people, stimulate their activities, generate certain relationships and dependencies among social groups. Common interests, reflected in consciousness, more or less consciously, unite people, motivating them to strive for the realization of certain social goals. The thesis is substantiated that although Sinicized Marxism emphasizes the social goal of human life, it also encompasses considerations about the existential aspect, manifested in living for self-improvement and for the sake of others. (shrink)

Nature in its wider cosmic sense is not at risk from human exploitation and predation. To see life on Earth as but a local manifestation of this wider, indestructable and inexhaustible nature is to shield ourselves from despair over the fate of our Earth. But to take this wide view also appears to make interventionist political action on behalf of nature-which is to say, conservation-superfluous. If we identify with nature in its widest sense, as deep ecology prescribes, then the (...) “self-defence” argument usually advanced by deep ecologists in support of conservation appears not to work. I argue that the need for eco-activism can be reconciled with a rejection of despair within the framework of deep ecology, and that in the process of this reconciliation the meaning of the term conservation acquires a new, spiritual dimension. (shrink)

Nature in its wider cosmic sense is not at risk from human exploitation and predation. To see life on Earth as but a local manifestation of this wider, indestructable and inexhaustible nature is to shield ourselves from despair over the fate of our Earth. But to take this wide view also appears to make interventionist political action on behalf of nature-which is to say, conservation-superfluous. If we identify with nature in its widest sense, as deep ecology prescribes, then the (...) “self-defence” argument usually advanced by deep ecologists in support of conservation appears not to work. I argue that the need for eco-activism can be reconciled with a rejection of despair within the framework of deep ecology, and that in the process of this reconciliation the meaning of the term conservation acquires a new, spiritual dimension. (shrink)

Sydney Shoemaker has been arguing for more than a decade for an account of the mind–body problem in which the notion of realization takes centre stage. His aim is to provide a notion of realization that is consistent with the multiple realizability of mental properties or events, and which explains: how the physical grounds the mental; and why the causal work of mental events is not screened off by that of physical events. Shoemaker's proposal consists of individuating properties (...) in terms of causal powers, and defining realization as a relation of inclusion between sets of causal powers. Thus, as the causal powers that define a mental property are a subset of the causal powers that characterize a physical property, it can be said that physical properties realize mental properties. In this paper we examine the physicalist credentials of Shoemaker's mind–body theory in relation to three important issues: the direction of the relation of dependence that the theory is committed to; the possibility of mental properties existing without being anchored by physical properties; and the compatibility of the theory with the causal closure of the physical world. We argue that Shoemaker's theory is problematic in all three respects. After that we consider whether the theory should count as a mind–body theory at all, given that it seems to be committed to a distorted view of mental properties. (shrink)

Karl Marx's normative views have routinely been contrasted with moral-political theories such as utilitarianism and Rawlsian justice. They have not been systematically contrasted with characteristically African, and specifically communal, values, with post-independence African leaders such as Nyerere and Nkrumah instead having emphasized the similarities. In this article, a work of analytic philosophy, I sketch the essentials of Marx’s approach to the human good, especially his early writings on alienation from 1843-1845, and weigh them up against a theoretical interpretation of the (...) under-explored African moral-political tradition. According to the latter perspective, a person displays human excellence insofar as she prizes communal relationships, ones of sharing a way of life and caring for others’ quality of life. My aims are to identify key differences between this Afro-communalism and the young Marx’s views, and, where they diverge, to provide some reasons for favouring one approach over the other. I conclude that insofar as the two ethics differ, the African ideal is the better candidate for capturing a moral point view, one that includes human rights, whereas Marx’s is preferable, and even compelling to a wide contemporary audience, as a broader account of how to live well. (shrink)

Non-reductive physicalists hold that mental properties are realized by physical properties. The realization relation is typically taken to be a metaphysical necessitation relation. Here, I explore how the metaphysical necessitation feature of realization can be explained by what is known as ‘the subset view’ of realization. The subset view holds that the causal powers that are associated with a realized property are a proper subset of the causal powers that are associated with the realizer property. (...) I argue that the said explanation of the metaphysical necessitation feature requires a careful treatment of the relationship between properties and causal powers. (shrink)

The Nanosilver Linings role play case offers participants first-person experience with interpersonal interaction in the context of the wicked problems of emerging technology macroethics. In the fictional scenario, diverse societal stakeholders convene at a town hall meeting to consider whether a nanotechnology-enabled food packaging industry should be offered incentives to establish an operation in their economically struggling Midwestern city. This original creative work was built with a combination of elements, selected for their established pedagogical efficacy and as topical dimensions of (...) the realistic scenario. The product life cycle is used as a framework for integrated consideration of scientific, societal, and ethical issues. The Nanosilver Linings hypothetical case was delivered through the format of the 3-hour workshop Ethics when Biocomplexity meets Human Complexity, providing an immersive, holistic ethics learning experience for STEM graduate students. Through their participation in the Nanosilver Linings case and Ethics when Biocomplexity meets Human Complexity workshop, four cohorts of science and engineering doctoral students reported the achievement of specific learning objectives pertaining to a range of macroethics concepts and professional practices, including stakeholder perspectives, communication, human values, and ethical frameworks. Automated text analysis of workshop transcripts revealed differences in sentiment and in ethical framework preference between societal stakeholder roles. These resources have been recognized as ethics education exemplars by the U.S. National Academy of Engineering. (shrink)

