Contemporary phenomena of mass death—such as Hiroshima and Auschwitz—have brought with them the threat of annihilation of human life. In this provocative and disturbing book, Edith Wyschogrod shows that the various manifestations of man-made mass death form a single structure, a “death-event,” which radically alters our understanding of language, time, and self. She contends that the death event has its own logic and driving force that she traces to pre-Socratic philosophy and to certain (...) mythological motifs that recur in Western thought. “_Spirit in Ashes_ is one book in contemporary philosophy that should be read aloud and taken to heart by any professional or intellectual who purports to have a conscience.”—Carl Rasche, _Journal of the American Academy of Religion_ “A masterful blend of scholarship, originality, and serious passion.”—Robert C. Neville, _Commonweal_ “An original, insightful, and challenging work.”—Robert Burch, _Canadian Philosophical Reviews_. (shrink)

The central theme of this important book is that we are paying the price of an arrogance that refuses to recognize mystery. The author invites the reader to enter into the argument that he holds with himself on a great number of problems. Written in the early 1950s, Marcel's discussion of these topics are remarkably contemporary, e.g.: * Our crisis is a metaphysical, not merely social, one. * What a man is depends partly on what he thinks he is, and (...) a materialistic philosophy turns men into things. * Can a man be free except in a free country? * Stoicism is no longer a workable philosophy because today pressure can be put on the mind as well as on the body. * Technical progress is not evil in itself, but a technique is a means that, regarded as an end, can become either an idol or an excuse for self-idolatry. State control of scientific research, leading to a concentration on new means of destruction, is a calamity. * Fanaticism is an opinion that refuses to argue, and so the fanatic is an enemy of truth. * The kind of unification that science is bringing about today is really an ironing out of differences, but the only valuable kind of unity is one that implies a respect for differences. * We must beware of thinking in terms of great numbers and so blinding ourselves to the reality of individual suffering. Our philosophical approach to being is made possible only by our practical approach to our neighbor. * We must encourage the spirit of fraternity and distrust the kind of egalitarianism that is based on envy and resentment. * No man however humble should feel that he cannot spread the light among his friends. No easy solution is offered, but the author conveys his own faith that ultimately love and intelligence will triumph. (shrink)

A portrait of Australian flying fox life in the Anthropocene illuminates startlingly familiar stories. These animals are participants in most of the major catastrophic events, as well as contestations about rescue, of contemporary life on Earth: warfare, man-made mass death, famine, urbanisation, emerging diseases, climate change, biosecurity, conservation, and local/international NGO aid. They are endangered, and are involved in all four of the major factors causing extinctions: habitat loss, overexploitation, introduced species, and extinction cascades. My account of (...) flying foxes in Australia rests on the understanding of species articulated both vigorously and eloquently by Donna Haraway : we and others are entangled in knots of species who are co-shaping each other in layers of reciprocating complexity. I seek to engage both the living, warm-blooded beings whose lives are threatened, and the excruciatingly dynamic deathscape that is surrounding them/us. Positioned, like much of life on Earth today, in zones of increasing conflict and terror, the lives and deaths of flying foxes tell us that in the Anthropocene there is no way out of entanglements within multispecies communities. Rather than seeking to erect more impenetrable barriers against others, relational ethics for living and dying in the Anthropocene urge us to assume ever greater mutuality and accountability as intradependent members of the suffering family of life on Earth. (shrink)

These essays examine how some perennial problems in philosophy and religion are significant for understanding contemporary life. Issues discussed include: capitalism; public philosophy; man-made mass death; psychoanalysis; feminism; fundamentalism; and the desire to be happy.

