In lieu of an abstract, here is a brief excerpt of the content:Walking the Bodhisattva Path/Walking the Christ PathU.S. Conference of Catholic BishopsCatholics and Buddhists brought together by Dharma Realm Buddhist Association, the San Francisco Zen Center, and the United States Conference of Catholic Bishops (USCCB) met 20-23 March 2003 in the first of an anticipated series of four annual dialogues. Abbot Heng Lyu, the monks and nuns, and members of the Dharma Realm Buddhist Association hosted the dialogue at the (...) City of Ten Thousand Buddhas in Talmage, California. The community had transformed their Confucius Hall into a chapel, with a large, newly constructed wooden cross on a wall above an altar facing out from a raised platform, so the Catholic delegation would have a space for worship. A special poster announcing the theme of the conference, "Walking the Bodhisattva Path/Walking the Christ Path," showing a Buddhist dharma wheel at one foot of a bridge and a Celtic cross at the other foot, had been created by the hosting community.The daily schedule for the dialogue did not interfere with the monastic routine at the City of Ten Thousand Buddhas, which included early morning chanting (4:00-5:00 am), daily rituals in the Buddha Hall, and the single large meal for monastics before noon to which all participants were invited. Catholics and Buddhists meeting in the dialogue began each day with an optional forty-five minutes of quiet sitting together in the monastery meditation hall, each following their own form of meditation and prayer. There was a Eucharist on Friday and Saturday evenings for the Catholics and to which the Buddhists were invited, and additional meals of breakfast and supper throughout the meeting at the City's Jyun Kang Restaurant.Fourteen Buddhists and fourteen Catholics participated in the formal discussions. Each participant spoke on what it means to them to follow Christ or the way of the Bodhisattvas or enlightened beings. In addition to speaking, each participant distributed a short passage, usually from a traditional text, on this topic. Several passages from Master Dogen's Shobogenzo and the Gospel of John were among those shared by the group. Other passages shared were taken from the Avatamsaka Sutra and the Shurangama Sutra and from the other gospels and the writings of Zen master HakuinZenji, the Dalai Lama, Korean Zen Master I-sahn Hye-yeon, the teachings of Master [End Page 247] Hsuan Hua, Shantideva, Origen, St. Ignatius, St. Benedict, the author of The Cloud of Unknowing, St. John of the Cross, and Chiara Lubich. A minute of silence separated the fifteen-minute segments for each presentation. With so large a group, most of the time in the formal sessions involved listening to series of presentations; however, during discussion periods the participants asked several challenging questions of one another.Some participants noted the tension they felt between belonging to a particular religious group and the need to let go of any consequential narrowness. The goal of the discussion was to promote understanding of the differences and similarities between Christianity and Buddhism. At one point, the participants noted several concerns about mutual enrichment: whether Buddhist methods can be separated from Buddhism and Christian methods from Christianity, and what specific aspects of Christian practice truly enrich Buddhists and which Buddhist practices likewise enrich Christians. Several times participants discussed their understanding of terms such as transformation, grace, the incarnation and the passion of Jesus, discernment of spirits, prayer, Buddha-nature, and related terms. There was consensus that Buddhists and Catholics can practically help one another regarding mental cultivation and religious precepts. They expressed this consensus in their choice of the topic forthe next dialogue, "Transformation of Hearts and Minds: Chan/Zen-Catholic Approaches to Precepts."The group agreed to reconvene in 2004 to respond to six presentations, three from each side, on different aspects of this topic.Chairing the sessions were Rev. Heng Sure for the Dharma Realm Buddhist Association, Rev. Taigen Dan Leighton for the San Francisco Zen Center, and Bishop John Webster for the United States Conference of Catholic Bishops. Their three organizations are the sponsors of the Northern California Chan/Zen-Catholic Dialogue. Chan and Zen are respectively the Chinese and Japanese terms for the meditation school... (shrink)

A proposal for an objective interpretation of probability is introduced and discussed: probabilities as deriving from ranges in suitably structured initial-state spaces. Roughly, the probability of an event on a chance trial is the proportion of initial states that lead to the event in question within the space of all possible initial states associated with this type of experiment, provided that the proportion is approximately the same in any not too small subregion of the space. This I (...) would like to call the “natural-range conception” of probability. Providing a substantial alternative to frequency or propensity accounts of probability in a deterministic setting, it is closely related to the so-called “method of arbitrary functions”. It is explicated, confronted with certain problems, and some ideas how these might be overcome are sketched and discussed. (shrink)

In this work we present a construction of coherent states based on ”complexifier” method for a special type of one dimensional nonlinear harmonic oscillator presented by Mathews and Lakshmanan. We will show the state quantization by using coherent states, or to build the Hilbert space according to a classical phase space, is equivalent to departure from real coordinates to complex ones.

The quantum transition probability assignment is an equiareal transformation from the annulus of symplectic spinorial amplitudes to the disk of complex state vectors, which makes it equivalent to the equiareal projection of Archimedes. The latter corresponds to a symplectic synchronization method, which applies to the quantum phase space in view of Weyl’s quantization approach involving an Abelian group of unitary ray rotations. We show that Archimedes’ method of synchronization, in terms of a measure-preserving transformation to an equiareal disk, (...) imposes the integrality of the quantum of action, and requires the extension of the classical moment map from the real line to the circle. Additionally, the same synchronization method is encoded in the structure of the Heisenberg group, viewed as a principal bundle with a connection, whose curvature and anholonomy is expressed in terms of area bounding loops in relation to the underlying Abelian shadow on a symplectic plane. In this manner, we show that the geometric phase pertains to the minimal synchronized area \ of the 2-d symplectic Abelian shadow of the symplectic ball, modulo \. The integrality condition naturally leads to the consideration of modular commutative observables pertaining to the role of the discrete Heisenberg group. We prove that the structural transition from non-commutativity to modular commutativity in accordance to Weyl’s group-theoretic commutation relations takes place via universal factorization through the discrete Heisenberg group. In this way, we derive a homology-theoretic formulation of the synchronization method in terms of the area-bounding cells of the modular lattice \ in relation to any Abelian symplectic shadow. Thus, we finally obtain the physical interpretation of the analytic representation of quantum states as theta functions corresponding to the sections of a complex line bundle with an integral symplectic structure. (shrink)