An awareness of the wide scope of medieval logic and the role it played in university education at all levels, together with the way it was used in writings on both science and theology, is crucial for the historian of medieval thought. The growth of this awareness since the mid-twentieth century is shown by the ongoing expansion of editorial work, together with the discussion of the logic actually found in such prominent authors as Aquinas and Scotus. It has gone hand (...) in hand with the use of developments in modern logic. First came the realization that medieval logic extended beyond basic Aristotelian syllogistic, and could be related to modern developments in propositional and quantificational logic in... (shrink)

We often speak of health care as a social good. What kind of good it is-and what of us in making it available to the members of society-depends on how society underst value of health care may be understood in many different ways within society.

A large literature on urban politics documents the connection between metropolitan fragmentation and inequality. This article situates the United States comparatively to explore the structural features of local governance that underpin this connection. Examining five metropolitan areas in North America and Europe, the article identifies two distinct dimensions of fragmentation: fragmentation through jurisdictional proliferation and fragmentation through resource hoarding. This research reveals how distinctive the United States is in the ways it combines institutional arrangements that facilitate metropolitan fragmentation and those (...) that reward such fragmentation. Non-US cases furnish examples of policies that reduce jurisdictional proliferation or remove resource-hoarding opportunities. Mitigating the inequality-inducing effects of fragmentation is possible, but policies must be designed with an identification of the specific aspects of local governance structures that fuel inequality in the first place. (shrink)

The study aims to lay the groundwork for systematically investigating children’s peer discourse at different age levels with a view to delimiting the role of peer talk for pragmatic development. An interdisciplinary stance to the study of children’s peer talk is argued for, considering it simultaneously as the arena for the co-construction of childhood cultures as well as an arena for development. We propose a four-dimensional model of discursive events, meant to capture both dimensions simultaneously. The model takes into (...) account the dynamic interplay among the type of activity children are engaged in, the overall thematic frame of the event, its internal framing by the children themselves and the genre used. The model is applied to the analysis of natural peer talk at two age levels, preschoolers and fourth graders, focusing mainly on variation along the dimension of keying. The two age groups studied are shown to share a rich repertoire of keyings and genres, but to differ in their relative salience and modes of realization by age. Our analysis suggests that peer talk offers children ample opportunities to listen in, practice and display conversational as well as academic discursive skills, and hence may very well prove a crucial site for pragmatic development. (shrink)

I use Carl Gillett’s much heralded dimensioned theory of realization as a platform to develop a plausible part–whole theory. I begin with some basic desiderata for a theory of realization that its key terms should be defined and that it should be explanatory. I then argue that Gillett’s original theory violates these conditions because its explanatory force rests upon an unspecified “in virtue of” relation. I then examine Gillett’s later version that appeals instead to theoretical terms tied (...) to “mechanisms.” Yet I argue that it too violates the desiderata, since it defines realization for mechanisms in terms of two undefined ideas whose explanatory credentials have not been established—“implementation” and “grounds.” Thus I drop those ideas in favor of an explicit constraint that the parts and properties provide a mechanistic explanation. I also distinguish a special mechanistic theory from a preferred general theory that incorporates other kinds of part–whole explanations that target causal powers or capacities. The result is a theory that has the explanatory virtues of mechanistic theories as well as a broader scope desired by Gillett. I also compare the result to a similar idea from Robert Cummins that has been neglected in recent discussions of realization, namely, his general property analysis rather than his functional analysis. Finally, I defend the preferred general theory against possible objections that attempt to show a conflict between metaphysical demands on a theory of realization versus facts about good scientific explanation. (shrink)

Understanding the 'making-up' relations, to put things neutrally, posited in mechanistic explanations the sciences is finally an explicit topic of debate amongst philosophers of science. In particular, there is now lively debate over the nature of the so-called 'realization' relations between properties posited in such explanations. Despite criticism (Gillett, Analysis 62: 316-323, 2002a), the most common approach continues to be that of applying machinery developed in the philosophy of mind to scientific concepts in what is known as the 'Flat' (...) or 'Subset' model of 'realization' (Kim, Mind in a physical world, 1998; Shapiro, J Philos XCVII: 635-654, 2000; Clapp, J Philos XCVIII: 111-136,2001 ; Wilson, Philos Stud 145: 149-169,2009). My primary goal in this paper is to show in still more detail that the Subset model of realization is inadequate for the descriptive task of describing the 'making-up' relations posited between properties or their instances in mechanistic explanations in the higher sciences. And my secondary goal is to highlight why this critique of the Subset view as a first-order descriptive account also shows there are deep difficulties in using the Subset account to address second-order issues in the philosophy of science as well. (shrink)