Much recent work on the masculinities enacted by early Christians has focused upon Christian texts and claims about their heroes and practices among elite Christians. Lucian’s Passing of Peregrinus offers another avenue for thinking about early Christian masculinity. Lucian denies Peregrinus’ claim to masculinity on the basis of his over-concern for honour, especially from the masses, his inability to control his appetites regarding food and sex, his being a parricide, his enacting ‘strange’ ascetic practices and his lack of courage in (...) the face of death. By tying Peregrinus to a Christian community in Judea, Lucian both demonstrates the lack of manliness in the Christian movement, which he suggests is populated mostly by gullible women and children, and further ‘unmans’ Peregrinus by linking him to a community of easily duped people whose praise is not worthy of a philosopher. By presenting this Christian community as a group that not only accepts Peregrinus as a member but also quickly establishes him as their leader, almost at par with Jesus himself, according to Lucian’s account, these early Christians show their lack of self-control by being deceived by a charlatan. Early Christian writers who claimed that their heroes were manly, even more manly than the Greek or Roman heroes, were writing in part to rebut the types of claims made by writers like Lucian. (shrink)

Herman Daly once identified the absurdity of shipping Danish cookies to the United States; if efficiency were in fact ‘economic’, one might just e-mail the recipe, save the fuel, reduce the greenhouse gases and still enjoy the cookie. This argument playfully illustrates that resources are scarce, ideas are Inherently Not Scarce (INS) and current financial systems are inefficient and not ‘economical’. The unprecedented industry of 7.5 billion people is now concerned about the resulting scarcity and pollution of the finite resource (...) base. Until humanity shares inherently-not-scarce ideas for effectively managing what is in a steady state, scarcity and pollution will be a constant source of crisis on the landscape. Since 2004, I have made transforming colour field paintings with mud taken from the most pristine to the most toxic landscapes of northeast United States of America (NE USA). Although difficult to see individually, microbes existing within mud photosynthesize pigments. As a species grows from individual to colony, it becomes visible as pointillist pigments amass horizontal blocks of transient colour. As these bacteria express themselves (i.e., live: consume, reproduce, deplete resources, release wastes), they exhaust their habitat and create an altered landscape suitable to a successor. Like us, bacteria are bound by the law of conservation of mass; they constantly select and reject resources from the finite landscape. The resulting processes of growth and decay are intimately linked inversions resulting in beautiful transforming colourfields. As evidenced by my vibrant and literal portraits made from mud, these simple, highly adaptable, single-cell organisms craft a unique, colourful and synthetic existence. As a model system, they exhibit a viable steady state of infinite expression in a finite landscape where life and landscape is an intimate, malleable and reciprocal whole. Here I discuss the beauty of our landfill paradises, made evident by mud taken at two different kinds of landfilled ecosystems in New York City. (shrink)

A funny, touching look at the life of a social media influencer who starts to question the #goals life she has created for herself. Every day, Élie motivates her hundreds of thousands of followers to become the best versions of themselves by posting videos of exercise routines and high-protein breakfast recipes. Far from the shy teenager that she was, she is now in a very public relationship with singer Samuel Vanasse, and together they have become one of the most popular (...) influencer couples in the country. She has succeeded. She shines. And yet, Élie worries that her life is not as flawless as she makes it seem on YouTube and Instagram. Between her obsession with the "ideal weight," her growing attraction to another man, her family's disdain for her career as a content creator and a collaboration with another influencer who Élie can't stand, a thought haunts her. What if, by trying to become everything she wanted to be, she's lost herself along the way? Suck it In and Smile is an intimate exploration of our obsession with appearances and the hypocrisies that appear when you must craft the perfect online life. (shrink)

