The article raises the problem of the relationship between art and truth, reviewing the interpretations of V. Van Gogh’s famous painting A Pair of Shoes (1886–87) in the works of famous theorists and art critics. Raising the question of what truth is revealed in the artist’s painting, the most important disputes on this topic between M. Heidegger, M. Schapiro, J. Derrida and F. Jameson are briefly discussed. This artist’s painting also caught the attention of the famous Lithuanian philosopher A. (...) Šliogeris, who considered it as a diagnosis of the death of Western visual art itself. Along with the dispute of famous theoreticians about this, an attempt is made to consider the point of view that the death of art itself and the rise of civilisation of technology are revealed in van Gogh’s paintings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Late-Marxist, Post-Poststructuralist Critical NebulosityWendell V. HarrisIllustration, by J. Hillis Miller; 168 pp. Cambridge: Harvard University Press, 1992, $35.00.The title of J. Hillis Miller’s Illustration is apt in a way other than the author anticipated: it is a composite illustration of most of what makes so much of contemporary literary and aesthetic criticism unsatisfying if not nugatory. Initial evidence of the lack of cogent conceptualization is the disparateness of the (...) two long essays jammed between the covers of the book. Part One is entitled “The Work of Cultural Criticism in the Age of Digital Reproduction” and Part Two “Word and Image.” Miller explains the relationship by saying what while the first section of the book “will attempt to understand” the shift in literary studies toward theory and especially cultural studies, the second section “will explore the relations of picture to word as one practical and theoretical issue important to cultural studies” (p. 9). But that connection is (fleetingly) asserted in the midst of an argument so fragmented and confused that whole sections must here be passed over without comment.What is most striking about Part One is the thought-disabling imprecision of many of the key terms and the not unrelated way in which the argument follows well-travelled modes of Marxist and poststructuralist thought. The title of Part One, “The Work of Cultural Criticism in the Age of Digital Reproduction,” is of course intended to [End Page 127] link Miller’s first essay to what is probably the best-known of Walter Benjamin’s essays, “The Work of Art in the Age of Mechanical Reproduction.” Both seek not only to link changing technological possibilities to the direction of cultural change, but to suggest that such changes should be harnessed to the work of political revolution. Miller might have been warned by the deficiencies of Benjamin’s over-rated essay. Benjamin begins his essay by applauding Marx for so cogently showing “what could be expected of capitalism in the future”: the prophecy Benjamin derives from Marx is “that one could expect [capitalism] not only to exploit the proletariat with increasing intensity, but ultimately to create conditions which would make it possible to abolish capitalism itself” (p. 217). 1 There is still plenty of exploitation to be found in the world, not excluding the most economically (capitalistically) developed countries, but it requires real intellectual contortions to argue that the growth and exploitation of a proletariat has increased where capitalism has most developed; the assertion that the world is moving toward the abolition of capitalism hardly requires comment.Benjamin’s closing argument, the point toward which his entire essay is presumably driving, substitutes a clever slogan for thought. “The logical result of Fascism is the introduction of aesthetics into political life” (p. 241). But, writes Benjamin in his closing sentence, “Communism responds by politicizing art” (p. 242). Miller attempts to explain the distinction: “To aestheticize politics is to treat the state as though it were a work of art” while the “politicizing of art... means affirming the political value and force of art” (p. 10). Well, it is of course possible to assume such a meaning for Benjamin’s words, especially since it is hard to know exactly what they mean, but why make so much of an essay which begins by endorsing a prophecy that has become increasingly dubious, ends in an ambiguous formulation, and in between mixes obvious and trivial observations with a highly questionable argument about the disappearance of the “aura” of a work as a result of mechanical reproduction? As for the latter, the cheap reproduction of, for example, certain of Van Gogh’s paintings can be argued to “debase” them, but if they mean little to those who encounter them only on cheap posters or computer screens, they can scarcely mean less than they did to those unaware of their existence before the age of mechanical reproduction. And after all, if the original paintings have not retained their “aura,” museums could simply fill their rooms with reproductions.The reason Miller links his essay to that of Benjamin is presumably to demonstrate his allegiance to the form of Marxist thought so frequently... (shrink)