Development strategy of using modern portfolio theory focused on the short term. However, macroeconomic uncertainty and geopolitical environment makes their use ineffective. And challenge is to provide a reasonable balance between the short and long term profitability. Another issue, which is to some extent related to the previous observation is the absence in most matrices strategic recommendations for non-standard "behavior" of business units with dynamic analysis. This applies to the use of a relatively new tool matrix approach to development strategies (...) the company and its strategic business units - SPACE-analysis that also takes into account not forecasts of changes in the environment impact on the company. The aim of this paper is to develop methods of portfolio analysis on the basis of SPACE-dynamic analysis and formation of the list of possible strategic initiatives for definite basic trajectories of its strategic business units energy holding DTEK. Methods. SPACE-analysis, analytic hierarchy process, expert analysis. Results. The authors proposed a methodological approach to the implementation of dynamic SPACE-analysis company. The technique involves a strategic segmentation of the company, the formation of an expert group to assess reliable energy holding the current forecast period and on four aspects of SPACE-analysis. Also, using the analytic hierarchy determined by weighting the partial evaluation criteria. Methodology offers a "weighting" expert estimates within a particular group of partial criteria: sectors to "competitive advantage" and "stability branch" scale ratings is positive. The next phase involves the construction of vectors for the current and projected state holding that can be placed in one of four quadrants. Each quadrant has 4 basic strategic trajectory states, they can also be interpreted as a strategic gaps. In other words diagnosis of trajectories allows to identify and evaluate strategic gaps company or its individual business units according to specific criteria and receive partial numerical values of generalized gaps on key evaluation criteria. Conclusions. The authors matrix formed strategic decisions SPACE-dynamic analysis. The article graphically interpreted SPACE-analysis for the energy holding in three strategic business units. The study offers an integrated approach to the definition of policy recommendations for each strategic unit based on an analysis of superposition defined basic trajectories. S-trajectory or S-vectors can be represented as the sum of two vectors : numbers and appropriate call intensity factors relevant basic trajectories since their values determine the degree of contribution of each of these basic paths in the integrated S-vector is a vector strategic set of strategic business units to achieve strategic objectives, transfered into numerical form by partial criteria by expert predictive testing. These coefficients also make it possible to calculate the value of integrated strategic gaps generalized criteria. (shrink)

The two-wheeled self-balancing robot is based on the axletree and inverted pendulum. Its balancing problem requires a control action. To speed up the response of the robot and minimize the steady state error, in this article, a grey wolf optimizer method is proposed for TWSBR control based on state space feedback control technique. The controller stabilizes the balancing robot and minimizes the overshoot value of the system. The dynamic model of the system is derived based on Euler (...) formula and linearized to state space representation to enhance the control technique. Then, the GWO optimizes the state feedback controller parameters. Simulation results show that the system reaches the zero steady-state error with less than 2 ms, which proves the effectiveness of the proposed controller over the classical state feedback controller in terms of fast response, very small overall error, and minimum overshoot. (shrink)

The extension of the method of science to the study of the astronomical universe as a whole is an impressive and important feature of recent intellectual history. In a field where previously myth and metaphysics ranged at will with speculative abandon but with little in the way of progressively cumulative information or insight, by contrast, scientific cosmology has already produced significant results of an observational sort and opened up vistas of disciplined theoretical vision that are a token of even more (...) extensive disclosures to come. With the aid of high-powered telescopes, observationally grounded descriptive generalizations have been established about the structure, distribution and motions of the bodies constituting the basic astronomical units out of which the universe is composed. Such units are, in contemporary investigations, identified as the extragalactic nebulae. Preliminary surveys revealed a uniformity of distribution of these nebulae throughout space and in all directions. Also original surveys, accomplished primarily by Hubble, suggested an empirical law stating a linear proportionality between the distances to nebulae and the red-shift in their spectra. If such red-shift is interpreted as a velocity effect, it may be taken as marking a mutual recession of nebulae from one another, and leads thereby to the general idea of an “expanding universe.' Meanwhile, theoretical cosmology in the hands of the mathematical physicists has kept pace with observational advances by offering a variety of ”models” or explanatory theoretical devices for the systematic ordering and incorporation of the fruits of observation. Beginning with the ground-breaking paper by Einstein in 1917 where an extension was made of relativistic principles to the cosmologic domain, a variety of further attempts were made along classical relativistic lines by Einstein himself, de Sitter, Robertson, Tolman and Lamaître while somewhat different modes of approach were subsequently opened in several directions by Milne, Eddington, Hoyle, and others. While nothing in the way of a stable or wholly acceptable theory has yet made its appearance, nevertheless fruitful and promising lines of research have thus been inaugurated. (shrink)