Finally, our argument suggests that the relationship and the distinction between literature and philosophy cannot be made in terms of a distinction between aesthetic and epistemological categories. All philosophy is condemned, to the extent that it is dependent upon figuration, to be literary and, as the depository of this very problem, all literature is to some extent philosophical. The apparent symmetry of these statements is not as reassuring as it sounds since what seems to bring literature and philosophy together (...) is, as in Condillac's argument about mind and object, a shared lack of identity or specificity. Contrary to common belief, literature is not the place where the unstable epistemology of metaphor is suspended by aesthetic pleasure, although this attempt is a constitutive moment of its system. It is rather the place where the possible convergence of rigor and pleasure is shown to be a delusion. The consequences of this lead to the difficult question whether the entire semantic, semiological, and performative field of language can be said to be covered by tropological models, a question which can only be raised after the proliferating and disruptive power of figural language has been fully recognized. Paul de Man, Tripp Professor in the humanities and chairman of the comparative literature department of Yale University, is the author of Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism. His previous contribution to Critical Inquiry, "Political Allegory in Rousseau," appeared in the Summer 1976 issue and appears in his book Allegories in Reading. (shrink)

This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

Some scientists or philosophers argue that multiverse theories are unfalsifiable and thus not scientific. However, some advocates of multiverse theories have recently argued that although the multiverse is not observable, multiverse theories are indeed falsifiable in principle. Therefore, they share similar features with a conventional scientific theory. On the other hand, the proposals of an epistemic shift and nonempirical theory assessment have possibly revived the discussions of the scientific nature of multiverse theories. In this article, I revisit the falsifiable arguments (...) made by the advocates of multiverse theories and show that these arguments do not justify arguing the scientific nature of such theories. Moreover, even if we accept the proposals of the epistemic shift and the nonempirical theory assessment, I argue that multiverse theories still cannot pass or satisfy the required assessments based on the new theoretical virtues and the nonempirical arguments. (shrink)

Every culture has its own taboos. Communication works better when the participants share more assumptions and knowledge about each other (Scollon & Scollon, 2000). However, in many cases, participants realize the existence of the rules associated with taboos only after they have violated them. Those who do not observe these social “rules” might face serious results, such as total embarrassment or, as Saville-Troike (1989) puts it, they may be accused of immorality and face social ostracism. This paper reports that certain (...) verbal and non-verbal taboos among Chinese people centuries ago still affect their language and behavior choices. Two types of Chinese possible taboos in language and behavior are introduced and compared with cultures of the Koreans and Americans: (1) gift-giving taboos which are phonologically linked to the “separation” and “death” in Chinese society, and (2) verbal expressions which are linked to the twelve zodiac-animals in Chinese traditional metaphors. This research paper also tries to answer two questions related to Asian culture and history: (1) whether Koreans share more of these phonologically-linked taboos than Americans do because Korean language has very similar sounds to Chinese; and (2) whether Koreans share with Chinese people more of the zodiac-animal-linked metaphors (i.e., the rat, the bull/cow, the tiger, the rabbit, the dragon, the snake, the horse, the sheep/lamb, the monkey, the chicken, the dog, and the pig) than Americans do because Korean people also use the same animals as a cycle of every twelve years. Data were collected in two ways: questionnaires and interviews. (shrink)

The place of God in Nietzsche’s thought remains central and controversial. Nietzsche’s proclamation of 'the death of God' is one of the most famous slogans in modern philosophy, seeming to encapsulate the nineteenth-century loss of religious faith in the affirmation that God has "turned out to be our oldest lie" and yet the nature of Nietzsche’s own ‘theology’ is far from clear. This volume engages with Nietzsche’s arguments about God, theology, and religion. The volume extends the discussion to an (...) engagement of Nietzsche with alternative models of God, with ancient Greek religions, and with discussions of diversity in dis/conjunction with religion. The chapters examine Nietzsche’s genealogy of religion and his claims about the place of God and theology in the history of Western thought, as well as his engagements with alternative conceptions of God. The volume also examines the historical and contemporary reception of Nietzsche’s arguments about God by religious and non-religious thinkers, asking to what extent Nietzsche’s philosophy of God speaks to the challenges of today's globalized philosophy and religion. (shrink)