In this paper we present an executable approach to model interactions between agents that involve sensitive, privacy-related information. The approach is formal and based on deontic, epistemic and action logic. It is conceptually related to the Belief-Desire-Intention model of Bratman. Our approach uses the concept of sphere as developed by Waltzer to capture the notion that information is provided mostly with restrictions regarding its application. We use software agent technology to create an executable approach. Our agents hold beliefs about the (...) world, have goals and commitment to the goals. They have the capacity to reason about different courses of action, and communicate with one another. The main new ingredient of our approach is the idea to model information itself as an intentional agent whose main goal it is to preserve the integrity of the information and regulate its dissemination. We demonstrate our approach by applying it to an important process in the insurance industry: applying for a life insurance. In this paper we will: (1) describe the challenge organizational complexity poses in moral reasoning about informational relationships; (2) propose an executable approach, using software agents with reasoning capacities grounded in modal logic, in which moral constraints on informational relatio nships can be modeled and investigated; (3) describe the details of our approach, in which information itself is modeled as an intentional agent in its own right; (4) test and validate it by applying it to a concrete ‘hard case’ from the insurance industry; and (5) conclude that our approach upholds and offers potential for both research and practical application. (shrink)

RESUMEN Los zapatos nos sirven y nos acompañan, testimonian diferentes verdades, dependiendo de su utilidad y su dueño. Pueden ser de vagabundos o de prisioneros, de militares, artistas o campesinos, de adultos o de niños, de asesinos o de asesinados. Muchos guardan un misterio, todos tienen una historia. El arte los ha acogido desde sus comienzos, vinculándolos a diferentes sucesos, como en las obras de Vincent Van Gogh, Can Togay y Gyula Pauer. A partir del trabajo de estos artistas (...) se busca vincular el vacío y el horror en el arte con el tema de la verdad, entendida como alétheia o desocultación, rememoración y acontecimiento, e indagar por la historia que se oculta tras ciertas obras artísticas. ABSTRACT Shoes are not only useful; they are also our constant companions, and, as such, they attest to different truths, depending on their utility and their owner. They can belong to vagabonds or prisoners, to soldiers, artists, or peasants, to adults or children, to murderers or victims Many conceal a mystery, and they all have a history. Since its beginnings, art has included them and linked them to diverse events, as is the case in the works of Vincent Van Gogh, Can Togay, and Gyula Pauer. On the basis of the work of these artists, the article connects emptiness and horror in art with truth, understood as alétheia or unconcealment, remembrance, and event, and inquires into the hidden story of certain artworks. (shrink)

Los zapatos nos sirven y nos acompañan, testimonian diferentes verdades, dependiendo de su utilidad y su dueño. Pueden ser de vagabundos o de prisioneros, de militares, artistas o campesinos, de adultos o de niños, de asesinos o de asesinados. Muchos guardan un misterio, todos tienen una historia. El arte los ha acogido desde sus comienzos, vinculándolos a diferentes sucesos, como en las obras de Vincent Van Gogh, Can Togay y Gyula Pauer. A partir del trabajo de estos artistas se (...) busca vincular el vacío y el horror en el arte con el tema de la verdad, entendida como alétheia o desocultación, rememoración y acontecimiento, e indagar por la historia que se oculta tras ciertas obras artísticas. (shrink)

Positive frequency dependent selection is a natural selection regime where the fitness of a phenotype increases with its frequency in the population. Examples can be typically found in the spread of disease tolerance strategies in a population. A characterizing feature of PFDS is that the focal allele may experience favorable selection only when it becomes more frequent in the population, while being selected against when it is rare. In this paper, by applying a solution concept from evolutionary game theory, we (...) hypothesize that the process of emergence of such alleles triggers selection for silence, where the emergence of alleles that can stay unexpressed for a period of time will be favored by selection forces. We illustrate our hypothesis using a mathematical model of a population of single locus diploid organisms with two alleles where a single mutant of an allele that experiences positive frequency dependent selection appears in a population where the other allele is a dominant. The model results show that the longer the silence interval of the new mutant before its expression, the better its chances of getting fixed in the population. However, this effect will be observable only to a certain limit after which further increase in the interval will not have an effect on the expected fixation rate. Two divergences from the simple scenario are also investigated: the nonsynchronous expression of the focal allele and its emergence in a spatial grid limited by a migration bottleneck. In all cases, it is shown that there is an evolutionary pressure inherent in the dynamics of positive frequency dependent selection on the genes to have a delayed expression. It is hypothesized that the regulation systems of such traits will be under selection for either internal silencing mechanisms or to be triggered by an external environmental condition. (shrink)