We consider the concept of entanglement for pure cases of finite dimensional state spaces. The criterion of unentangled states is related to demanding rank one of an associated eigenvalue problem. In addition to the conventional procedure based on the Schmidt decomposition, we devise a method based on the spectral resolution of unsymmetric matrices. In particular, we consider the case when all eigenvalues are zero, and find that the method still works.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Method and Politics in Plato’s Statesman by M. S. LaneFrancisco J. GonzalezM. S. Lane. Method and Politics in Plato’s Statesman. Cambridge: Cambridge University Press, 1998. Pp. xiii + 229. Cloth, $59.95.This rewarding book not only is another sign of growing interest in the Statesman, but also does much to justify this interest. The reasons for the dialogue’s relative neglect until recently are easily stated: readers have been puzzled (...) by the amount of space devoted to method in a dialogue ostensibly about politics; furthermore, they have found both the method and the politics highly unsatisfactory. Lane addresses each of these concerns. She continually draws our attention to the unity of method and politics in the dialogue: the limitations of the Stranger’s initial divisions are shown to be equally methodological and political (44–5); the cosmic story is shown to be flawed by a political prejudice (the traditional model of king as shepherd), which turns into a methodological prejudice (the telling of a story too long to be profitably used as an example; 9–10, 121–3); the capacities ultimately shown to be necessary for a successful inquiry (division, exemplification, and finding the mean) also prove to be essential requirements of political knowledge (143–4, 202).Lane’s major contribution to our understanding of the dialogue’s method is her demonstration of the central role played by example (paradeigma). Lane expresses a common objection to the method of division: “But how to choose just which apparently similar things or names to investigate? Similarities are ubiquitous; there is some respect in which everything is similar to everything else. What is more, it is usually on the basis of prejudice and preconceived ideas … that similarities are distinguished” (75–6). Lane sees example as the solution, since it is precisely the task of an example to fix on those similarities relevant to the aim of the inquiry (76, 86–7).This is a very appealing solution, but one must wonder if it does not simply postpone the problem. To choose the right example, must we not make assumptions about which similarities are relevant to defining the object of inquiry and therefore about the nature of this object? And may not these assumptions be no more than prejudices or preconceived ideas? While the Stranger indeed develops his own example of weaving to an extent unparalleled in other dialogues (93), that there are essential similarities between statecraft and weaving appears to be more assumed than demonstrated by the example.With regard to politics, Lane provides a very illuminating account of the dialogue’s characterization of political expertise as certain knowledge of the good in a temporal context, or the kairos. She shows in what way this “knowledge of timing” (142) both is distinct from, and rules over, other contenders for the title of statecraft (such as rhetoric and strategy).Since, however, the existence of a statesman possessing such political expertise is, from the dialogue’s perspective, “a logical but unlikely possibility” (111) and, “from a [End Page 159] modern perspective,” seemingly impossible (4–5), the practical value of the Stranger’s political theory depends on his claim that the regimes which do exist can ‘imitate’ this ideal (300e11–301a3). But how? Even the second-best regimes are characterized by strict adherence to laws based on nothing more than persuasion, experiment and majority consensus (300b1–6), while in the ideal regime a knowledgeable statesman creates laws only as “memoranda” which he is entitled to revise or revoke at any time. According to Lane there is nevertheless one similarity that allows the second-best regimes to be called “second-order imitations” (see 109–111) of the ideal: both will not change laws without expert advice (158–9). This assumes that the second-best regimes acknowledge the authority of a political expert to change the laws, should one appear, an assumption that Lane reiterates throughout the book (11, 111, 114, 139, 147).Yet it is precisely this assumption that appears to be refuted by the thought-experiment at 298a–299e. The Stranger describes a city in which the practice of medicine, navigation and the other technai must adhere strictly to laws... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Method and Politics in Plato’s Statesman by M. S. LaneFrancisco J. GonzalezM. S. Lane. Method and Politics in Plato’s Statesman. Cambridge: Cambridge University Press, 1998. Pp. xiii + 229. Cloth, $59.95.This rewarding book not only is another sign of growing interest in the Statesman, but also does much to justify this interest. The reasons for the dialogue’s relative neglect until recently are easily stated: readers have been puzzled (...) by the amount of space devoted to method in a dialogue ostensibly about politics; furthermore, they have found both the method and the politics highly unsatisfactory. Lane addresses each of these concerns. She continually draws our attention to the unity of method and politics in the dialogue: the limitations of the Stranger’s initial divisions are shown to be equally methodological and political (44–5); the cosmic story is shown to be flawed by a political prejudice (the traditional model of king as shepherd), which turns into a methodological prejudice (the telling of a story too long to be profitably used as an example; 9–10, 121–3); the capacities ultimately shown to be necessary for a successful inquiry (division, exemplification, and finding the mean) also prove to be essential requirements of political knowledge (143–4, 202).Lane’s major contribution to our understanding of the dialogue’s method is her demonstration of the central role played by example (paradeigma). Lane expresses a common objection to the method of division: “But how to choose just which apparently similar things or names to investigate? Similarities are ubiquitous; there is some respect in which everything is similar to everything else. What is more, it is usually on the basis of prejudice and preconceived ideas … that similarities are distinguished” (75–6). Lane sees example as the solution, since it is precisely the task of an example to fix on those similarities relevant to the aim of the inquiry (76, 86–7).This is a very appealing solution, but one must wonder if it does not simply postpone the problem. To choose the right example, must we not make assumptions about which similarities are relevant to defining the object of inquiry and therefore about the nature of this object? And may not these assumptions be no more than prejudices or preconceived ideas? While the Stranger indeed develops his own example of weaving to an extent unparalleled in other dialogues (93), that there are essential similarities between statecraft and weaving appears to be more assumed than demonstrated by the example.With regard to politics, Lane provides a very illuminating account of the dialogue’s characterization of political expertise as certain knowledge of the good in a temporal context, or the kairos. She shows in what way this “knowledge of timing” (142) both is distinct from, and rules over, other contenders for the title of statecraft (such as rhetoric and strategy).Since, however, the existence of a statesman possessing such political expertise is, from the dialogue’s perspective, “a logical but unlikely possibility” (111) and, “from a [End Page 159] modern perspective,” seemingly impossible (4–5), the practical value of the Stranger’s political theory depends on his claim that the regimes which do exist can ‘imitate’ this ideal (300e11–301a3). But how? Even the second-best regimes are characterized by strict adherence to laws based on nothing more than persuasion, experiment and majority consensus (300b1–6), while in the ideal regime a knowledgeable statesman creates laws only as “memoranda” which he is entitled to revise or revoke at any time. According to Lane there is nevertheless one similarity that allows the second-best regimes to be called “second-order imitations” (see 109–111) of the ideal: both will not change laws without expert advice (158–9). This assumes that the second-best regimes acknowledge the authority of a political expert to change the laws, should one appear, an assumption that Lane reiterates throughout the book (11, 111, 114, 139, 147).Yet it is precisely this assumption that appears to be refuted by the thought-experiment at 298a–299e. The Stranger describes a city in which the practice of medicine, navigation and the other technai must adhere strictly to laws... (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)

The emergence of macroscopic variables can be effected through coarse graining. Despite practical and fundamental benefits conveyed by this partitioning of state space, the apparently subjective nature of the selection of coarse grains has been considered problematic. We provide objective selection methods, deriving from the existence of relatively slow dynamical time scales. Using a framework for nonequilibrium statistical mechanics developed by us, we show the emergence of both spatial variables and order parameters. Although significant objective criteria are (...) introduced in the coarse graining, we do not provide a unique prescription. Most significantly, the grains, and by implication entropy, are only defined modulo a characteristic time scale of observation. (shrink)

Mathematically, the fusion of space and time may be explained as follows. In pre-relativity physics, space was envisaged as a three-dimensional Euclidean continuum. Such a continuum is homogeneous and isotropic, and its metrical character can be specified by the definition of the distance between any two points in the continuum: s2 = 2 + 2 + 2. Now, while it is possible to speak of a four-dimensional continuum in pre-relativity physics by adding the time-coordinate to the three (...) class='Hi'>space-coordinates, there is no way, corresponding to the definition of s, to define the spatio-temporal "separation" or "interval" between any two points in this new four-dimensional continuum. Thus, while it makes sense from the classical point of view to ask for the distance between two points in space, it does not make sense to ask for the spatio-temporal interval between two events occurring in different places at different times. The spatio-temporal interval between non-simultaneous, spatially separated events is simply not defined in pre-relativity physics. Another way of putting it is that in classical physics space and time are measured in entirely disparate units and no method is provided for making these units comparable with one another. In relativity physics, on the other hand, light--or rather the velocity of light--provides the means for making the results of spatial and temporal measurement comparable quantities: one simply multiplies the time-like intervals by c, the fixed velocity of light, in order to obtain space-like intervals. The interval between any two events is defined as: s2 = 2 + 2 + 2 - c22. Interval, so defined, is an invariant, whereas spatial and temporal "separation" are now relative to the state of motion of the observer. The geometry of the four-dimensional continuum characterized by this formula is called "semi-Euclidean". (shrink)

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode (...) of thinking (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception. (shrink)

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode (...) of thinking (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception. (shrink)

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode (...) of thinking (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception. (shrink)