There are now over 1.1 million people overseen by Immigration and Customs Enforcement (ICE), with about 33,000 detained in jails and federal detention centers around the country at any particular time. The average detention time is two months, but some are detained for much longer periods. Since its inception, one hundred and twenty one deaths and countless cases of medical neglect have occurred. Given its secrecy, and lack of accountability and oversight, it is not clear how many of these deaths (...) are the result of grossly inadequate medical care. ICE is a branch of a government agency in a democratic country, thus the citizens on whose behalf it allegedly operates have an obligation to ensure that it operates in conformity with the fundamental principles of justice on which this nation was founded. ICE is a young and rapidly growing bureaucracy with little oversight. It operates using a mix of federal, state, local and private centers, many of which are penal institutions. It has a history of serious abuse, and even when it operates in conformity with its penal standards, it inflicts additional harm onto vulnerable people, especially asylum seekers and parents of minor children. It thus requires our constant vigilance and concern. Our immigration policies and detention practices are deeply troubling, but until we elect to reform them, we have a special obligation to the vulnerable populations that we house in ICE detention. (shrink)

Corporate social responsibility becomes more and more prevalent in the business world and is considered as one of the factors to make purchase intentions by customers. Thus, corporations are obliged to implement CSR initiatives to attract their customers. Generation Z is born in the world with the internet and social media. They are more able to handle technology and reply on the internet or social media to receive or search for information. They are more concerned with social issues or environmental (...) problems. Therefore, CSR is one of the considerations when they make purchase decisions. This study is to explore whether CSR affects Generation Z purchase intentions in the food industry and which CSR categories have impacts on the purchase intention of Generation Z. A survey was used to collect the data from the youngsters at a post-secondary education institution. The findings showed that Generation Z will consider the CSR performance of the corporations in the food industry when they made purchase decisions. Most of the CSR initiatives, except shareholder related initiatives, had impacts on purchase intention. This may be due to the characteristics of Generation Z. (shrink)

The amount allocated to publicly funded health care for 2005/06 in New Zealand, a small country of some four million people, is $NZ 9.68 billion, or 6.2% of GDP, an increase from the 5.7% of GDP in 2000/01. The Minister of Finance has recently signalled that spending in health and education has outpaced economic growth, and that the present rate of growth in health spending, which has grown at about 7% a year over the last decade, is unsustainable. Despite these (...) big funding increases in recent years, the perception of New Zealanders is that the extra spending has made little difference, at least to hospital services and to people’s ability to access treatment. In surveys, health emerges as a leading concern for New Zealanders. Their concern is apparently less about the quality of services, than about their ability to access treatment - whether they will be able to access timely health care when they or their family members need it. (shrink)

The amount allocated to publicly funded health care for 2005/06 in New Zealand, a small country of some four million people, is $NZ 9.68 billion, or 6.2% of GDP, an increase from the 5.7% of GDP in 2000/01. The Minister of Finance has recently signalled that spending in health and education has outpaced economic growth, and that the present rate of growth in health spending, which has grown at about 7% a year over the last decade, is unsustainable. Despite these (...) big funding increases in recent years, the perception of New Zealanders is that the extra spending has made little difference, at least to hospital services and to people’s ability to access treatment. In surveys, health emerges as a leading concern for New Zealanders. Their concern is apparently less about the quality of services, than about their ability to access treatment - whether they will be able to access timely health care when they or their family members need it. (shrink)

I examine what would be necessary to move part-of-speech tagging performance from its current level of about 97.3% token accuracy (56% sentence accuracy) to close to 100% accuracy. I suggest that it must still be possible to greatly increase tagging performance and examine some useful improvements that have recently been made to the Stanford Part-of-Speech Tagger. However, an error analysis of some of the remaining errors suggests that there is limited further mileage to be had either from better machine (...) learning or better features in a discriminative sequence classifier. The prospects for further gains from semisupervised learning also seem quite limited. Rather, I suggest and begin to demonstrate that the largest opportunity for further progress comes from improving the taxonomic basis of the linguistic resources from which taggers are trained. That is, from improved descriptive linguistics. However, I conclude by suggesting that there are also limits to this process. The status of some words may not be able to be adequately captured by assigning them to one of a small number of categories. While conventions can be used in such cases to improve tagging consistency, they lack a strong linguistic basis. (shrink)