Background: The Declaration of Helsinki, the World Medical Association’s statement of ethical guidelines regarding medical research, is published in the three official languages of the WMA: English, French and Spanish.Methods: A detailed comparison of the three official language versions was carried out to determine ways in which they differed and ways in which the wording of the three versions might illuminate the interpretation of the document.Results: There were many minor linguistic differences between the three versions. However, in paragraphs 1, 6, (...) 29, 30 and in the note of clarification to paragraph 29, there were differences that could be considered potentially significant in their ethical relevance.Interpretation: Given the global status of the Declaration of Helsinki and the fact that it is translated from its official versions into many other languages for application to the ethical conduct of research, the differences identified are of concern. It would be best if such differences could be eliminated but, at the very least, a commentary to explain any differences that are unavoidable on the basis of language or culture should accompany the Declaration of Helsinki. This evidence further strengthens the case for international surveillance of medical research ethics as has been proposed by the WMA. (shrink)

Volume 20 of _The Annual of Psychoanalysis_ ably traverses the analytic canvas with sections on "Theoretical Studies," "Clinical Studies," "Applied Psychoanalysis," and "Psychoanalysis and Philosophy." The first section begins with Arnold Modell's probing consideration of the paradoxical nature of the self, provocatively discussed with John Gedo. Modell focuses on the fact that the self is simultaneously public and private, dependent and autonomous. Alice Rosen Soref next explores innate motivation and self-protective regulatory processes from the standpoint of recent infancy research; her (...) notion of a lifelong two-track model of self and relatedness helps establish a normative baseline that can anchor psychoanalytic theory. George Mahl makes an interesting contribution to Freud studies in the form of a new chronology of Freud's works and the number of pages they contain in the _Standard Edition_. The section ends with Robert Galatzer-Levy and Mayer Gruber's "quasi-experiment about disgust." They test and disconfirm the hypothesis that disgust is an affective response to an abstract sense of disorder rather than a transformation of a concrete, bodily experience by systematically exploring references to concepts of disgust in the Old Testament. Section II, on "Clinical Studies," opens with Henry Smith's fascinating elaboration of Freud's notion of "screen memories" into a theory of screening that denotes the general process by which mental content is organized. He illustrates his thesis by invoking the "screen language" employed by a patient throughout her analysis. Ernest Wolf next explores the tension between being a "scientist" and a "healer" in Freud and his followers to illuminate struggles within the psychoanalytic movement and to help account for current attitudes toward abstinence, neutrality, and gratification. Kenneth Newman focuses on this same triptych of technical precepts. He argues, in the spirit of Winnicott and Kohut, that analysts can only alter the hostile internal environments of their patients by becoming "usable" objects and cultivating an optimally responsive analytic environment. A particularly rich collection of applied analytic studies forms Section III of the volume. Individual chapters focus on the childhood of Vincent van Gogh ; the psychological healing process depicted in George Eliot's _Silas Marner_ ; the self-psychological meaning of "blood brotherhood" in D. H. Lawrence's _Women in Love_ ; ecstatic mysticism in the 19th-century Indian saint Sri Ramakrishna ; the disintegration of the Tyrone family in Eugene O'Neill's _Long Day's Journey into Night_ ; and the nature and analytic significance of Freud's aesthetic response to Michelangelo's _Moses_. Finally, in Section IV, George Brook examines the commonsense psychological knowledge of everyday life, that is, the nonpsychoanalytic knowledge on which much of clinical psychoanalysis ultimately depends. Taken together, the four sections of Volume 20 of _The Annual_ offer an exciting overview of contemporary psychoanalysis. Section I highlights recent trends in psychoanalytic theorizing and the testing of psychoanalytic propositions; Section II explores the relevance of new theoretical perspectives to clinical work; Section III demonstrates the applicability of these new perspectives to psychobiographical and literary analysis; and Section IV provocatively explores the points of connection between everyday ideas and attitudes and the tenets of psychoanalytic practice. (shrink)