The idea of antithetical human nature and the concept of man as a bivalent creature are heuristic to reveal the problem of human being.The traditional antinomic splitting of anthropological features into one’s own – another’s, immanent – transcendent, freedom – necessity, good – evil, happiness –misfortune, etc. acquires a specific coloring in the Ukrainian realities. Purpose is to reveal the ambivalence of the image of a person, which acquires special features in the Ukrainian realities. Methodological basis are the principles of (...) the phenomenological description of subjective experience, the means of historical and philosophical analysis, hermeneutical methods of understanding and interpretation.Discussion. These or those anthropological modes constitute the variability of the human (O.Bollnov, C.Jung, K.Jaspers, J.-P.Sartre, E.Fromm). The reasons for the mosaic nature of the human image are rooted in the existential inexhaustibility of the anthropological palette. The existence of man in the overtones of antinomies is evident in the studies of both domestic classics (V.Lypynsky, I.Franko) and modern Ukrainian philosophers (V.Malakhov, D.Sepety), and Western thinkers (V.Frankl, V.Tatarkevych, G.Hofstede). Conclusion. Controversial nature of the classical opposition of freedom – necessity turns in the Ukrainian realities into the opposition of “will” as an expressive meaningful constant and depressingly deathly “bondage”, and acquires tension of the binarism “freedom – death”. “Will” as the only state acceptable to a person, the authentically own, native way of being turns to a spectrum of modulations of the anthropological attribute of “oneself” as a native oecumene, a truly familiar and close space, opposed to the “alien” – land, people, language, custom, etc.The idea of parity of both – male and female – cores is quite adequate, since in Ukraine the Cossacks was an embodiment of perfect masculinity, “chivalrous nature”, similar to Western chivalry – with similar to chivalrous cult foundations (for example, the cult of the Mother of God and the cult of the Virgin Mary). After all, the ideology of the Cossacks demanded the convergence of the concepts of “nobleman” and “Cossack” as one who was “granted the liberties of a knightly people”.Controversial nature of the modes of life meaning, happiness disappears, losing expressive signs of confrontation and turning into a tense uniqueness of the constants of meaning of life, fate, finiteness of a person as a whole.The concept of happiness, extrapolating into the opposition of happiness /fate – disaster /sorrow (deprivation, misfortune), powerful for Ukrainian culture, is connotative with “will” (after all, “what kind of freedom is such a fate...”), on the one hand, and “underweight” – an evil fate, on the other hand. However, on the existential plane, the life-meaning ethical component of happiness loses its dramatic controversial vector: happiness with its internal semantic and moral modulations is a selfsufficient value. (shrink)

In this book, international experts from Europe and the United States address Lullism as a remarkable and distinctive method of thinking and experimenting. The origins and impact of Ramon Llull's oeuvre as a modern thinker are presented, and their interdisciplinary and intercultural implications, which continue to this day, are explored. Ars combinatoria, generative and permutative generation of texts, the epistemic and poetic power of algorithmic systems, plus the principle of unconditional dialogue between cultural groups and their individual members, are the (...) most important coordinates of this combinatorial-dialogical media and communication theory, which appeared very early in the history of science, technology, and art. It was developed in the work of Ramon Llull during the transition from the thirteenth to the fourteenth century when Arab-Islamic, Jewish, and Christian cultures intersected. The legacy of Lullism lives on in poetry and in the visual and electronic-based arts, as well as in research on the history of informatics, formal logic, and media archaeology. The primary idea of Llull's teachings--to enable rational and therefore trustworthy dialogue between cultures and religions through a universally valid system of symbols--is today still topical and of great relevance, especially in the tensions prevailing in globalized spaces of possibility. (shrink)

In quantum mechanics, the state of an individual particle (or system) is unobservable, i.e., it cannot be determined experimentally, even in principle. However, the notion of “measuring a state” is meaningful if it refers to anensemble of similarly prepared particles, i.e., the question may be addressed: Is it possible to determine experimentally the state operator (density matrix) into which a given preparation procedure puts particles. After reviewing the previous work on this problem, we give simple procedures, in (...) the line of Lamb's operational interpretation of quantum mechanics, for measuring a translational state operator (whether pure or mixed), via its Wigner function. These procedures closely parallel methods that might be used in classical mechanics to determine a true phase space probability distribution; thus, the Wigner function simulates such a distribution not only formally, but operationally also. There is no way to determine what the wave function (or state vector) of a system is—if arbitrarily given, there is no way to “measure” its wave function. Clearly, such a measurement would have to result in afunction of several variables, not in a relatively small set ofnumbers .... In order to verify the [quantum] theory in its generality, at least a succession of two measurements are needed. There is in general no way to determine the original state of the system, but having produced a definite state by a first measurement, the probabilities of the outcomes of a second measurement are then given by the theory.E. P. Wigner(1). (shrink)

In 1966 Michel Foucault pointed out that the generation of thinkers who had taken as their model Sartre or Merleau-Ponty had suddenly become part of the intellectual museum. A new generation of thinkers had appeared whose passion was not for “meaning”, “man” and “commitment”, but for the “concept and the system”.One could say that the break with the past generation began the day that Levi-Strauss with regard to societies and Lacan with regard to the unconscious showed us that “meaning” was (...) probably nothing but a sort of surface effect, a scum, and that that which affected us most profoundly, that which preceded us, that which maintains us.in space and time was the system.“Our task, Foucault went on, is to free ourselves from humanism and in that sense our work is political.” For some time Foucault and those who thought like him were classed as ‘academics”, that is as people whose thinking had little or no implications for the ongoing state of the society. Then came the May movement of 1968 and in February of 1969 a major gathering was held and the main speakers were Jean-Paul Sartre and Michel Foucault. (shrink)

The effects of the vacuum electromagnetic fluctuations and the radiation reaction fields on the time development of a simple microscopic system are identified using a new mathematical method. This is done by studying a charged mechanical oscillator (frequency Ω 0)within the realm of stochastic electrodynamics, where the vacuum plays the role of an energy reservoir. According to our approach, which may be regarded as a simple mathematical exercise, we show how the oscillator Liouville equation is transformed into a Schrödinger-like stochastic (...) equation with a free parameter h′ with dimensions of action. The role of the physical Planck's constant h is introduced only through the zero-point vacuum electromagnetic fields. The perturbative and the exact solutions of the stochastic Schrödinger-like equation are presented for h′>0. The exact solutions for which h′<h are called sub-Heisenberg states. These nonperturbative solutions appear in the form of Gaussian, non-Heisenberg states for which the initial classical uncertainty relation takes the form 〈(δx 2)〉〈(δp) 2 〉=(h′/2) 2,which includes the limit of zero indeterminacy (h → 0). We show how the radiation reaction and the vacuum fields govern the evolution of these non-Heisenberg states in phase space, guaranteeing their decay to the stationary state with average energy hΩ 0 /2 and 〈(δx) 2 〉〈(δp) 2 〉=h 2 /4 at zero temperature. Environmental and thermal effects-are briefly discussed and the connection with similar works within the realm of quantum electrodynamics is also presented. We suggest some other applications of the classical non-Heisenberg states introduced in this paper and we also indicate experiments which might give concrete evidence of these states. (shrink)