The term race has been applied to humans, so humans began to group themselves among their races, then the emergence of the superiority of the human race against other races is often called racism. Is this really the case of humans, does the Bible agree that humans are divided into racial concepts, how does the Bible state the creation of man against the facts of the human race. Therefore, through this paper will write how God views the reality of the (...) human race. (shrink)

The fifth commandment is part of the Ten Commandments that God gave to Moses on Mount Sinai. The Bible is the eternal word of God, so this fifth Law has a meaning that must be understood in the infinite dimension. The Bible gives the principle that if the man fails to do one of the commandments in the Law, then he has failed. There are many interpretations of this Law, but it only comes down to practical, ethical, and moral dimensions (...) because it solely focuses on the relevance of the present. The Bible states that the curse of the Law has been redeemed and fulfilled by Jesus Christ. After the resurrection, Jesus said that in the Torah, the Psalms and the Prophets written about Him. Thus Jesus gave a new concept of interpretation in understanding the Law. This principle is called the historical redemptive approach. The Bible states the culmination of completing all of Jesus' redemptive work is the time of the second coming in the realization of the new heaven and earth. Therefore, how to explain the relevance of the fifth Law in the context of eternity. This research focuses on the understanding of the Fifth Law in the eschatological dimension. (shrink)

The place (or absence) of God in Nietzsche's thought remains central and controversial. Nietzsche's proclamation of 'the death of God' is one of the most famous (and parodied) slogans in modern philosophy, seeming to encapsulate the nineteenth-century loss of religious faith in the affirmation that God has "turned out to be our oldest lie" and yet the nature of Nietzsche's own 'theology' is far from clear. This volume engages with Nietzsche's arguments about God, theology, and religion. The volume extends (...) the discussion to an engagement of Nietzsche with alternative models of God, with ancient Greek religions, and with discussions of diversity (race, class, gender, sex) in dis/conjunction with religion. The chapters examine Nietzsche's genealogy of religion and his claims about the place of God and theology in the history of Western thought ("that faith of the Christians, which was also Plato's faith"), as well as his engagements with alternative conceptions of God. The volume also examines the historical and contemporary reception of Nietzsche's arguments about God by religious and non-religious thinkers, asking to what extent Nietzsche's philosophy of God speaks to the challenges of today's globalized philosophy and religion. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Respect, which is human virtue by its very nature, is a universal feeling and action. Prestige; it is expressed as being respected, valuable, and reliable. These intertwined concepts draw attention basically for nursing, in which interpersonal interactions stand out compared to other professions. Moreover, while continuing the services in a kind of mobilization environment during the pandemic process that we have been faced with since 11 March 2020 and will obviously be affected for a long time in our country, the (...) most common sense and respectful perspectives and approaches are needed. Respectful actions and respectful practices which are also included in the scope of professional ethics are more strategically important as we experience such a mass and historical human experience in which each of us is responsible for each other's health. The reputation of nursing continues to be formed and differentiated with how this profession is perceived by members of the profession and society, influenced by various processes from past to present. In this article, the change/development of the reputation of the nursing profession during the COVID-19 pandemic period was discussed. (shrink)

Due to the economic globalization which is characterized with business scandals, scholars and practitioners are increasingly engaged with the implementation of codes of ethics as a regulatory mechanism for stimulating ethical behaviours within an organization. The aim of this study is to examine various organizational practices regarding the effective implementation of codes of ethics within construction contracting companies. Views on ethics management in construction organizations together with the recommendations for improvement were gleaned through 19 semi-structured interviews, involving construction practitioners from (...) various construction companies in Hong Kong. The findings suggested some practices for effective implementation of codes of ethics in order to diffuse ethical behaviours in an organizational setting which include; introduction of effective reward schemes, arrangement of ethics training for employees, and leadership responsiveness to reported wrongdoings. Since most of the construction companies in Hong Kong have codes of ethics, emphasis is made on the practical implementation of codes within the organizations. Hence, implications were drawn from the recommended measures to guide construction companies and policy makers. (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)