Volume 22 of _The Annual of Psychoanalysis_ begins with the provocative reflections of Jane Flax and Robert Michels on the current status and future prospects of psychoanalysis a century after Freud. Flax believes that analysis will not survive in the postmodern West if analysts cling to the medical model and the notion of analysis as a clinical science; Michels believes analysis will be revivified in the next century by reorganizing its training institutes within universities. A section on "Psychoanalysis and the (...) Visual Arts" includes John Gedo's probing examination of the inner world of Paul Gauguin and William Meissner's reflections on Vincent van Gogh as artist. Johann Michael Rotmann's examination of the transferential meanings of third-party payment within Germany's health insurance system is a timely consideration of issues that are increasingly salient for American analysts and therapists. A rich harvest of theoretical and clinical papers rounds out this volume of _The Annual_. In "A Time of Questioning," Leon Wurmser responds to the inner and outer challenges before analysis in a closely reasoned defense of the applicability of classical analytic technique to severely disturbed patients. Michael Hoit examines the noninterpretive, interactive aspects of the analytic relationship, arguing that the analyst's noninterpretive activities are intrinsic to treatment and must be incorporated into the theory of therapeutic action. In "Fables as Psychoanalytic Metaphors," Elaine Caruth describes some psychoanalytic metaphors contained within the lessons of the Aesopian fables, proposing that the fables address interpersonal and group conflicts that often involve moral issues. Wilma Bucci offers her "multiple code theory" as a new model of emotion and mind, based on current theory and research in cognitive science, that can account for clinical concepts and provide coherent framework for empirical research. And Ralph Roughton uses the case history of Laura to underscore the central role of repetition and interaction in the analytic process. Volume 22 will not disappoint readers of this distinguished continuing series. Like its predecessors, it is a thoroughly assembled collection responsive to the conceptual, clinical, and institutional challenges now before the field. (shrink)

Volume 24 of _The Annual_ opens with a memorial tribute to the late Merton M. Gill, a major voice in American psychoanalysis for half a century. Remembrances of Gill by Robert Holt, Robert Wallerstein, Philip Holzman, and Irwin Hoffman are followed by thoughtful appreciations of Gill's final book, _Psychoanalysis in Transition: A Personal View_, by John Gedo, Jerome Oremland, Arnold Richards and Arthur Lynch, Joseph Schachter, and Bhaskar Sripada and Shara Kronmal. Section II offers four papers from a major conference (...) on "Mind/Brain" held in Osaka, Japan. In addition to publishing two clinical papers by the Chicago analyst John Gedo, _The Annual_ introduces readers to two prominent Japanese neuroscientists whose work is relevant to psychoanalysis. Hiroshi Utena links brain development to the individual's freedom to make optimal adaptive choices, whereas Makoto Iwata outlines the modular organization of vision in the brain and then illustrates each modular potential by examining the paintings of four artists: Mondrian, Duchamp, Seurat, and Rothko. Kenneth Newman's sensitive consideration of analyst self-discourse as the outcome of successful management of the countertransference and Frank Summers' astute assessment of the place of self psychology in the history of psychoanalytic ideas are followed by three engaging and instructive studies in applied analysis: Elaine Caruth and Milton Eber's examination of Woody Allen's _The Purple Rose of Cairo _as a metaphoric depiction of the blurring of boundaries in psychotherapy; Frank and Annette Lachmann's study of the creative process of Henrik Ibsen as a self-transformational response to narcissistic injury; and W. W. Meissner's exploration of the role of shame in Vincent van Gogh's life and art. The volume concludes with a provocative contribution to psychoanalytic history: J. Bos's social-constructivist rereading of the _Minutes of the Vienna Psycho-Analytic Society_ with an eye to illuminating why and how psychoanalysis changed during its early years. True to its distinguished lineage, volume 24 of _The Annual_ continues to broaden the conceptual, clinical, and historical vistas of its readers. Moreover, with its revealing reminiscences and substantive appraisals of Merton Gill, this volume becomes a fascinating marker in the very psychoanalytic history it helps recount. (shrink)