The project in this essay will be to chart a naturalist theory of content for perceptual states, where the content is constituted by that state of the world picked out by a proposition telling us what it is that is believed, desired, etc. We will focus on the perceptual states of desire and vision, and only on contents involving physical objects. ;We will begin by doing an overview of some recent attempts to define function. We will consider a treatment (...) by Peter Godfrey-Smith, who looks at the "recent history" of an organism to determine the functions of its parts. We will end the section with a definition of function upon which we will base what follows. ;Then we investigate the nature of need, in order to get an eventual handle on desire. Desire states function to dispose behavior that fulfills unmet needs. We will pick out the state change which meets the need and extinguishes the desire as the proper object of the desire state D in question. ;Then we turn to the problems of determining content in visual states. We will look for how the visual system provides information which allows an organism to locate and re-locate an object in space over time. We will use David Marr's theory of vision as a basis for understanding the function of the visual system. We will pay particular attention to how the visual sytem's modules transform two-dimensional information into information about the relative depths and locations of objects in the world. ;Finally, material from Gareth Evans will help us investigate the role of the behavioral system in determining the content of perceptual states. What makes Marr's information information "about" depth and placement depends crucially upon how it is used in patterns of behavior to enhance fitness. This gives us a method of cashing out what it is to locate and re-locate an object without relying on an unexplained ability to represent. (shrink)

Legal concepts and notions are deeply affected by religions, ethics, philosophy and the culture of a particular nation. As Friedman Comparing legal cultures, Dartmouth, Aldershot, 1997, p. 34) highlights, understanding legal culture is a crucial factor as it both affects their translation and interpretation and consequently has an impact on the application of law. This increases in importance, for example, in the context of the principle of mutual trust and recognition of judgments assumed by the European Union as the cornerstone (...) of judicial co-operation in the European Union, which would not be possible without the trust in each other’s justice system and the respect for the different legal systems and traditions of the Member States. In that vein, ‘the Third Space’, where legal concepts and notions of multiple origins meet and where their meanings are negotiated, transformed, translated and integrated into various socio-political and cultural contexts has acquired an immense significance. Although there may be natural similarities between legal professions in the European Union, they could differ quite substantially as they are deeply rooted in the history and societal evolution of a country; therefore, they are generally regulated at a national, not a European level. In light of the above, the author intends to perform an in-depth analysis of key terminology in the field of names of legal professions which exist in the Member States of the European Union. The author focuses on the terms which refer to the legal profession of lawyers as they might pose obstacles in translation and interpretation due to different functions and roles these legal professionals play in their legal systems or due to the lack of their equivalents in other legal systems. The terminology is compared to present similarities and differences in their meaning, particularly putting some emphasis on socio-political and cultural contexts. The research methods encompass the analysis of relevant literature and the terminological analysis of the research material, which includes the information on legal professions provided by particular Member States on the European e-Justice portal and relevant national regulations in that respect. Finally, the author draws the conclusion that a thorough analysis of the functions and roles of a particular legal profession in socio-political and cultural contexts is required before the translation and interpretation of the term is provided as it helps to avoid ambiguity and makes legal communication precise. (shrink)

Introduction. Whatever its underlying causes, even the description of the phenomenon of thought insertion, of the content of the delusion, presents difficulty. It may seem that the best hope of a description comes from a broadly cognitivist approach to the mind which construes content-laden mental states as internal mental representations within what is literally an inner space: the space of the brain or nervous system. Such an approach objectifies thoughts in a way which might seem to hold out (...) the prospect of describing the ''alienated'' relation to one's own thoughts that seems to be present in thought insertion.1 Method. Firstly, I examine the general structure of cognitivist accounts of intentional or content-laden mental states. I raise the general difficulty of explaining how free-standing, and thus world-independent, inner states can still have bearing on the outer world. Secondly, I briefly examine Frith's model for explaining thought insertion and other passivity phenomena by postulating a failure of an internal monitoring mechanism of inner states. I question what account can be given of non-pathological cases and raise two specific objects. Results. Cognitivist accounts of the mind face a general, and possibly insuperable, challenge: explaining the intentionality of mental states in non-intentional, non- question-begging terms. There have so far been no satisfactory solutions. Cognitivist accounts of passivity phenomena in terms of a failure of internal monitoring face two objections. Firstly, accounting for non-pathological cases generates an infinite regress. Secondly, no account can be given of the paradoxical nature of utterances of the form of Moore's paradox: ''it is raining but I do not believe it''. Conclusions. A cognitivist approach presents an alienated account of thought in normal, non-pathological cases and is no help in accounting for thought insertion. (shrink)

In a congested large-scale subway network, the distribution of passenger flow in space-time dimension is very complex. Accurate estimation of passenger path choice is very important to understand the passenger flow distribution and even improve the operation service level. The availability of automated fare collection data, timetable, and network topology data opens up a new opportunity to study this topic based on multisource data. A probability model is proposed in this study to calculate the individual passenger’s path choice with (...) multisource data, in which the impact of the network time-varying state on passenger path choice is fully considered. First, according to the number and characteristics of OD candidate paths, the AFC data among special kinds of OD are selected to estimate the distribution of passengers’ walking time and waiting time of each platform. Then, based on the composition of path travel time, its real-time probability distribution is formulated with the distribution of walking time, waiting time, and in-vehicle time as parameters. Finally, a membership function is introduced to evaluate the dependence between passenger’s travel time and the real-time travel time distribution of each candidate path and take the path with the largest membership degree as passenger’s choice. Finally, a case study with Beijing Subway data is applied to verify the effectiveness of the model presented in this study. We have compared and analysed the path calculation results in which the time-varying characteristics of network state are considered or not. The results indicate that a passenger’s path choice behavior is affected by the network time-varying state, and our model can quantify the time-varying state and its impact on passenger path choice. (shrink)

I argue that there has been inadequate attention to and questioning of the dominance and normativity of whiteness in the cultural construction of bioethics in the United States. Therefore we risk reproducing white privilege and white supremacy in its theory, method, and practices. To make my argument, I define whiteness and trace its broader social and legal history in the United States. I then begin to mark whiteness in U.S. bioethics, recasting Renee Fox's sociological marking of its American-ness as an (...) important initial marking of its whiteness/WASP ethos. Furthermore, I consider the attempts of social scientists to highlight sociocultural diversity as a corrective in U.S. bioethics. I argue that because they fail to problematize white dominance and normativity and the white-other dualism when they describe the standpoints of African-American, Asian-American, and Native-American others, their work merely inoculates difference and creates or maintains minoritized spaces. Accordingly, the dominant white center of mainstream U.S. bioethics must be problematized and displaced for diversity research to make a difference. In conclusion, I give several examples of how we might advance the recommended endeavor of exploring our own ethnicity, class, and other social positioning and norms operating in U.S. bioethics, briefly highlighting "white talk" as one challenge. (shrink)

The goal of the paper is to develop and propose a general model of the state space of AI. Given the breathtaking progress in AI research and technologies in recent years, such conceptual work is of substantial theoretical interest. The present AI hype is mainly driven by the triumph of deep learning neural networks. As the distinguishing feature of such networks is the ability to self-learn, self-learning is identified as one important dimension of the AI state (...) class='Hi'>space. Another dimension is recognized as generalization, the possibility to go over from specific to more general types of problems. A third dimension is semantic grounding. Our overall analysis connects to a number of known foundational issues in the philosophy of mind and cognition: the blockhead objection, the Turing test, the symbol grounding problem, the Chinese room argument, and use theories of meaning. It shall finally be argued that the dimension of grounding decomposes into three sub-dimensions. And the dimension of self-learning turns out as only one of a whole range of “self-x-capacities” (based on ideas of organic computing) that span the self-x-subspace of the full AI state space. (shrink)