Bryan Norton 's convergence hypothesis, which predicts that nonanthropocentric and human-based philosophical positions will actually converge on long-sighted, multi-value environmental policy, has drawn a number of criticisms from within environmental philosophy. In particular, nonanthropocentric theorists like J. Baird Callicott and Laura Westra have rejected the accuracy of Norton 's thesis, refusing to believe that his model's contextual appeals to a plurality of human and environmental values will be able adequately to provide for the protection of ecological integrity. These theoretical criticisms (...) of convergence, however, have made no real attempt to engage the empirical validity of the hypothesis, the dimension that Norton clearly takes to be the centerpiece of his project. Accordingly, the present paper attempts to provide an empirical analysis of the convergence argument, by means of a study of the Vermont public's environmental commitments and their attitudes toward national forest policy. Our findings support a generalized version of Norton 's thesis, and lead us to suggest that environmental philosophers should try to be more inclusive and empirically minded in their discussions about public moral claims regarding nature. (shrink)

We present a generative distributional model for the unsupervised induction of natural language syntax which explicitly models constituent yields and contexts. Parameter search with EM produces higher quality analyses than previously exhibited by unsupervised systems, giving the best published unsupervised parsing results on the ATIS corpus. Experiments on Penn treebank sentences of comparable length show an even higher F1 of 71% on nontrivial brackets. We compare distributionally induced and actual part-of-speech tags as input data, and examine extensions to the basic (...) model. We discuss errors made by the system, compare the system to previous models, and discuss upper bounds, lower bounds, and stability for this task. (shrink)

Bryan Norton's convergence hypothesis, which predicts that nonan‐thropocentric and human‐based philosophical positions will actually converge on long‐sighted, multi‐value environmental policy, has drawn a number of criticisms from within environmental philosophy. In particular, nonanthropocentric theorists like J. Baird Callicott and Laura Westra have rejected the accuracy of Norton's thesis, refusing to believe that his model's contextual appeals to a plurality of human and environmental values will be able adequately to provide for the protection of ecological integrity. These theoretical criticisms of convergence, (...) however, have made no real attempt to engage the empirical validity of the hypothesis, the dimension that Norton clearly takes to be the centerpiece of his project. Accordingly, the present paper attempts to provide an empirical analysis of the convergence argument, by means of a study of the Vermont public's environmental commitments and their attitudes toward national forest policy. Our findings support a generalized version of Norton's thesis, and lead us to suggest that environmental philosophers should try to be more inclusive and empirically minded in their discussions about public moral claims regarding nature. (shrink)

This paper separates conditional parameter estima- tion, which consistently raises test set accuracy on statistical NLP tasks, from conditional model struc- tures, such as the conditional Markov model used for maximum-entropy tagging, which tend to lower accuracy. Error analysis on part-of-speech tagging shows that the actual tagging errors made by the conditionally structured model derive not only from label bias, but also from other ways in which the independence assumptions of the conditional model structure are unsuited to linguistic sequences. (...) The paper presents new word-sense disambiguation and POS tagging experiments, and integrates apparently conflicting reports from other recent work. (shrink)