Volume 26/27 begins with publication of _The Annual's_ first prize essay, Samuel Abrams's "How Child and Adult Analysis Inform and Misinform One Another." This is followed by a series of papers originally prepared for a symposium honoring John E. Gedo. These papers span the clinical topics of obsessiveness, sublimation, dreams and self-analysis, and analyzability, and also delve into applied psychoanalysis and art history, with two studies of Vincent van Gogh and another of Alberto Giacometti. These papers not only convey (...) the impressive range of Gedo's own interests, but embody the high scholarly and clinical standards that Gedo has long held, both for himself and for the field in general. Section III offers original contributions to clinical analysis in the form of the consideration of the role of affective engagement in the analyst's "usability"; thoughtful assessment of the perils of parental projection in child analytic work; and comparison of a failed and successful supervision in the same psychoanalytic case. Section IV examines psychoanalysis and the arts, with two further studies of van Gogh, an analytic reading of Nabokov's _Lolita_, and more general examinations of psychoanalysis in relation to dramatic art and film analysis. The volume closes with two provocative scholarly essays bearing on the roots of psychoanalysis: the correspondence between Mabel Dodge and her analysts Smith Ely Jelliffe and A. A. Brill as a vehicle for reviewing the issue of extra- and postanalytic contact between analyst and patient; and an examination of Freud, Lacan, and the uneasy relationships among literature, psychoanalysis, and the female subject. Volume 26/27 offers readers a rich harvest of contemporary insights about psychoanalysis, including its history and evolution, its continuing clinical refinement, and its scholarly applications outside the consulting room. (shrink)

Family involvement in healthcare decision-making for competent patients occurs to varying degrees in many communities around the world. There are different attitudes about who should make treatment decisions, how and why. Legal and professional ethics codes in most jurisdictions reflect and support the idea that competent patients should be enabled to make their own treatment decisions, even if others, including their healthcare professionals, disagree with them. This way of thinking contrasts with some cultural norms that put more emphasis on the (...) family as a decision-making entity, in some circumstances to the exclusion of a competent patient. Possible tensions may arise between various combinations of patient, family members and healthcare professionals, and healthcare professionals must tread a careful path in navigating family involvement in the decision-making process. These tensions may be about differences of opinion about which treatment option is best and/or on who should have a say or influence in the decision-making process. While some relevant cultural, legal and policy considerations vary from community to community, there are ethical issues that healthcare professionals need to grapple with in balancing the laws and professional codes on decision-making and the ethical principle of respecting patients and their autonomy. This paper will highlight and propose that a partial resolution to these issues may lie in relational understandings of autonomy, which in principle justify interventions by healthcare professionals and family that support patients in decision-making. (shrink)

The impact of COVID-19 on chronic pain in non-infected vulnerable South American subjects is unknown. Healthcare workers are at increased risk for CP. During the pandemic, many HCWs with CP kept working. Knowing how cognition is affected by CP in these subjects is an important subject for work safety. The attention domain has a pivotal role in cognition. Previously, the Continuous Visual Attention Test was applied to detect specific attention deficits in fibromyalgia patients. The present investigation described CP prevalence in (...) non-infected Brazilian HCWs during the pandemic and assessed HCWs’ attentional performance with the aid of the CVAT. This study was carried out at a reference University Hospital in Rio de Janeiro, Brazil. HCWs of both sexes, aged 20 or older, were interviewed from August to December 2020. A 90-second version of the CVAT was performed. The average reaction time to correct responses and the respective intraindividual reaction time variability for correct responses to target was determined. Omission and commission errors were also calculated. Then, for each participant we calculated the Z-scores of the CVAT variables based on the distribution of CVAT performance of 211 healthy subjects. HCWs with Z-scores > 1.64 were classified as significantly impaired. From the 154 selected HCWs, 72 reported CP during the pandemic. Post hoc ANCOVAs showed that the average correct VRT was significantly higher in the CP group than in the non-CP group. The percentage of participants with impaired VRT performance was 30% in the CP group and 16% in the non-CP group. The difference between these two propositions reached significance. As VRT is associated with the sustained-attention subdomain, our data suggest that this subdomain is disrupted in the CP group. (shrink)