Charlotte Angas Scott (1858–1932) was an internationally renowned geometer, the first British woman to earn a doctorate in mathematics, and the chair of the Bryn Mawr mathematics department for forty years. There she helped shape the burgeoning mathematics community in the United States. Scott often motivated her research as providing a “geometric treatment” of results that had previously been derived algebraically. The adjective “geometric” likely entailed many things for Scott, from her careful illustration of diagrams to her choice of references (...) and citations. This article will focus on Scott’s striking and consistent use of geometric to describe a reality of dynamic points, lines, planes, and spaces that could be manipulated analogously to physical objects. By providing geometric interpretations of algebraic derivations, Scott committed to an early-nineteenth-century aesthetic vision of a “whole” analytical geometry that she adapted to modern research areas. (shrink)

The past two decades have seen an explosion in the methods and directions of neuroscience research. Along with many others, complexity research has rapidly gained traction as both an independent research field and a valuable subdiscipline in computational neuroscience. In the past decade alone, several studies have suggested that psychiatric disorders affect the spatiotemporal complexity of both global and region-specific brain activity (Liu et al., 2013; Adhikari et al., 2017; Li et al., 2018). However, many of these studies have (...) not accounted for the distributed nature of cognition in either the global or regional complexity estimates, which may lead to erroneous interpretations of both global and region-specific entropy estimates. To alleviate this concern, we propose a novel method for estimating complexity. This method relies upon projecting dynamic functional connectivity into a low-dimensional space which captures the distributed nature of brain activity. Dimension-specific entropy may be estimated within this space, which in turn allows for a rapid estimate of global signal complexity. Testing this method on a recently acquired obsessive-compulsive disorder dataset reveals substantial increases in the complexity of both global and dimension-specific activity versus healthy controls, suggesting that obsessive-compulsive patients may experience increased disorder in cognition. To probe the potential causes of this alteration, we estimate subject-level effective connectivity via a Hopf oscillator-based model dynamic model, the results of which suggest that obsessive-compulsive patients may experience abnormally high connectivity across a broad network in the cortex. These findings are broadly in line with results from previous studies, suggesting that this method is both robust and sensitive to group-level complexity alterations. (shrink)

Introduction. The article highlights the role and trends of urban development in a single regional space. The authors consider the industrial region, where the economic centers are the cities of monospecialization (metallurgy, mechanical engineering), which form the settlement framework of the regional economic system. At the same time, the connectivity of the regional space was determined by the contacts of cities in infrastructure areas and the possibilities of agglomeration formations. The authors analyze the urban environment of cities in (...) the region, which revealed common problems for them in organizing urban space. It was shown that the competition of cities for a person can be won by offering the population more comfortable working and living conditions, a variety of social services, and the possibility of using agglomeration effects. Scientific novelty of the research. The peculiarity of the author’s research was a new approach to urbanization as an urban way of life, extended to a set of cities of different status and population in the region. At the same time, the zones of attraction and concentration of business and social activity were connected with large cities and centers of agglomerations of the region, which ensure the joint use of resources, transport, and social infrastructure. The purpose of the article is to Identify constraints and opportunities for developing cities in a single regional space, taking into account their connectivity and interaction. Methods. The authors use the information base: statistical data, scientific literature, and expert assessments to clarify the conceptual tools of the research and to analyze the demographic situation in the cities-centers of agglomeration associations of the region. The authors present the assessment of the state of the urban environment, and reveal the disproportions in its organization. The research approaches are tested on the example of the cities of the Chelyabinsk region. (shrink)

The impossibility theorem of Dekel, Lipman and Rustichini has been thought to demonstrate that standard state-space models cannot be used to represent unawareness. We first show that Dekel, Lipman and Rustichini do not establish this claim. We then distinguish three notions of awareness, and argue that although one of them may not be adequately modeled using standard state spaces, there is no reason to think that standard state spaces cannot provide models of the other two notions. (...) In fact, standard space models of these forms of awareness are attractively simple. They allow us to prove completeness and decidability results with ease, to carry over standard techniques from decision theory, and to add propositional quantifiers straightforwardly. (shrink)

This article provides a simple decision theoretic model in which elements of the world successively enter the decision maker’s scope and the state space expands over time, which is intended to be the closest correspondence to the standard subjective expected utility theory. We propose a dynamic consistency condition that after any expansion of the scope, the preference ranking should remain unchanged over acts to which the expansion is irrelevant. Together with other natural axioms, it characterizes a model in (...) which the decision maker’s belief extends over time in order that the marginal distribution of the new belief induced over the old state space coincides with the old belief. It is extended to encompass both expansion of scope and learning events, and we characterize the model with an additional property that the decision maker’s belief updating follows Bayes’ rule when she learns events. (shrink)

The concept of attractors is considered critical in the study of dynamical systems as they represent the set of states that a system gravitates toward. However, it is generally difficult to analyze attractors in complex systems due to multiple reasons including chaos, high-dimensionality, and stochasticity. This paper explores a novel approach to analyzing attractors in complex systems by utilizing networks to represent phase spaces. We accomplish this by discretizing phase space and defining node associations with attractors by finding sink (...) strongly connected components within these networks. Moreover, the network representation of phase space facilitates the use of well-established techniques of network analysis to study the phase space of a complex system. We show the latter by introducing a new node-based metric called attractivity which can be used in conjunction with the SSCC as they are highly correlated. We demonstrate the proposed method by applying it to several chaotic dynamical systems and a large-scale agent-based social simulation model. (shrink)

BackgroundThe time that children and young people spend in nature and outdoor spaces has decreased significantly over the past 30 years. This was exacerbated with a further 60% decline post-COVID-19. Research demonstrating that natural environments have a positive impact on health and wellbeing has led to prescription of nature-based health interventions and green prescribing, although evidence for its use is predominantly limited to adults. Growing evidence also shows the impact of arts on all aspects of health and wellbeing. However, what (...) has received scant attention in literature is the interconnection between the two: arts and nature.AimsThis review synthesizes the literature surrounding the interconnectedness between arts and nature, and their impact on the health and wellbeing of children and young people.MethodsEight major electronic databases were systematically searched, while hand-searching included 20 journals, six books, and contact with experts. The review was conducted using the Cochrane handbook for systematic reviews, PRISMA guidelines and TIDieR template. All stages were conducted independently by two researchers and the protocol was published on PROSPERO.ResultsAlthough 9,314 records were identified, only 11 records were included as most studies focused either on arts or nature, but not both. Studies were conducted in United Kingdom, United States, Ireland, Australia, and Hong Kong, in a range of spaces such as forests, woodlands, beaches, parks, fields, gardens, and school playgrounds. The review encompasses data from 602 participants in total.DiscussionArts-in-nature offered an inclusive medium to engage all children and young people, especially those who might otherwise remain disinterested about environmental issues and disengaged with educational programs. Further, arts-in-nature provided stimuli to increase nature connectivity, understand environmental issues and explore ways to prevent environmental disasters. This led to higher environmental awareness and pro-environmental behaviors, and potential decrease in eco-anxiety.ConclusionAlthough the quality of qualitative studies was high, the quality of quantitative studies was low or unclear, thus quantitative evidence is still at its infancy. Implications for research, policy, and practice are discussed, such as methods and activities to strengthen future interventions. Scaling-up existing interventions may lead to wider recognition and inclusion of arts-in-nature in future health guidelines, including green prescribing. (shrink)