Human rights are often taken for granted, but "What is the basis of human rights?" This is no easy answer, De Xiao Weiqi, in his 2004 book of this difficult the problem. He considered the following four main theories: First, the external theory: the root cause of human rights outside the law, such as human rights divine theory; Second, the intrinsic theory: the root cause of human rights within the law - law positivism ; three, rationalist approaches: human rights is (...) based on rational intuition ; Fourth, experience-based approaches: human rights from human experience, especially experience the experience of injustice. He made ​​the first three theories are severely criticized, and to promote a fourth to experience-based approaches. This paper points out that although the experience of Germany and Xiao Weiqi theory have many advantages, but it is evidence of human rights legislation are vague and inconsistent standards of the Department, and its invention on human rights can not provide more solid foundation. In fact, these issues are perceived more or less de Xiao Weiqi, he repeatedly pointed out that the need for external to the human rights legal standards, I think the divine rights theory is to provide a basis for human rights may be one of the world. De Xiao Weiqi theory of divine criticism of human rights have a good reminder, but I think it still can not rule out the Christ-centered Christian contemporary human rights theory. Human rights are often taken for granted but in fact the origin or foundation of human rights is not an easy question. Alan Dershowitz tries to tackle this thorny issue in his 2004 book: Rights from Wrongs: A Secular Theory of the Origins of Rights. He mainly considers four theories: 1) externalism, eg, the divine source of human rights theory; 2) Internalism, eg, legal positivism; 3) Rationalism, eg, the claim that human rights are founded upon rational intuitions; 4) Experiential approach, ie, human rights are derived from our historical experience of serious wrongs or injustice. He severely criticizes the first three theories, and defends the fourth. In this article, I will point out that despite quite a few merits of Dershowitz's theory; his criteria for the validation of human rights are vague or even inconsistent. His general stance of constructivism towards moral and human rights claims, moreover, are unable to provide solid foundations for human rights. In fact Dershowitz is to some extent aware of these problems, and he feels that human rights do need an objective external source, if only it is possible. I think the theistic worldview is indeed able to provide this objective external source. Dershowitz has raised a lot of good questions for the divine source theory but I argue that in the end they cannot exclude the possibility of a contemporary Christocentric theory of human rights. (shrink)

The article is a study of Liang Qichao (1873-1929) by focusing on his theory of citizenship as laid out in the work Xinmin shuo (Discourse on the New Citizen). As a treatise on citizenship and nation-building, Xinmin shuo was the first of its kind in the history of Chinese political thought. Chinese studies specialists have typically treated the work as an illustration of a Confucian literati faced with the challenge from the West. Through a close reading of the text, the (...) article argues that Liang had in fact made an original contribution to citizenship theory by addressing the inherent tension between citizenship and nation-building. The article therefore sheds new light on Liang's theory of citizenship by engaging it as an attempt to tackle the universalism- particularism dichotomy rather than the typical Confucianism-liberalism dichotomy. (shrink)

Fifty years after his death in 1965 the essays in this collection return to Paul Tillich to investigate his theology and its legacy, with a focus on contemporary British scholarship. Originating in a conference held in Oxford in 2014, the book contains 16 original contributions from a mixture of junior and more established scholars, most of whom have a connection to Britain. The contributions are diverse, but four themes emerge throughout the volume. Several essays are concerning with a characterisation (...) of Tillich's theology. In dialogue with recent emphases on the radical Tillich, some essays suggest a more conservative estimation of Tillich's theology, rooted in the Idealist and classical Christian platonic traditions, whilst in constant engagement with changing existential situations. Secondly, and perhaps reflecting the context of religious diversity and theories of religious pluralism in Britain, many essays engage Tillich's approach to non-Christian religions. Thirdly, some essays address the importance of existentialist philosophy for Tillich, notably via an engagement with Sartre. Finally, a number of essays take up the diagnostic potential of Tillich's theology as a resource for engaging contemporary challenges. (shrink)

During an initial palliative care assessment, a dying man discloses that he had killed several people whilst a young man. The junior doctor, to whom he revealed his story, consulted with senior palliative care colleagues. It was agreed that legal advice would be sought on the issue of breaching the man’s confidentiality. Two legal opinions conflicted with each other. A decision was made by the clinical team not to inform the police.In this article the junior doctor, the palliative medicine (...) specialist, a medical ethicist, and a lawyer consider the case from their various perspectives. (shrink)

We examine the notion of conditionals and the role of conditionals in inductive logics and arguments. We identify three mistakes commonly made in the study of, or motivation for, non-classical logics. A nonmonotonic consequence relation based on evidential probability is formulated. With respect to this acceptance relation some rules of inference of System P are unsound, and we propose refinements that hold in our framework.