The contemporary historical situation suggests fascinating parallels with that period of the 13th/7th century when the massive destruction of the Mongol invasions opened the way for popular new forms of Islamic life and practice that eventually spread Islam throughout Asia. Today, as in earlier periods of dramatic upheaval, we can witness those processes of inspiration and awakening that give rise to the spiritual pathways of future centuries, through each soul’s gradual discovery of its unique challenges and demands of ihsan. One (...) way of describing this transformation, to use the Qur’anic language adapted by Ibn ‘Arabi, is in the terms of the process of spiritual realization by which people discover their guiding inner relationship to those divine qualities or “Names” that eventually come to define the meaning and purpose of their lives. Through our life long movement of service to the “Lord” constituted by each divine Name, the transformation of the soul follows a familiar, naturally ascending trajectory. It begins with a curiosity drawing us toward some particular dimension of the Real ; then a compelling striving leading to heightened discipline and awareness; and ultimately to the creative manifestation of that devotion through the appropriate means of teaching, communication, and new communities of fellow- seekers—the Qur’anic “servants of the All-Merciful”—that slowly emerge from this shared spiritual work of devotion, discovery and creative response. Here we point to some ways this process of civilizational renewal is unfolding around the world, focusing on three of the most far-reaching of those divine Names: the “servants of the All-Wise”, in their exploring and deciphering the infinite Signs of God’s Wisdom “on the horizons”, in all of the sciences of nature and society; to those muhsinūn and “servants of the Beautiful” whose creative acts of beauty help awaken that love and awe which mark the beginnings of each spiritual journey; or to those “servants of the Subtly-Gracious” whose lives are dedicated to deepening our understanding of the presence and meaning of each of the divine Signs “in our souls,” in the emerging science of spirituality. These “servants of the all- Merciful” and their communities are themselves the first seeds of an emerging global civilization. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate (...) the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_ (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or (...) negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

Purpose. Aging is intricate process of self-transformation in view of involution of body, loss of sexual attractiveness, but at the same time, old age is a time for reconsideration of self-existence in time and in the world within coherence of life sense targets and their realization. Unique individual experience of growing old implemented in Ukrainian literature can complete the data received by gerontology. Moreover gender approach in literary gerontology highlights masculine / feminine phenotypical features of internal reverberating of (...) aging. Theoretical basis. To inquire into existential and psychological problems of aging exemplified in the twentieth-century Ukrainian Lyrics it is seems to be the most effective to employ philosophical and psychological approaches in gerontology, as well as feministic studies on elder female body discrimination, in particular in literature. Originality. This research paves the way to the development of gender and literary dimensions in Ukrainian gerontology and anthropology in general. Some of the existential and psychological problems of aging are revealed on the material of 20th-century Ukrainian poetry. The individual lyric experience of aging in different gender moods is anchored mostly in psychic, mental, sense-life strategies. Conclusions. Among the feminine strategies of aging self-reception there are observation of own elder body with anxiety and fear, its "invisibility", deepened feelings of loneliness, self-estrangement, but also finding the sense of life and soul harmony in own family, offspring. Masculine self-reception of aging deals with ideal spiritual model of Wise old man – more abstract than personal; masculine anxiety is caused by physical bodily declining, not attractiveness, but strength and power loosing. (shrink)

In this text I would like to argue that individualistic culture of today is imbued with a specific notion of the self. Phenomena like life-style blogs, „cult” of celebrities and especially self-realization gurus and literature co-create a discourse on man where self is no longer regarded as an inner essence, substance or existential potency of a man but rather as a tengible and to some extent concrete object. Thus „being oneself” ceases to function as a verb and starts to (...) be a noun – name of a form of psycho-somatic wholeness that we can and should incorporate. As a consequence the self is ultimately brought to a number of styles of living with its rules, worldviews and modes of behavior and ultimately is reified. Becomes a magico-religious object which in anthropological terms can be described as a fetish. (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)

Some Contemporary Views Claudio Corradetti ... A more complete history of the relation between modern humanitarianism and human rights remains to be written, and would have to identify the points at which each arose, when they ...

One of the more recalcitrant issues in the philosophy of time concerns the question of temporal asymmetry. Some theorists, many of them, like Einstein, physicists, believe that time is fundamentally reversible. According to this view, the physical universe is indifferent to the direction of time; consequently, something like an arrow of time is held to be a human subjective imposition on an otherwise temporally isotropic world. Another position, held by Alfred North Whitehead and contemporary process philosophers, maintains that temporal (...) asymmetry is a primitive condition of the universe, and that therefore even the most basic physical processes, such as those occurring at the subatomic level, display a distinct temporal direction. Finally, the philosopher of time J.T. Fraser (1978) claims that temporal asymmetry is an emergent feature of the universe, appearing for the first time with biogenesis. According to Fraser, with the emergence of life comes a present, or “now”, a temporal dimension whose absence in more primitive levels of cosmic evolution prohibits the attribution of an arrow of time to any pre-biotic entity. (shrink)