The article is devoted to revealing the phenomenon of contemporary changes in the language space, in accordance with the processes of transition that take place in the economy of Ukraine in the context of knowledge representation, neuro-modeling and artificial intelligence. The relevance and expediency of the study are due to the uncertainty to some extent of innovative processes occurring in the development of the contemporary Ukrainian language in connection with the transitional processes in the economy. The relevance of the (...) study is determined by: 1) the importance for contemporary linguistics of identifying and describing the structural and typological features of the “dominant” lexical and semantic subsystems of the contemporary Ukrainian language, reflecting the most significant concepts of contemporary Ukrainian conceptosphere; 2) the importance of the lexical subsystem of public administration not only for the contemporary Ukrainian language and contemporary Ukrainian national consciousness, but also for the effective economic policy of the state; 3) a lack of special generalizing research on the problems of formation, development and current state of the Ukrainian vocabulary of state regulation of the economy; 4) the need to clarify and improve the methodology of complex analysis of lexical and semantic systems in the Ukrainian language, methods and techniques of describing lexical units in synchronous and diachronic aspects. 5) current needs in the use of artificial intelligence, based on the principles of neuro-modeling in the representation of knowledge in the conditions of transition economy of Ukraine. (shrink)

Jerry Fodor and Ernest Lepore [(1992) Holism: a shopper's guide, Oxford: Blackwell; (1996) in R. McCauley (Ed.) The Churchlands and their critics , Cambridge: Blackwell] have launched a powerful attack against Paul Churchland's connectionist theory of semantics--also known as state space semantics. In one part of their attack, Fodor and Lepore argue that the architectural and functional idiosyncrasies of connectionist networks preclude us from articulating a notion of conceptual similarity applicable to state space semantics. Aarre Laakso (...) and Gary Cottrell [(1998) in M. A. Gernsbacher & S. Derry (Eds) Proceedings of the 20th Annual Conference of the Cognitive Science Society, Mahway, NJ: Erlbaum; Philosophical Psychology ] 13, 47-76 have recently run a number of simulations on simple feedforward networks and applied a mathematical technique for measuring conceptual similarity in the representational spaces of those networks. Laakso and Cottrell contend that their results decisively refute Fodor and Lepore's criticisms. Paul Churchland [(1998) Journal of Philosophy, 95, 5-32 ] goes further. He uses Laakso and Cottrell's neurosimulations to argue that connectionism does furnish us with all we need to construct a robust theory of semantics and a robust theory of translation. In this paper I shall argue that whereas Laakso and Cottrell's neurocomputational results may provide us with a rebuttal of Fodor and Lepore's argument, Churchland's conclusion is far too optimistic. In particular, I shall try to show that connectionist modelling does not provide any objective criterion for achieving a one-to-one accurate translational mapping across networks. (shrink)

Using semiotic and historical methods, the article recovers the ancient Russian concept of ‘state’, which appeared and gained a foothold in the Russian social and cultural space in the fourteen and fifteenth centuries. In the authors’ opinions, this content has determined the basic features for understanding the State in modern post-Soviet Russian society to date. Accordingly, it is important to reassemble the main conceptual threads in the ‘state’ concept during the epoch of Ivan the Terrible, (...) the Muscovite Tsar, the epoch when the ‘state’ concept gained a foothold in Russian political culture. To re-establish the content of the ‘state’ concept, a historical description, an etymological and comparative analysis of this concept, as well as content analysis of the first epistle from Tsar Ivan the Terrible to Duke Andrei Kurbsky were employed. As a result, it was possible to recover the aspects of the ‘state’ concept that continue to be reproduced in post-Soviet Russian culture and predetermine certain elements of modern Russia’s political outlook. This concerns the central role of the ‘sovereign ruler’ in the State, the ideal of the ideological unity, the State’s mission of mediation between man and God, the hierarchy of the State and the sacral role of the ruler at the peak of this hierarchy. (shrink)

I present an annotated development of the basic ideas of the Geneva School approach to the foundations of physics and the structures which emerge as mathematical representations of the physically dual notions of state and property.

I present an annotated development of the basic ideas of the Geneva School approach to the foundations of physics and the structures which emerge as mathematical representations of the physically dual notions of state and property.

Objective: To cope with the Coronavirus Disease 2019 pandemic health authorities released social restrictions. Such social restrictions impacted on the people's possibilities to move deliberately in a public space and to gather with other people. In the present study, we investigated the impact of COVID-19-related restrictions on physical activity patterns before and during the confinement among team sports participants. Such PA patterns were further related to current mood states, and possible sex differences were also explored.Methods: A total of (...) 476 adults exercising team sport completed a series of self-rating questionnaires covering sociodemographic information, former and current PA patterns, and current mood states.Results: Compared with the period before the confinement, PA intensity decreased, but PA frequency increased during the confinement. Past, current, and changes in physical activity patterns were unrelated to participants' mood states. Sex differences in mood were spurious. Sex differences in physical activity patterns were modest, with male participants reporting a higher physical activity intensity during the confinement.Conclusions: The present pattern of results suggests that the COVID-19-related confinement did not impact in a uniform fashion on PA patterns of adults attending team sports. Furthermore, mood states were unrelated to current physical activity patterns. Given the complex psychosocial situation of COVID-19-related confinement, it appeared very unlikely that sole physical activity patterns could counterbalance possible impaired states of mood and behavior. (shrink)

It has often been suggested that the meaning of terms is theory dependent. Bas van Fraassen has proposed a particular way of inferring which sentences are true in virtue of meaning, given a theory in so-called state-space format. I examine his claims by means of simple examples.