Fear of cancer is mostly related to cancer recurrence, metastasis, additional cancer, and diagnostic tests. Its legacy as a lethal disease has raised fear of approaching death. Currently, cancer’s total suffering and the worsening phenomena have raised fear, especially among female patients. Family caregivers (FCGs) who are responsible for the day-to-day cancer care at home need to help the patients deal with this fear frequently. Due to the limited care competencies, they need supportive care from healthcare professionals in cancer (...) fear management. This study aims to assess how types of demanded healthcare information affect the FCG’s role in reducing the fear of female cancer patients. The mindsponge theory was used in conceptual development and interpretation. Bayesian Mindsponge Framework (BMF) analytics were used for statistical analysis on a dataset of 48 spouses (husbands) and 12 other family members in five congested communities of Surabaya, Indonesia. Results showed that among the six types of healthcare information, FCGs with higher demand on cancer-specific information and information on cancer physical needs were more likely to need support in reducing the fear of female cancer patients. Meanwhile, FCGs with a higher demand for information on support services were less likely to need support to reduce cancer patients’ fear. Other types of healthcare information have ambiguous effects on the need for support in reducing cancer-induced fear. This study reveals that the demanded cancer-specific information, e.g., cancer’s prognosis or likely outcome and information on cancer physical needs, need to be met in priority to assist FCG’s role in cancer fear management. (shrink)

The field of bioethics aims to ensure that modern scientific and technological advancements have been primarily developed for the benefits of humankind. This field is deeply rooted in the traditions of Western moral philosophy and socio-political theory. With respect to the view that the practice of bioethics in certain community should incorporate religious and cultural elements, this paper attempts to expound bioethical tradition of the Malay-Muslim community in Malaysia, with shedding light on the mechanism used by the National Fatwa Council (...) to evaluate whether an application of biological sciences is ethical or not. By using the application of the genetically modified food as a case study, this study has found that the council had reviewed the basic guidelines in the main references of shari'ah in order to make decision on the permissibility of the application. The fatwa is made after having consultation with the experts in science field. The council has taken all factors into consideration and given priority to the general aim of shari'ah which to serve the interests of mankind and to save them from harm. (shrink)

Background A biobank is a structure which collects and manages biological samples and their associated data. The collected samples will then be made available for various uses. The sharing of those samples raised ethical questions which have been answered through specific rules. Thus, a Biobank functioning under tight ethical rules would be immensely valuable from a scientific and an economic view point. In 2009, Côte d’Ivoire established a biobank, which has been chosen to house the regional biobank of Economic (...) Community of West African States countries in 2018. To ensure optimal and efficient use of this biobank, the scientific community must be aware of its existence and its role. It was therefore necessary to evaluate the knowledge of laboratories staff on the role and activities of a biobank. Methods This descriptive study was done by questioning staff from laboratories working on human’s health, animals or plants. The laboratories were located in southern Côte d’Ivoire. Results A total of 205 people completed the questionnaire. Of these 205 people, 34.63% were biologists, 7.32% engineers, 48.78% technicians and 9.27% PhD students. The average length of work experience was 10.11 ± 7.83 years. In this study, 43.41% of the participants had never heard of biobanking. Only 48.78% of participants had a good understanding of the role of a biobank. Technicians and PhD students were less educated on the notion of biobank. Conclusion The level of knowledge of laboratory staff about biobanking needs to be improved. Training on the role, activities and interests of the biobank is important. (shrink)