Du sommaire: I -- Clinique et philosophie: Le probleme -- La polemique. II -- Eloge du masochisme, critique de la notion de plaisir. III -- Philosophie de la repetition: Les trois repetitions -- Comment une philosophie du temps revient a Masoch et a Sade -- L'inconscient et les problemes. IV -- Le corps sans organes, critique ou abandon de la psychanalyse?: Artaud et Van Gogh -- La distance prise par rapport a l'organisme -- Les devenirs et leur fin immanente. (...) V -- Les devenirs et les syntheses disjonctives: Les syntheses disjonctives et l'invention de la vie et de la pensee -- Repeter et inventer selon Deleuze et selon Freud -- Ambiguite de la repetition en psychanalyse. VI -- Philosophie de l'infini, creer des concepts est-ce circuler a vitesse infinie sur le chaos?: L'affinite de la philosophie avec l'infini -- L'infini et la raison contingente -- Sur la lecture de Deleuze par Alain Badiou -- Une invention conceptuelle met-elle en jeu l'infini?". (shrink)

We study increasing F-sequences, where F is a dilator: an increasing F-sequence is a sequence (indexed by ordinal numbers) of ordinal numbers, starting with 0 and terminating at the first step x where F(x) is reached (at every step x + 1 we use the same process as in decreasing F-sequences, cf. [2], but with "+ 1" instead of "- 1"). By induction on dilators, we shall prove that every increasing F-sequence terminates and moreover we can determine for every dilator (...) F the point where the increasing F-sequence terminates. We apply these results to inverse Goodstein sequences, i.e. increasing (1 + Id) (ω) -sequences. We show that the theorem every inverse Goodstein sequence terminates (a combinatorial theorem about ordinal numbers) is not provable in ID 1 . For a general presentation of the results stated in this paper, see [1]. We use notions and results concerning the category ON (ordinal numbers), dilators and bilators, summarized in [2, pp. 25-31]. (shrink)

This essay revisits Meyer Schapiro’s critique of Heidegger’s interpretation of Van Gogh’s painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger’s ‘Origin of the Work of Art’ and conclude (...) by taking Heidegger’s discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation. (shrink)

© 2015 Elsevier Inc.Postnatal organogenesis occurs in an immune competent environment and is tightly controlled by interplay between positive and negative regulators. Innate immune cells have beneficial roles in postnatal tissue remodeling, but roles for the adaptive immune system are currently unexplored. Here we show that adaptive immune responses participate in the normal postnatal development of a non-lymphoid epithelial tissue. Since the mammary gland is the only organ developing predominantly after birth, we utilized it as a powerful system to study (...) adaptive immune regulation of organogenesis. We found that antigen-mediated interactions between mammary antigen-presenting cells and interferon-γ -producing CD4+ T helper 1 cells participate in MG postnatal organogenesis as negative regulators, locally orchestrating epithelial rearrangement. IFNγ then affects luminal lineage differentiation. This function of adaptive immune responses, regulating normal development, changes the paradigm for studying players of postnatal organogenesis and provides insights into immune surveillance and cancer transformation. Plaks et al. (shrink)

Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be (...) defined as a notion of experience and knowledge. Thus the notion of an image gets a new understanding: it can be described as an "energetic system". (shrink)