Introduction: Interdisciplinary, transdisciplinary and action research of a city in lockdown. As we write this chapter, most cities across the world are subject to a similar set of measures due to the spread of COVID-19 coronavirus, which is now a global pandemic. Independent of city size, location, or history, an observer would note that almost all cities have now ground to a halt, with their citizens being confined to their private dwellings, social and public gatherings being almost entirely forbidden, and (...) commercial areas being nearly devoid of visitors. Striking as these apparent similarities are, closer scrutiny would reveal important differences between cities and within cities – differences that can be highly relevant to consider when scholars are assessing the responses of cities to this pandemic or trying to predict the consequences of those responses. For example, the public health systems in some cities are better prepared than in others for coping with the increasing number of patients in life threatening conditions. Multigenerational households, which are associated with a greater risk for elderly members, are not equally common in all cities. Tourist destinations have taken a more severe economic hit from the lockdown than those cities which are economically less dependent upon this particular source of income. Communal celebrations in one city will result in a higher number of contagions and perhaps even deaths in this situation, whereas that same social fabric generally does contribute to a population’s health. The pandemic has also had unprecedented effects on differences and inequalities within cities. In cities in the United States, neighborhoods primarily inhabited by African Americans have been disproportionately affected by COVID-19 due to living and health conditions, yet also due to the fact they disproportionately perform vital jobs. Parks and green spaces are crowded, while city centers like Amsterdam’s Red Light District have suddenly lost the bustle of tourism, providing opportunities for citizens to reoccupy scarce public spaces and reclaim ownership. Clearly, such differences between cities are in many cases only discernible to the eye of an expert, possessing the necessary background knowledge to interpret the perceptible local changes caused by the global pandemic. Typically, drawing upon his or her disciplinary training, the expert also knows how to further probe the impact of the pandemic in an appropriate way. However, compared to the usual application of expertise, this crisis situation might, in an unusual way, test even experts. For the pandemic has created a unique situation, imposing unfamiliar constraints on the health, economic, social, and other conditions of cities, constraints that interact in sometimes unexpected ways with each other. Such interactions in turn force experts to collaborate across the boundaries commonly associated with disciplines, their concepts, theories, methods, and assumptions (Klein, 1996). These brief observations of how a virus pandemic can have differential impacts upon various cities, and what this exceptional situation might mean for the application of city methods, allow us to draw a few consequences for the current context of this chapter on interdisciplinary and transdisciplinary research. First, whenever we are investigating a complex and dynamic phenomenon it is by no means easy to determine which disciplinary perspectives are required to do justice to it. Indeed, the choice of useful disciplines can only be made after an initial overview of the situation and a preliminary selection of what appear to be the most important features of the situation. Relevance is key in guiding this selection process and scholars must remain open to the possibility that they may need to revise their earlier assessments of what is relevant and what is not. Second, if scholars from different disciplines were to study different features of a city in isolation, their ‘multidisciplinary’ account would miss important dynamic and complex interactions, such as those between a city’s demographics and geographical situation, its governance and economy. In other words, it is the integration of the perspectives of different disciplines that is crucial, as only then are such interactions taken into account. Indeed, this integration between disciplinary perspectives is what distinguishes an interdisciplinary from a multidisciplinary account. Thirdly, in addition to checking the relevance of disciplines and aiming for their integration, the outcome of interdisciplinary and transdisciplinary research has typically limited generalizability. Since a city is sensitive to a multitude of internal and external dynamical factors, in ways that partly rest upon its socio-cultural history, its investigation will often have the nature of a case study rather than be capable of leading to law-like insights (Krohn, 2010; Menken & Keestra, 2016). As can be seen from these three characteristics of ascertaining the relevance of different disciplinary contributions, the challenge of their integration, and the limited generalizability of their results owing to the specificity of interdisciplinary (ID) and transdisciplinary (TD) research, such research into ‘real world problems’ is clearly distinct from most monodisciplinary research. A consequence of this distinction is the absence of a general ID/TD methodology that can guide specific case studies. By contrast, the collaboration implied in such research requires researchers – and stakeholders, if they are involved – to reflect upon their potential contribution and the implicit assumptions associated with that. We will elaborate on this in the next section. Next, we offer several typologies of integration that urban scholars could employ for their research projects, after which we will offer a few brief analyses of initial collaborations of urban research. Finally, we discuss in more detail the process of the interdisciplinary research project. This will include a brief reflection upon the decision-making process that is implied in such projects. In sum, we aim to provide some guidance in conducting an ID/TD project, albeit not in the form of a definite methodology. (shrink)

This article focuses on the ways that the author’s somewhat in-between position as both an outsider/researcher and an insider/ex-political Iranian activist now in exile has contributed to the process of research on Iranian women exiles in the Netherlands and the United States. Feminist attention on life stories as a method, and feminist anthropologists’ attention to particularity, involvement and reflexivity give the author the space, and inspire her, to explore the issue of positioning. This makes it possible for her to (...) engage with the issues of home, identity and belonging, not only as a scholar but also as a woman in exile. In this way, the reflexivity resulting from this involvement enables her to reevaluate her own identity, sense of belonging, and life in exile, next to rethinking these essential themes within the social sciences on the theoretical level. The blurred boundary of the self and the other in her research has its moments of complication, but in the end, these complicated moments seem to be not only necessary but rewarding, in many ways. (shrink)

The first part of this evolutionary study of the persistence of the autocratic/oligarchic variety of personal rule in Russia provides a historical overview, followed by two theories explaining why it persisted, interrupted by brief “times of troubles,” for over 500 years. Edward Keenan, on the one hand, hypothesizes successful long-term adaptation to a demanding environment. Richard Hellie, on the other hand, develops a theory of service-class revolutions and a cyclical pattern based on the methods of Russian elites for overcoming (...) relative backwardness. Neither theory takes a neo-Darwinian approach.The second part examines neo-Darwinian evolutionary approaches. In the cosmic perspective of Big History, the human species in its relatively brief existence has had an accelerating impact on other species and the earth’s environment. Biologists modeling complex systems come to a similar conclusion. Agent-driven history, as modeled by demographer Noël Bonneuil, raises questions about the adequacy of the historian’s traditional single-trajectory narrative approach to “the time of human history” and also critiques the biases built into the mathematical models of many evolutionary thinkers. An evolutionary approach to human history does not restrict itself to organic replication, but takes into account populations of evolving human skills and also group projects that act as evolutionary forces as well as units of selection, and outlive generations of organic populations.The third part applies this approach to the Russian tradition of state power by showing how group projects operate as evolutionary forces in a variety of modern power systems. The “parable of the tribes” avers that the aggressive agent in any given power system—ideological, economic, social, military, or political—dictates the dynamics of the system. The “braided stream” approach shows, however sketchily here, how agent-driven modern power systems interact, coevolve, and produce hybrid forms. The Russian tradition is highlighted in this evolutionary context. (shrink)

There is a second way in which the question is capable of a twofold interpretation. One might begin with a priori concepts which have no empirical reference and ask how they can apply to objects. Or, one might deny the dichotomy between the a priori and experience and inquire how synthetic a priori judgments about experience can be accounted for. Initially Kant regarded the problem of schematism in the former way as that of bringing together two divorced realms. From this (...) standpoint it is assumed: a) that a priori concepts are generated by mind independently of experience, and b) that objects are given in intuition However, Kant came to see that if the problem is stated in this way it is insoluble. Only a pre-established harmony would guarantee that a priori concepts apply to objects. He attempted to break down this dualism between intuition and thought, between objects and concepts by showing that the knowledge of objects requires both intuition and thought. Unfortunately the original statement of the problem recurs alongside of the revised formulation at many places in the Critique. A close study of the development of Kant's thought makes it sufficiently clear that it is the latter statement of the problem which alone represents his mature insight and is consonant with his transcendental method of proof. (shrink)