This article analyzes the relationship between Van Gogh and two of his doctors, Dr. Rey and Dr. Gachet, whose portraits he painted, by comparing their rapport with the sick painter and vice versa. Van Gogh the patient/artist—presented here as a case study—enables us to examine not only his projections but the counter-projections of his doctors, whether in writing (Dr. Rey) or in painting (Dr. Gachet), and to explore the psychological and ethical tensions these projections give rise to. Van (...) Gogh's portraits of the two doctors offer two contrastive models: estrangement vis-à-vis “doubling” and symbiosis. Whereas Dr. Rey catered for Van Gogh's maternal needs and misunderstood his artistic needs, Dr. Gachet identified with his patient's talent and drew his face (death mask) after his suicide. The central ethical question that arises from the analysis of Van Gogh's relationship with his two doctors is whether we can extend our moral judgments beyond the cultural bounds of a specific historical context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fortuyn, Van Gogh, Hirsi AliWhy the Unholy Trinity Was Driven Out of the NetherlandsHenri Beunders (bio)“Vulnerability” and “tolerance” are pretty vague notions. A lot of suggestions, images, and good intentions cling to them, while scientific clarity is virtually absent.The same goes for the Netherlands. Abroad, my country had the image of a tolerant, liberal, and free society, a place where things could be said and done that were (...) forbidden elsewhere. So the question is: how on earth did this country turn into a battlefield due to a clash of civilizations almost overnight?I will try to explain to you how and why in the past decades the Netherlands became so vulnerable that in 2002 a political revolt broke out quite unexpectedly, a revolt that lasted for years and still is not over yet. The crisis resulted in two people becoming victims of political killings, while a third had to flee the country. Because all three of these people were liberal individualists who criticized two types of religion—the political-cultural left, or “Red Church,” and fundamentalist Islam—I will refer to them as the unholy trinity, an unholy trinity that had to be exorcized to restore the peace.Freedom of speech and freedom of religion are key factors in the Dutch crisis. Cultural wars and mimetic rivalry are other factors. Americanization and the advent of the multicultural society are the forces profondes. [End Page 201]I: Tolerance and the Dutch ConstitutionLet us talk briefly about tolerance first. Everybody seems to be in favor of it, except when we collectively decide we must not tolerate things, like drunk driving, smoking in public buildings, and so on.In the present Dutch constitution, created in 1983, article 1 begins with these sentences: “All persons in the Netherlands shall be treated equally in equal circumstances. Discrimination on the grounds of religion, belief, political opinion, race, or sex or on any other grounds whatsoever shall not be permitted.”1In essence, the constitution states that a colored Dutchman has the right to be treated in the same way as a white one. This has, however, nothing to do with tolerance. Tolerance means that a dominant group permits a nondominant group to have opinions or lifestyles that seem to deviate from the usual order. If we ask natives to be tolerant toward exotic immigrants, this implies hierarchy. There is a group that tolerates, and there is a group that is tolerated. In the strict sense of the word, tolerance implies discrimination and is therefore hostile to the constitution.As a Dutch historian once remarked, every philosopher who thought about these things, like John Locke, Mirabeau, or Thomas Paine, knew that the notion of religious tolerance is useless if you assume all men by nature to have inviolable rights anyway, like those of freedom of thought, expression, and religion.2Of course, a nation-state has to be intolerant sometimes, for instance, when freedom of religion is used to undermine the state, when, for example, the state is promoting violence, which in democratic societies is the monopoly of the state. This is a matter of principle. The rest is a matter of political debate.At this point we have to conclude that trying to give meaning to a word such as tolerance can be very complicated and confusing, and that such a word has to be used very carefully. The same goes for all those other container words, like racism, fascism, populism, and so forth, that have been used so frequently in recent decades to label and scapegoat people and things that are feared or simply disliked. But words are important.The idle and gratuitous manner in which container words of this kind are used to denounce “the enemy” represents the other side of the so-called liberal, “tolerant” society of the Netherlands. All this name calling definitely keeps you from researching and facing the things that are really going on. During the 1990s, this name calling resulted in the dominance of political correctness, a phenomenon that leaves no room for doubt as to who the angels and devils are in society, and it implies that there is no need to look... (shrink)

This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world.

The European Union Commission’s whitepaper on Artificial Intelligence proposes shaping the emerging AI market so that it better reflects common European values. It is a master plan that builds upon the EU AI High-Level Expert Group guidelines. This article reviews the masterplan, from a culture cycle perspective, to reflect on its potential clashes with current societal, technical, and methodological constraints. We identify two main obstacles in the implementation of this plan: the lack of a coherent EU vision to drive future (...) decision-making processes at state and local levels and the lack of methods to support a sustainable diffusion of AI in our society. The lack of a coherent vision stems from not considering societal differences across the EU member states. We suggest that these differences may lead to a fractured market and an AI crisis in which different members of the EU will adopt nation-centric strategies to exploit AI, thus preventing the development of a frictionless market as envisaged by the EU. Moreover, the Commission aims at changing the AI development culture proposing a human-centred and safety-first perspective that is not supported by methodological advancements, thus taking the risks of unforeseen social and societal impacts of AI. We discuss potential societal, technical, and methodological gaps that should be filled to avoid the risks of developing AI systems at the expense of society. Our analysis results in the recommendation that the EU regulators and policymakers consider how to complement the EC programme with rules and compensatory mechanisms to avoid market fragmentation due to local and global ambitions. Moreover, regulators should go beyond the human-centred approach establishing a research agenda seeking answers to the technical and methodological open questions regarding the development and assessment of human-AI co-action aiming for a sustainable AI diffusion in the society. (shrink)

이 글은 하이데거, 샤피로, 데리다 사이에 있었던 반 고흐의 낡은 구두 그림에 관한 논쟁을 (1) 구두의 임자 문제 (2) 그림의 특정 문제 (3) 예술의 본성 문제로 주제화하고 그 순서대로 세 사람의 주장과 그들 사이의 논쟁을 따라가면서 조명하고 그에 대해 각각 비판적으로 논술하고 평가하며 그 함의를 추출하는 것을 목적으로 한다. 나아가서 세 사람 사이의 가교를 마련할 수 있는 가능성과 필요성을 언급하고 그 현실성을 전망하고자 한다. 첫째, 구두의 임자 문제에 있어서 하이데거는 자신의 존재론적 예술론을 언급하기 위한 대상으로 낡은 구두 그림을 선택했기 때문에 (...) 샤피로와 달리 누구의 구두이든 문제 삼지 않는다. 그러나 나중에 아무런 근거 없이 농부의 것이라고 봄으로써 그 문제에 관한 한 맹목적이 되고 논리적 비일관성을 범한다. 데리다는 구두가 누구의 구두인가는 규명할 수 없다는 입장을 취한다. 둘째, 그림의 특정 문제에 있어서 하이데거는 반 고흐의 구두 연작 가운데 어느 구두 그림을 두고서 해석한 것인지를 밝히지 않고 모호한 입장을 취한다. 반면 샤피로는 반 고흐가 그린 여러 구두 그림들 가운데 어느 하나를 지정한다. 데리다는 하이데거가 그 그림을 그 자체로서 기술하는 것이 관심사가 아니라 예술 작품의 존재론적 진리를 지시하는 것을 목적으로 하기 때문에 어떤 그림을 대상으로 했는지는 아무래도 상관없다고 주장한다. 셋째, 예술의 본성 문제에 있어서 하이데거는 예술을 존재의 진리 정립으로 규정하고 샤피로는 예술을 사실의 재현을 통한 영혼 또는 자아의 표현으로 이해하며 데리다는 예술을 고정된 의미로 환원될 수 없는 기호나 텍스트로 본다. 이 세 가지 입장을 통합할 수 있는 길은 예술을 사실을 재현하거나 표현하는 것이면서도 존재의 진리를 담고 있는 것으로 이해하는 것이다. (shrink)

'Ik was bang - niet heel erg, maar toch wel een beetje - dat jullie me niet meer mochten omdat ik jullie tot last ben, maar de brief van Jo is voor mij het levende bewijs dat jullie heel goed beseffen dat ik van mijn kant net zo hard werk en ploeter als jullie.'.